OutboundFlight

ray_afraid said:

act on instinct said:

to say it’s about doing the right thing still leaves the actual moral underneath, what is the right thing to do?

The right thing to do is the thing that benefits all instead of one. Acting selflessly for the greater good.
That’s pretty much what the phrase means.

Not to dive into moral philosophy, but it’s a bit more nuanced than that. Would you kill someone to stop the spread of a disease if you are guaranteed it won’t get to the world at large? Or would you quarantine them and risk it getting out to infect millions?

^ btw this has nothing to do with current events, just a good philosophy example.

Anakin Starkiller said:

What’s the equivalent of cheap frozen dinner in this context?

The Prequels. They come together in a package with a really fancy background but no real substance. The food sounds interesting in concept but turn up completely bland and flavorless. Only the last part is any good.

Oh man I’m so excited about the chef’s next three-course meal! I hear he really thought this one over, but we’ll see if it triumphs that amazing first dinner!

Appetizer: Generic Ceasar Salad.
What? I know this chef is really good, why so simple? Shouldn’t he be doing something that I can’t get everywhere else?

Entree: So the Chef accommodates with a super experimental fusion of International Cuisine.
What? I know I wanted something special, but this is too weird. I came here expecting Italian, why am I eating Indian… it’s a neat idea but not for this restaurant!

Desert: So the Chef rolls back and mashes as many sweets and chocolate as possible together for a desert.
What? These toppings don’t work together as well, you just added as many desert items together and expected me to like it because desert!

The Star Wars Holiday Special: Extended Edition

The closest thing we’ve got is a mashup of TCW Season 7 and ROTS.

Probably not (I thought the four hours was just the script, which spent a ton of time on the Invisible Hand), but even if it was filmed, it wouldn’t be remotely understandable (characters would just be walking on the green screen). They would have to invest a lot into making it presentable: and Lucasfilm still hasn’t released the original cuts of the OT, which they have right in their hands for free, so why would they go out of their way for something like this?

I feel like Finn + Rey was pretty heavily setup in TFA. Part of my issue with Poe (and Kylo to an extent) is that it’s not setup in the earlier movies (or in Kylo’s case just TFA).

No offense but this feels like the most un-Leia thing to do. I could maybe see it from Luke, only if Snoke tricks him into a force vision of the only solution for the Republic’s survival being a common enemy or something, and Luke is desperate to not fall into the same mistake as the old Jedi. But Leia? After Alderaan, directly allowing innocents to die? That’s not Leia.

TFA is very intentionally planned. But not to be an interesting story, like most people here want now, but to be as Star Wars as possible. People today dislike it for that, but it was the smartest choice. The PT was hated at that point for being “not Star Wars” so they made the most Star Wars thing imaginable. Rebels vs Empire again, Han as smuggler again, superweapon finale again. Instead of exposition dumping the last 30 years they jumped to the action and JJ mystery-boxed the past. And you know what? It worked, at the time.

Once they had successfully roped people in they do what ESB did and subvert expectations. Whether they succeeded or failed is up to you. But it was thought out.

By TROS many people disliked TLJ and instead of sticking to their guns Disney was worried of alienating more people, so they went back to pleasing as many people as possible. Only this time it didn’t work. TROS was rushed with reshoots so it never had the possibility of being well thought out, and this was what we got.

STAR WARS EPISODE III: THE LAST STAND

The Rebellion has been pushed to the brink of extinction. Though many support secretly support its cause, they are unwilling to put their lives on the line.
To facilitate his final victory, the heinous EMPEROR has begun construction of two additional DEATH STARS at an undisclosed location.
With time running short, the Last Jedi embarks on a daring mission to find the hidden shipyards…

Pan down to Had Abaddon, an urban hellscape. The Empire has put the city on lockdown.

A speeder flies overhead and two bounty hunters and an R2 unit climb out. They’re sneaking around a restricted area, masterfully taking out Stormtroopers without any notice. Having reached their destination, they cut a path through a ventilation shaft and head towards the center of the building.

