I would love to see them!
Well, here’s a missed opportunity:
The film was screened on 35mm at a theater in NYC, with a Q&A by Derek Drymon after the showing. I’ve yet to find any photos from the event, but that there is a presentable 35mm print still in existence is at least comforting.
One animated film that would benefit from its original film format presentation. Would love if somebody scanned this
In TFA I would say he was a very good villain, raised in a well intentioned environment and part of the Skywalker bloodline, he had everything going for him. His cathartic devotion to a dogma past simply because of the ideal of Vader turns him into the whiny petulant child with a lust for power that Anakin often was. There was a set up for him to be Rey’s foil, pushing himself to his physical limits to surpass hers, for the sake of none but his own. Murdering Han was not so much killing his past, rather cutting the emotional tethers that would withhold him from his peak performance. Generally a once good hearted kid who is now forcing himself to become a sociopath because of a pre ordianed destiny that he unwittingly concieved by himself.
TLJ complicates this description, as has been discussed to death by this point. There is less concern with upholding the legacy of Granddad and instead a more independent definition of reaching self-actualization. Kylo’s mission is now said to be breaking the cycle of war, and taking its precedent out of the Galaxy. At first, so we are left to assume, he hopes to achieve this through destroying the Resistance…which would just leave a proxied Empire in power, essentially still the same deal as thirty years beforehand.
His purpose in the movie doesn’t really make sense until Snoke rejects him, and at that point he then has a motivation to want to rid the world of both Empire and Rebellion alike. It then falls apart again when he appoints himself Emperor and once again returns to the idea of just taking out the Resistance.
By the end of the second film, he is reduced to screaming and a desire to kill, not really moving in any particular direction. I feel as though the scope of the character has now become so vast and confusing that we would need a defined conclusion in part three for the whole thing to once again make sense.
You’re definitely taking it into the direction I had always wanted to. Someone online had ripped a Spanish DVD bonus feature that has a proper 35mm clip in decent fidelity, that I think would work as a reputable reference:
Forgive my laziness, it’s still a project I always hoped to see completed and I wish a true 35mm scan had found its way online by now.
One trustworthy resource I’ve found is the splitscreen of a storyboard bonus feature, on one of the older DVD’s. This is sourced from the original film master, and not the 2K re-render that has since replaced it:
From the article, talking about the ‘fans’:
They never call it “bad logic” when it’s something they like.
Or when it’s something that makes them feel good. This reveals everything. Because there are plenty of things I find objectionable in a given film and could apply a logic argument to, but I don’t. Because that’s not the point of storytelling, nor why I’d really find the given issue to be objectionable. It’s all about how characters grow, change and are in conflict in one another.
I feel like a creator should always have the intended audience in mind, so as best to know when they can get away with narrative cheats. For example, if the audience is invested in a familiarly textured story, such as the first third of TFA, you can have one coincidence after another and the audience will buy it because they want to be immersed in this world.
However, if you’re giving the audience something new, something difficult and perhaps uncomfortable to deal with, you want to make sure that your story logic is absolutely sound because the audience will be closely examining the rules of the world to make sure that the movie still ‘works’ for them.
In regards to TLJ, he’s saying there’s no bad logic in the first place, just people projecting it onto situations they don’t personally like. Are you just saying they needed to go the extra mile to make the logic of everything clear? Just seems like unnecessary hand holding to me, and I’m sure you’d still get people criticizing that aspect of the film anyway.
In general, I agree with him. Criticisms about logic and plot holes are some of the basest anyone could come up with. Rarely do they have much to deal with what’s actually important about the movie’s story. Most movies are not logic puzzles, Star Wars especially.
Yet logic used in stories is like grammar used in poetry. We can forgive poetic license, since it serves a purpose, but in general the words should adhere to some grammatical structure (logic) to make sense. The existence of poetic license should not be used as a free pass for a poor grasp of grammar.
This is an insanely apt analogy, actually.
eBay has graced us with some high quality scans of the primary trailer:
While there is an obvious yellow fade over this particular print, we now have a clear idea of how the curves, exposure, and contrast of the digital animation looked when transferred over to a theatrical print. Based upon my own copy of this same trailer, and the scan uploaded to Paramount’s YouTube channel, a proper color timing can easily be reached.
Oh cool! I hadn’t seen that until now.
Save for maybe David Prowse, it seems that everyone even tangential to the Original Trilogy has made their reappearance in Disney’s new lineage of creations. Even Ewan McGregor had a line in TFA. I can understand holding off on Hayden Christensen, considering his shying away from the industry as a whole, but why not McDiarmid, someone who is a giant in the franchise’s legacy? James Earl Jones himself returned for Rebels, and yet Sam Witwer stayed on as Palpatine. Of all the chances given to legacy contributiors to reprise their roles, why not give one to him?
The look I am aiming to recreate was very easily obtainable in After Effects. Essentially by adjusting curves/levels, compressing highlights, and adding gate weave/grain I was able to produce an authentic look that I imagine comes close to how the movie appeared in many theatres in 2004.
Title is self explanatory, I s’pose.
Luke having a moment across the universe with Leia, as well as his final lesson to Rey, will be reinstated.
It will not in the slightest reach feature length, in fact it’s meant more to be an extended episode of a hypothetical miniseries. The resistance is being chased through hyperspace by the first order; that’s all we need to know about them. And of course the Finn/Rose plot is gone entirely.
Will post more updates as I go about the planning process. As a wise man once said, “Hopefully it’ll work”.
The absolute best use of this would be to take the face of ESB Yoda and put it over TLJ Yoda.
TV’s Frink said:
Broom boy is Ric Olie’s grandson.
We won’t know for sure until he speaks.
“I catch on pretty quick!”
One number doesn’t do any movie Justice imo, but:
ANH - 9/10
ESB - 9.5/10
ROTJ - 7/10
TPM - 5/10
AOTC - 4/10
ROTS - 6.5/10
RO - 6/10
TFA - 8/10
TLJ - 9/10
I really enjoyed Last Jedi.
Here’s a new method to approaching these films.
I’m going tomorrow, and I’ve already spoiled myself rotten. Every twist, every story beat, every surprise cameo and reference. It’s all in my mind.
Now what my focus as a viewer is on is how well these events are executed and strung together in the composition of a film. Sure, I’m not that happy with where a few things went, but I’ll be more keen to just accepted as what it is - a movie - once I’m in the theater. I don’t know, maybe I’ll like it more.
Here it is: the full (albeit cut up in a few spaces) score for TLJ:
It feels like Star Wars purgatory set to music. Though I mean that in a positive connotation: it’s moody, subdued, and it pulls a plethora of cues from places I definitely never expected to hear again. Definitely evocative of early 70’s Williams in its style.
Simply an audio track that would be compatible with any GOUT synced version Return of the Jedi, that stays true to the 1983 mix in all ways but the music playing over the finale.
Has it been done? Is it feasible with the way both versions’ endings are cut? If so, may give it a try myself.
for example, I’ve done rollbacks of Pokémon
Did you happen to complete any sort of theatrical project for The First Movie? I’d be interested to see the results.
Hence, I assume, why they crushed the hell out of the blacks and darkened the picture in 2004.
My mistake, I was just going off however it’s labeled on the 'spleen. Thanks for the info.
That desaturated, orange-teal look matches quite closely with -1’s Jurassic Park scan. Did films of the 90’s typically look this way on screen at the time? I can’t quite remember.