The FO’s power in TLJ is shown primarily through the fleet, so getting rid of most of the accompanying Star Destroyers would help. If the Hosnian destruction were placed at the beginning of TLJ Rey’s line would have to be removed anyway, and the loss of the Republic here would be ample reason for a loss of hope for the galaxy.
He definitely Sheeved me out, but in a good way 😉
I assume you’re referring to ‘who talks first…’?
There are many edits which remove these lines, but whenever I watch them they tend to remove too many lighthearted moments to the point that the film starts to feel rather lifeless. I think Poe’s dialogue informs his character rather than detracting from it because of his unflappable bravado. Of course it contrasts with the tone of the scene which is why I’m still on the fence about it, but for now I can’t see a strong enough reason to warrant its removal.
^I dig it.
As for me, time to go back to the beginning.
PM Sent!
I imagine that the wreckage is so far away that no matter where you stood on the cliff the outline would be roughly the same.
PM sent!
And Duracell’s is quite the toxic love 😉
I think a previous diagram will help. Or not.
This shows how ‘Star Wars’ the films are, and how as they get further away from the OT they become less like this recognizable universe until the first and last basically exist in two different universes. The first is weird political space movie and the last is Indiana Potter and the Temple of the Sith
That should about do it.
I think the music would have to do a lot of the heavy lifting in this scene. Definitely need foley of the falling, but I think it could work to have the shot of the woman after she has been blastered if we can see the wound, just a circle of black with singed clothes around it, with maybe a wisp of smoke. It’s the classic delayed reaction. Cut back to Finn (without bloodmarks on his helmet) and the foley of her falling to the ground.
To sell the idea that it is the same trooper, maybe just have the shots of the flametrooper and Tekka walking through the flames then immediately cut back to Finn hovering over the woman as she dies so that it is clear that this is one continuous series of events. He also has a somewhat distinctive blood splatter on the jaw of his helmet which might be enough to distinguish him before the larger blood marks.
The child idea is quite cool, hadn’t thought of that. However in your example Finn’s big moment of revelation still seems to come from the death of his comrade, which causes the confusion going forward. And I think we’d need to see the child in order to really sell the idea.
The only problem with that is that you would have to lose the introduction to Kor Sella which is the only explicit link to the Republic in these movies.
What a nice way of saying I overthink everything 😉
Speaking of, I’ve had an idea about Finn’s characterization in the opening scene. In it, he seems shellshocked by the death of a fellow soldier but using a deleted scene that same reaction could instead be applied to him accidentally shooting an innocent villager.
Password: fanedit
With some effects work I think it might be fairly passable, and wouldn’t give the impression that he was suddenly awakened to the suffering of his fellow troopers so much as he was horrified and guilt-ridden at killing a civilian. It would also certainly give new meaning to his line about being ashamed of what he was.
Is this worth pursuing?
I liked the dagger bullshit in so far as it felt like a bit from Indiana Jones.
If Anakin can survive having his remaining three appendages cut off and burned up beside a river of lava, I don’t see why Palpatine, the galaxy’s most powerful Force user, couldn’t have survived falling down a shaft. It’s not like Jedi don’t have levitation abilities. He could have just hovered onto a catwalk, skeedaddled to a shuttle have been long gone by the time the station blew up.
Jedi and Sith didn’t have levitation abilities, until TROS. That is the problem with the ST, they just invented new Force powers as they go. Even death and injury are pretty much irrelevant now. It’s become a story with zero stakes. Had JJ directed ROTS, Anakin would likely just have grown those limbs back.
Are you talking about self-levitation? Because levitation has been a thing since Empire and even then Luke’s jump out of the Carbonite chamber could be construed as self-levitation. I would also think that if a Jedi can lift something with their mind, they would also be able to push against something to speed up or slow down their own momentum.
I didn’t mind the Force healing since Rey can only do it in this movie at the height of her power, and it also foreshadows Kylo’s bringing her back to life as a surprisingly apt thematic conclusion to the Anakin ‘save people from dying’ theme all the way back in Episode 2.
Yes, I’m talking about self-levetation. I would also say presenting Rey being brought back to life as a good thing, conflicts very obviously with the main theme of Lucas’ PT, where conquering death was clearly presented as unnatural, and an extreme exponent of the dark side.
Using the Force to cheat your own death is clearly a Sith thing, since the Sith think inwardly, only about themselves. Anakin wants to save those he loves, but clearly not at the cost of his own life. He only wants to save them because of his own fear of loss. However Kylo uses this ability for someone else at the cost of his own life, a fairly selfless act and in keeping with the Jedi way. Besides, there are countless fairy tales where the hero is brought back to life through magical means and it is rarely seen as anything other than good and miraculous.
If Anakin can survive having his remaining three appendages cut off and burned up beside a river of lava, I don’t see why Palpatine, the galaxy’s most powerful Force user, couldn’t have survived falling down a shaft. It’s not like Jedi don’t have levitation abilities. He could have just hovered onto a catwalk, skeedaddled to a shuttle have been long gone by the time the station blew up.