Finally, they reach it: the Holocron Vault. This is the Old Jedi Temple. The two bounty hunters unveil their masks to reveal Luke and Leia.

Luke explains to Leia that the Emperor keeps his top intel here, rather than the Imperial Databanks, and are only accessible by someone in tune to the Force. Leia asks if they should take all of them, but after some moments of temptation, Luke refuses: most have been corrupted, and contain such ghastly details he would rather not know.

In classic adventure fashion, the plan goes awry. Right as they leave, the alarms siren on and the trio must blast their way out. Luke shows off his lightsaber. There is a tense point where it appears R2 can’t override the doors in time, but they eventually get to the docking platform. Luke leaves Leia and R2 to distract the Stormtroopers, much to Leia’s distraught.

The Falcon, piloted by Lando and Chewie, arrives just in time, picking up Leia and R2 before following after Luke, now engaged in a massive cinematic chase with the Security Forces.

Just when he’s surrounded, the Falcon arrives, and Luke gives a sarcastic wave before force jumping out.

Lando asks if they got it, and Luke confirms: with this Jedi Holocron, they will know the location of the hidden shipyards. Luke opens himself up to the force… and is suddenly thrown into a rendition of the past!

Luke is invisible, watching a scene of his father Anakin Skywalker loving who he can only assume to be his mother. She tells him she is pregnant, and he is at first overjoyed… before turning to concern over what the Jedi will say.

The entire scene distorts itself for a moment, and then Luke is watching the Jedi Council, Obi-Wan and Yoda included. They are debating over the next course of the ongoing “Clone Wars”. Anakin suggests perhaps now is the time for compromise – this fight is drawing on too long – but Yoda stubbornly refuses, citing the dark side is the quick and easy path, and they must root out all evil once and all. The conference ends, and Anakin meets directly with the two masters. Anakin roundabout asks what the council’s view on external relationships is… and both Obi-Wan and Yoda stubbornly argue any “selfless” relationship, period, leans towards the dark side.

Luke comes out with nothing, only a tired mind and a radically different perspective on what he thought of the Jedi. When Leia consoles him, Luke walks off.

At the Rebel Headquarters on Sullust, leadership is pleased by the Holocron, even if it couldn’t be opened yet. Leia speaks with Mon Mothma and Gial Ackbar, who need her help in the recruitment of more star systems. The death of Leia’s father Bail on Alderaan lost one of their best speakers – both Mothma and Ackbar have been disgraced and have little political ties, but almost everyone agree that Bail was unjustly killed and his daughter would likely hold significant weight. But Leia refuses, saying she’s not like her father and is much more a rebel than a politician.

Mothma inserts a disc into a nearby droid, which shows a hologram of Bail speaking directly to Leia, explaining they just acquired it a week ago. It shows Bail speaking directly to Leia, explaining that in the event this “Death Star” should ever fire on Alderaan, he wants her to know he is very proud of her, and that she has a great future ahead. Leia agrees to the mission: if they are going to attack these shipyards, they will need all the allies they can get.

Luke heads to a cave to meditate with the Holocron. Then Vader appears, startling Luke but then assuring he isn’t actually present, rather this is a Bond through the Force. Vader explains both he and his master are fellow aware of the stolen Holocron, and he has reached out to Luke to ask him what he saw. Vader explains the Holocron will force the opener to see through the past, in order to understand it, and he hopes now Luke understands why the Jedi is a failed religion. Luke admits the Jedi made one mistake, but that’s nothing compared to the horrors of the Empire. Vader tempts Luke to look into the Holocron again and then vanishes.

Luke looks. He finds a slightly older Anakin speaking with an old friendly man, Chancellor Palpatine. Palpatine explains that he is worried of the Jedi’s insistence on fighting the Droid Foundries in the name of the “Light Side” and “Dark Side” and only wants what is best for the Republic. Anakin tells the Chancellor he overheard Master Windu speaking with Yoda and Obi-Wan of possible plans to use overthrow him should he push forward with the vote for political compromise. Palpatine appears unmoved, stating he will not be bullied, and will only do what he feels is right.

