NeverarGreat

I’d be up for such a thing, it’s always fun to come up with ideas 😃

Hal 9000 said:

The friendship theme from TROS is pretty damn good.

Which theme would that be?

Hal 9000 said:

Here’s what I’m leaning toward as far as placement: https://vimeo.com/515582857

It works fairly well.

That said, it would work far better if someone were to paint out the medal altogether. I don’t get the connection between the medal and Ben at all, other than it’s just Leia reminiscing about her past. But even then I feel like it cheapens the moment since it would then feel like she’s not focused solely on Ben.

It’s just weird.

Ghosts at the Ewok Party

https://i.imgur.com/rqRqrRr.mp4

Servii said:

Instead of Yub Nub or Victory Celebration, Snootles and Yowza will give us a rowsing encore of Jedi Rocks as the film ends.

It’s like poetry.

My two cents: the trailer music uses an entirely different musical language than Williams, and is thus impossible to integrate into the film.

jarbear said:

Anyone else find it weird that the Falcon crashed? even if the “landing gear” isn’t working … don’t these things land more like a helicopter than a jet airplane? lol.

You’re looking at this too literally, Jarbear. It’s an artistic and thematic message that nothing in the movie is able to fly.

JJ wanted it to be a puppet originally but there wasn’t time, so I guess TROS was the first real chance for this.

It makes me chuckle that the puppet is actually less expressive so even in the case of doing things the right way it turns out wrong for this movie.

RogueLeader said:

Ooo, I’d like to hear more about this over on the script writing threads.

At one point I had an entire trilogy plotted out for a series that featured Owen and Beru as major characters, which I was toying with in this old thread:

https://originaltrilogy.com/topic/STARS-OF-WAR/id/15325

Of course, that one still has them on Tatooine. My ideas eventually diverged into two separate concepts for trilogies, the first being set within the existing prequel canon and the second being constructed as a replacement. Here’s a very rough idea of the three films:

In the first, Anakin is a twenty-something farmer on a fertile world who gets swept up into a galactic war because of his piloting abilities. After his first tour of duty he returns home a hero but Obi-wan realizes that his abilities could be used to revive the order of Jedi Knights to which he owes secret allegiance. He is hiding his true nature since the Republic refuses to allow the Jedi to serve as soldiers, but Obi-wan believes that the Republic is worthy of the Jedi’s protection.

In the second film, Obi-wan recruits Anakin over the objections of his brother Owen and the two go on to start a ‘damn fool idealistic crusade’ to bring the Jedi back into relevance by winning an increasingly desperate war against viscous robots. Anakin sees that he isn’t the first student Obi-wan has recruited. A tall young man from the core worlds flies for General Obi-wan’s command. He pilots an Invader class fighter and Anakin trains alongside him on a Defender class ship. The two become friends under Obi-wan’s leadership, and after winning some decisive victories and saving the planet Alderaan and its Princess from destruction, the Jedi Order is forced to admit that they can be defenders of the peace and warriors of the Republic. However, call-sign Vader perished in the final defense of Alderaan after Anakin prioritized the princesses’s life over Vader’s.

In the final film and after several more years of war, Owen and Beru come to realize that the Republic is being changed by the Jedi and the wars, which are increasingly looking like identical copies intended to serve as a threat to justify ever more Republic control. Their planet’s government is no longer autonomous, and they are forced off their land by robots built by the Republic’s new factories. Owen and Beru are now adrift in an unfriendly galaxy and must work at these droid factories to survive. Because of their jobs, they learn that the enemy is using the same parts as the Republic, fielding massive armies of these murderous robots, while the Republic gets only non-aggressive astromechs and load lifters to retain a flesh and blood Republic army and to disenfranchise workers. Of course, there’s the main plot with Anakin and Obi-wan but the Owen and Beru story ends with them trying to start a new life for themselves away from the Republic turned Empire.

But that’s a story for the screenwriting thread.

For self preservation, probably. They are potentially valuable equipment so it makes sense that they have a program that warns of potential and actual damage to their bodies.

Servii said:

TFA was honestly almost painful for me to sit through. Partly because I dislike JJ Abrams’ frenetic directing style, and partly because the film felt so transparent. It was a carefully crafted recreation of Star Wars, like a theme park ride, but it never felt like a true sequel to RotJ. So many of the creative choices in TFA only make sense from a meta perspective, not an in-universe perspective. And the film couldn’t justify its own existence, nor could it justify its undoing of RotJ’s happy ending.

TLJ was definitely a more intriguing film to watch and analyze. I don’t like the film, but it felt more genuine and less corporate than TFA. TFA had Bob Iger’s fingerprints all over it. TLJ felt like Rian was really trying something more meaningful. I don’t think he succeeded, but the effort was apparent. I do think that fan edits can help TLJ a great deal to work as a coda of sorts, if much of the filler and bloat were removed and it was cut down to just Ahch-To, the Supremacy, and Crait. All in all, it’s definitely the most worth watching of the trilogy.

I’d say that if the sequels have anything at all to say, it’s in terms of the meta commentary around Star Wars. TLJ just does this the most competently and TROS entirely fails.

Star Wars has always been political.

And if fighting against fascism offends the political sensibilities of some viewers, then they should be offended.

The difference between the endings of ROTJ and TROS is that the former was concerned with a small ‘insignificant’ rebellion targeting the head of a galaxy-wide Empire which has had 25 years to become entrenched, whereas the latter merely prevented a new incursionary force from gaining a hold on a galaxy that had been under the control of a democratic republic for decades.