Jedi and Sith didn’t have levitation abilities, until TROS. That is the problem with the ST, they just invented new Force powers as they go. Even death and injury are pretty much irrelevant now. It’s become a story with zero stakes. Had JJ directed ROTS, Anakin would likely just have grown those limbs back.
Are you talking about self-levitation? Because levitation has been a thing since Empire and even then Luke’s jump out of the Carbonite chamber could be construed as self-levitation. I would also think that if a Jedi can lift something with their mind, they would also be able to push against something to speed up or slow down their own momentum without it being considered a different ability.
I didn’t mind the Force healing since Rey can only do it in this movie at the height of her power, and it also foreshadows Kylo’s bringing her back to life as a surprisingly apt thematic conclusion to the Anakin ‘save people from dying’ theme all the way back in Episode 2.
It would be great if a fanedit could turn the Rey as Palpatine into just another one of Palp’s lies.
If Anakin can survive having his remaining three appendages cut off and burned up beside a river of lava, I don’t see why Palpatine, the galaxy’s most powerful Force user, couldn’t have survived falling down a shaft. It’s not like Jedi don’t have levitation abilities. He could have just hovered onto a catwalk, skeedaddled to a shuttle have been long gone by the time the station blew up.
Fair. I don’t think the first scene can be removed, I just really want it to be 😃 I also use the ‘I leave that to you’ line here.
I just don’t get it? Like, even if you didn’t like TLJ, it’d be better to at least try to follow up on that. What we got was transparently bad improv. Surely there was a better way to address the criticisms of the prior movie, while also doing something else that could feel like a continuation of it. Anything else!
As someone who loves TLJ, it’s honestly baffling. I mean, I had fun, but for all the wrong reasons. TROS was just ridiculous to me. I think I honestly would have hated it, if it wasn’t so cavalier in its capitalistic cynicism, honestly to the point of unintentional humor.
From Palpatine’s reappearance in the crawl, to when Rey was about to say “Rey Skywalker” I was laughing at how soulless and corrupt it dared to be. It was so shameless about everything it did. It reveled in it. I had fun watching the film eat itself alive. You could just see the puppeteers of every faux-emotional moment straining themselves, as well as you could their strings tied hastily to Carrie’s rotting corpse as a marionette. They couldn’t justify the existence of these movies at all.
Everything truly interesting and meaningful about the sequel trilogy was discarded in favor of what? Nothing here was genuine or good*. I’m only holding onto the idea that they made it as comically hollow as they did out of spite.
*well, save for babu frik. and genuinely threepio’s best movie imo
As someone that hates TLJ, I agree it is very odd to not logically follow on from TLJ at this point with TROS to try and salvage a narrative that could span at least 2 concurrent movies instead of this weird convoluted patchwork / director tug of war you get going on that ultimately makes the entire Disney Trilogy a pointless mess. Obviously they heard many of the criticisms aimed at TLJ but failed to understand the impact and lasting fallout from them which was that many fans have become outright apathetic to Star Wars altogether or entirely dismissive of the Disney Trilogy and you were never going to get them back into cinema seats anyway so why pander to their TLJ criticism to the point that you make the movie irrelevant to it’s own trilogy?
I like your line about watching the film eat itself alive and for me, I’d apply that to TLJ as well due to how meta it is. The whole trilogy is so self aware that it literally comes off at this stage as a spoof than any kind of respectful continuation to Lucas’s legacy.
This might veer a little off topic, but the biggest difference between TLJ and TROS for me is that their meta-natures come from different places. TLJ does it in earnest. Johnson is aware of our expectations, and basically begs the audience to scrutinize his work because there is something there. The result may be unwieldly but it’s not soulless. For as much as people say it ruins the originals’ legacy, it’s really just putting the same understood conventions under new thematic tests - by the end reinforcing Star Wars’ ideals of heroism and redemption through perhaps a now stronger, humanistic lens. He broke some rules, introduced some logical quandaries, but it came from a good place. And even if you disagree with his vision, I still felt like Johnson had a reverence for the franchise that permeated the film. Basically saying: This is why Star Wars matters, and how we make it matter moving forward. Like the capability for good in TLJ, Star Wars doesn’t have to be an exclusive club. It’s not a perfectly realized vision by any means, but the self awareness served a thematic purpose. Johnson’s vision at the very least had integrity.
TROS willingly shuns anything TLJ said that might justify why a sequel trilogy should exist, to vaguely placate fans. It doesn’t make any decision based on what it could mean or say about anything. Any exploration of why we should care is forgone to tie us onto a moving rollercoaster, with a villain audiences already know. The self-awareness is used as winks and nods. You can practically hear the “fuck it, this is what they want right?” It’s a product designed entirely by talking points we’ve all heard over and over again in the past two years. It’s cynical and manipulative. Where TLJ had a beating heart and lungs, TROS is barely a Frankenstein of calculated choices.
Agreed. TFA felt like a love letter, TLJ tried to move forward, and TROS regresses to the point that it sabotages even TFA. I think that the Rey as a Palpatine angle is what really does it in, so if that were removed as well as incorporating the Broom Boy into the ending somehow it would go a long way to making TROS less of a Frankenstein’s monster of fanservice and more of a Frankenstein’s monster in the sense of a synthesis of nostalgia and necessary message.