The scene shifts. It is now night, and Anakin is with Luke’s mother. They are talking about “the baby” when Anakin explains he can’t handle this political and social mindgames they always play to hide from the Council. He decides he is going to walk out of the order.

The scene shifts again. Anakin is speaking to the Council. Mace Windu, one of the Jedi, seems very angered by Anakin’s betrayal and is happy to see him gone. Yoda looks concerned but stays quiet. Obi-Wan, though, pursues Anakin and tries to make him reverse his decision. Anakin refuses, goes on a mini-rant on all the things the Jedi have ruined, and how Palpatine seems to be the only real friend who cares about someone other than themself before leaving without saying goodbye.

The scene shifts a final time. Anakin and Luke’s mother are packing their bags to leave from Coruscant, with Padme visibly pregnant. Then, a great “boom” is heard from the Senate Building. Anakin sees Jedi ships arriving amidst laser fire, and runs off. He enters the Chancellor’s office just in time to see Mace Windu holding Palpatine at saber point… and stabs him in the heart, dead. Anakin screams and charges at Windu, who not expecting someone from his side is immediately killed. Anakin grabs the dying Chancellor, who tells him in his final moments that he was right, the Jedi refused to cooperate with the Sith, and calls on Anakin to avenge him.

Luke falls out of the force vision. The Holocron has been opened, but at what cost? Luke is now re-evaluating every decision that he has taken. Was the Empire right? Luke gives the Holocron to the alliance, which decodes the data as Kashyyk – where Chewebacca’s people are being used as slave labor to construct the two battlestations. Lando and Chewie rally for battle while Leia sets off on her own quest for much-needed reinforcements, but Luke doesn’t help either. Instead, he heads to Dagobah – for answers.

End of Act One.

idir_hh said:

According to a very recent interview with Colin Trevorrow (May 8th) on AnimalTalking: He wasn’t fired. It was the bad reception of Book of Henry that prompted him to “hand over the ball” and leave

https://youtu.be/-Xl9F8bnJVM (50:00 - 52:00)

I find that highly unlikely. He had the perfect opportunity to redeem himself with one of the biggest movies of the year. More likely Disney said “hey we might fire you wink wink if you want to maintain your reputation maybe resign around now wink wink”

^ And as interesting as DOTF is, I don’t blame Disney for this, because I too would be nervous when the big finale is written and directed by a filmmaker who just had a major flop.

StarkillerAG said:

Also, I don’t think anyone has pointed this out yet, but the Trade Federation guys wouldn’t work either. Anakin killed them in Episode III.

In general, I don’t think reusing old shots for the big finale is a good idea. It seems like a big nostalgic fanservice scene would have to be a decision made during production, and it just isn’t feasible here.

I don’t think he killed the entire species.

Rough pass at an older, but still child, Baby Yoda. I am going to make it in photoshop before premiere.

The ears are much smaller, more in line with Yoda, and I’m trying to get rid of the all-black eyes (very childlike) with mixed results. This is more a proof of concept.

JakeRyan17 said:

Yeah, it would need to be people aged appropriately… even Baby Yoda would be older with another thirty years. I agree we need more characters we recognise, but it should be clear they’re present in the scene, rather than flashbacks. Without reshoots, I dunno if you can naturally add them in.

I’d love to deepfake the Clones to look older (current head-canon is the Kaminoans started producing them again), but I don’t know how that tech works. I wouldn’t mind learning it though.

For Baby Yoda… Yoda about the equivalent to 90 when he’s 900 years old, right? So if Baby Yoda is 50 years old, him being 80 years old is the equivalent of going from 5 years old to 8 years old. I could try enlarging him in a rotoscope to make that difference seem more noticeable, but I can’t think of any other approach. Unless we deepfake Yoda’s face onto Baby Yoda and apply a young filter?

VERSION TWO
https://vimeo.com/422255626
Password: fanedit (all lowercase)

I have made two big changes to Lando’s arrival, each of which addresses the two biggest contributors to why I feel the scene feels “forced”. First, the scene gives next to no build-up between Snap’s death to Lando’s return. I’ve already touched on this – for this second version, I removed any lines of the First Order losing a destroyer and smoothed the audio to feel less choppy.