As much as I give TFA grief for resetting the universe, there’s at least a good argument to be made that the Empire was too large and established to be defeated as easily as it is portrayed in ROTJ, thus making some sense of its return. There’s much less reason for the First Order to come back, since it was never well-established and was defeated by a popular uprising from all corners of the galaxy, not just a small military organization like the Rebel Alliance.

I don’t like the way TROS handled things, but at least now there’s a good case to be made that things are different now, as opposed to after ROTJ.

theprequelsrule said:

Hal 9000 said:

I think Obi-Wan believed Anakin was (literally, biologically) dead when he dropped off Luke, and that Owen would have also. And that it wasn’t until later that he learned Vader survived. It explains why they thought taking Luke there was a sane idea and more comfortably fits in with what we hear from Owen and Beru in ANH.

The most reasonable thing to assume would be that Owen and Obi were lying to Luke: Tatooine was not the birthplace of Anakin (or his wife). Obi and Owen fled there with the infant Luke (the furthest place from “the bright centre of the universe”) to be in hiding.

Of course the PT screws all that up.

I have in my head a sequence from an unmade prequel trilogy where Owen and Beru say their goodbyes to their friends on the temperate grassland planet where they grew their crops, seeking any place free of the new Empire which had already centralized commerce in the colony regions of the galaxy.

Neat.

I predict that since there was a 16 year gap between the originals and the prequels and a ten year gap between the prequels and sequels, the SuperSequels will begin in 2028 after Disney has gotten a better hold on their IP.

The stories will be concerned with the rebuilding of the New Alliance or whatever it will be called, with a new set of leads and cameo appearances from Poe and Finn. One of the new leads will be a student under Master Rey in her new Jedi Order as they team up with an adolescent Grogu who is on his first mission apart from Ahsoka and a pilot who has graduated from Poe’s class at the Alliance academy.

These characters will discover the true meaning of friendship while hanging out with Ezra and his space whales and fighting a new terrifying threat - TIME. That’s right, this one has time travel so we can go back and see all the best moments from each trilogy ‘one last time’ with our old favorites rendered with perfect deepfake technology, and they will all come back for one last adventure together.

You heard it here first. 😉

theprequelsrule said:

Whatever happened to Gaffer Tape?

They’ve posted as recently as November 2019, so I imagine that they check back on occasion.

Yeah. A very strange experience, but it wasn’t actually a bad one. It was more like looking at a Salvador Dali painting than watching a movie with a plot and characters, if that makes sense.

1. Binary Sunset
2. “Use the Force, Luke. Let go, Luke. Luke, trust me.”
3. “My ally is the Force, and a powerful ally it is.”
4. “I am your father.”
5. “I am a Jedi, like my father before me.”

Sorry to just now be responding, Ziggy. I genuinely missed your comment for a while.

I’d like to finish up this edit and some other projects which are stuck in limbo, but my workstation isn’t currently set up for editing or writing. For Christmas I got a big graphics tablet so I’ve moved everything to a dual monitor setup and built a table for all this to focus on getting some form of an art career off the ground…so yeah. Really I just need another monitor to quickly switch back to a normal computer workflow, and eventually that will happen and I can get back to editing and writing.

As to why I haven’t rendered a decent version of the edit, the new Hosnian destruction is still a work in progress and its placement back in the Oscillator sequence means that the Starkiller destruction must be reworked as well. It shouldn’t take that long once I’ve gotten in there since it’s mostly pulling out a lot of the duct tape and spackle that I originally put there to hold that part together, reverting it to its theatrical version.

Other than that, I want to test out that idea for an alternate Poe interrogation since that bit of the edit isn’t finished even in the workprint. The last big thing would be to rework the dream sequence after Rey is captured by Poe. I don’t think it works, and I might just break down and put the completed Jakku vision back in after Rey’s dinner since she’s apparently got the Force in her blood due to the current canon. As long as we get a tease of Luke’s island somewhere in the film before her vision at the end, I’m happy.

I’d like to do a rough version, if I break down and buy it instead of watching on Disney+. There are some things where I have no idea if they could even work, especially the Rebel briefing scene which would be split into two scenes. Each of these would have to convey sufficient cause for Jyn to go to the next location, and there’s some awkwardness in the fact that she must visit Yavin 4 three times for this edit to work.

A sticking point in my head is that the Rebel Alliance at no point says that they have knowledge of actionable intelligence in Saw’s possession, which I feel like might be an issue going into act two. It might feel like the Jedah business is little more than following up on a potential lead rather than a critically important intelligence operation.

The biggest issue though is that this edit is intended to make Jyn a more active protagonist, yet there are few instances of her taking charge before act three. It would be really helpful if she said that she knew where her father was, or if she decided to go herself, or her deciding to go to Jedah so she could discover the final message of her father. Trouble is, those lines don’t exist so it may feel like she’s still just as passive as before.

Yesterday we watched Rogue One followed by Star Wars 4K77.

I realized that due to working on my years-long project of shot-by-shot color correction of A New Hope, the experience of watching Star Wars has broken down into a series of varying emotional reactions to the colors on screen. For example, I was forced to remark several times on the beauty of particular shots while gazing sadly at those that failed to live up to the Technicolor standard. The story of the film and its greater universe totally disappeared while in this state, even though we just finished watching Rogue One.

I was also struck by the massive stylistic difference between Star Wars and almost all subsequent entries in the series. It truly is surrealist fantasy, and time only serves to make this more apparent. From the way ships fly at the speed of feeling through impressionistic space to the visible seams between live action and painted location, the film plays like a dream. And like a dream, as it ended I felt I couldn’t say what happened or why, only that it felt like a place apart, a place of myth and adventure.

Truly strange.