The second change is all I see are ships, not people. For all I care Lando could have shown up with only Wedge. We needed to see the people showing up, ideally, people from across the saga. This is pure fan service, but I think this is the one place where it should be used. We’ve spent nine movies learning about the various characters from across the galaxy, now it is time for all that to pay off and for all sorts of peoples and factions to return to stop the Empire. It presents much more emotion than just “oh look cgi noise”.

MY ONE ADDITON: https://vimeo.com/422031021
(password is fanedit)

Apparently it isn’t, cuz it’s not letting me in.

I found the problem. Apparently I capitalized the “F”. Lol.

MY ONE ADDITON: https://vimeo.com/422031021
(Fanedit)

So I will have to cut the line “another star destroyer down” which isn’t a problem in the slightest, and then maybe smooth out the music reduction I have in the scene. Then we unveil to the big epic music.

I will also try this with the normal theme.

I agree. That said, I think this would be the one place where Kim’s music might actually work. It is supposed to be this epic but also emotional moment, and having watched this clip I’d say using Kim’s music is better than William’s.

I think the biggest problem is the pacing. Yes, emotional manipulation is an issue but that can’t really be avoided, this is supposed to be the final battle. But the pacing is really rough. There is no downtime between “we’ve lost” to “there are more of us!”. The film needs to breathe at this point to get it right.

So comparing this to the scene let’s be real we all know TROS was inspired by, look how much time eclipses between the “we’ve lost” moment to the “everybody’s here!”. There’s this tension that’s slowly building as the heroes gather together. It’d be so jarring otherwise (as we see in TROS).
https://youtu.be/xp2YlHPAyVI?t=62

So in short, I used Luka Frik’s edit as a base and gave it one small scene between the “we’ve lost” moment and the “big celebration”. It’s the moment where the First Order is questioning what’s happening (with some ROTS music for good measure). I think it works really well here, the sound mixing isn’t perfect but I can fix that over time.

MY ONE ADDITON: https://vimeo.com/422031021
(password is fanedit)

DominicCobb said:

StarkillerAG said:

DominicCobb said:

World building is overrated. It’s one of the many things that killed TROS.

I actually felt like there wasn’t enough world building. There was way too much exposition, but exposition and world building aren’t the same thing. World building fleshes out the movie’s universe, giving it the proper context. Exposition is an inconvenience, something the movie just needs to get out of the way.

In my opinion, a proper example of world building would be explaining the whole thing with Palpatine’s return. “Secrets only the Sith knew” isn’t a sufficient explanation. We need to know the broad strokes of how he returned, and why he can’t return again. Otherwise, it just feels like Palpatine can come back any time he wants.

That’s not quite right. Explanations aren’t necessarily world building. In fact having someone spell out how Palpatine survived is exactly what I’d call exposition, which is something that TROS tries to avoid as much as reasonably can (which is only so much).

For example, the First Order captain’s medallion is world building. Zorii saying “free passage through any blockade, landing privileges” that’s exposition.

I somewhat agree. I think describing how Palpatine survived would be exposition, but the way he goes about it is worldbuilding for the Sith. They are forever intertwined.

In that essence, “exposition” isn’t bad either. I think we can all agree understanding why Palpatine returns is important.

For me the biggest issue with the ST’s “worldbuilding” or “exposition” or whatever is it doesn’t add logically to the earlier movies. When you jump from Ep 1 to 2, you are going in expecting Obi-Wan to be training a now Jedi Anakin. Ep 2 to 3 you expect the Clone Wars from how things last ended. 3 to 4 you expect the Empire to be in charge.

The jump from 6 to 7 is so frankly confusing because we expected to see Luke with a Jedi Order and the New Republic established. Yes, it’s perfectly reasonable to have tons of stuff go down in 30 years, but in terms of storytelling it feels strange. “Return of the Jedi” also is a very strange title when you think about it nowadays. With TLJ, it’s more a case of them having some sort of chance to fix these issues, but they doubled down instead. So it’s not really RJ’s fault, moreso him following Abram’s suit.

The closet comparison I can make is if Revenge of the Sith came out first, and then everyone got hyped for the sequel 19 years later… only to find the Empire was destroyed just a year after ROTS, Anakin was redeemed off-screen and is now missing, and Luke is training to be a Jedi like the entire PT never happened.

This is just the thread for me!

https://originaltrilogy.com/topic/Vader-a-7-in-1-edit-of-the-Star-Wars-Saga/id/59135

My old Vader edit was my very first fanedit, so the editing is a bit choppy and there’s a random song somewhere that I cringe at afterwards BUT all in all, I am proud of it for it’s scope and what I consider to be a successfully retelling of the original six Star Wars movies plus R1.

I cut the edit to tell mainly Vader’s perspective. This means a lot of iconic moments in the OT are lost, such as all of Tatooine, most of the Death Star, Luke’s Training, Jabba’s, and Endor. Instead, it is played from the Empire’s perspective. The Battle of Scarif and Death Star Break-In are treated like almost jump-scares with the rebels getting no screen-time until Hoth.

The PT runs simultaneously to the OT in ten minute segments, with the sound effect from LOST to represent the shift in time. The color grading also starts brighter in the PT than OT, but eventually turns darker while the OT gets lighter. The PT itself is mostly just clips from important moments in AOTC and ROTS, tied together into 10 minute strands. If I ever were to make a second version of this edit, I’d use some of the great PT fanedits here as a base, but when I was making the edit I hadn’t yet registered here.

Han Solo only becomes a POV character after the Death Star escape. The Rebel Base is moved straight to Hoth with the Death Star never being destroyed. When Han goes into carbonite, he dies. I couldn’t find any way to conceivably include his rescue without diluting the focus from Vader. After this, Luke become a POV character – prior to Cloud City, we had only seen random moments of him blowing up AT-ATs. The Battle of Yavin becomes the location of the Luke / Vader duel with Red Leader destroying the station. The ending shot is Vader’s empty funeral, followed by a nice little cinematic I made for the cast credits.

All in all, it runs at 3 hrs and 30 minutes… and that’s with cutting out tons of iconic moments. I honestly wouldn’t know how you could cut a 9 in 1.

Delpheas said:

That’s such a haunting piece of music…

Perfect for the empty, lifeless temple.

Padme’s Ruminations should be the music.
https://www.youtube.com/watch?v=NXjAcuItD7M

Rey’s lightsaber was so lame blue, let’s make it rainbow instead! Oh and it can play this whenever turned on.

https://m.youtube.com/watch?v=EQEZGzIOblo

poppasketti said:

Mustafar establishing shots:

This would be unironically useful

Broom Kid said:

With Clone Wars, it’s not a case of the show being aired out of “correct order” - the fact the show jumped around in time was intentional in the early seasons (as Tobar pointed out), as it was closer to an anthology series than a narrative arc. That “anthology” idea got phased out later in the show, but the “correct” order is the one you saw on Netflix.

I’d honestly suggest sticking with that order myself, if only because you get to see the show grow into itself, as opposed to having a later, more polished version of the show inserted into the early, still stumbling version of itself. I think that makes the experience of watching the show more jarring, in fact. Same reasons I don’t think the “Machete Order” or any viewing order of the films other than chronological works, really. Same principle that makes the Special Editions an incongruous and not-very-well-liked viewing experience: retroactively trying to fit new things into older things just highlights the difference in tone and execution, and calls the wrong kind of attention to itself.

For me, I’ve never liked the idea that we have tell everyone new to the show to watch it off some strange chronological order from online, instead of just the normal way which we all got along perfectly fine.

It’s very rare for this to occur and I think it’s more of an annoyance to have to consult some online “chronological cut” rather than just using the release order. It’s not that hard to recognize an episode is supposed to be a prequel to an earlier episode. They often establish it very clearly in the intro and expect you to already care for these characters.

Goes to watch the deleted scene

Ah this isn’t that bad, I wonder why they cut it. You know actually the prequels aren’t that ba-

Farts

Ah, now I remember…