Sign In

Tack

User Group
Members
Join date
14-Aug-2013
Last activity
4-Dec-2022
Posts
858

Post History

Post
#1481213
Topic
Info: Preservation of Localized Texts in the Star Wars (1-6) Saga
Time

So here’s a question for anybody in the know. Did the Latin American versions of ANH have voiceover for the crawl or did they use the Spanish “Guerra de las Galaxias” crawl? The logos on the poster are the same which makes me think the latter is possible.

Also, was there any evidence of a Portuguese crawl? Brazil and Portugal did both receive dubs at the time of their releases, no?

Post
#1480185
Topic
Help needed with preserving Star Trek: The Cage (unaired pilot)
Time

In terms of the COMPLETE version of this pilot, there is a chance it was released on a Portuguese VHS tape in about 1987. A clip of this has shown up on YouTube where it doesn’t cut from the uncut black and white footage to the color 1967 footage. I think a couple of complete shots could have also been taken from the original trailer for The Menagerie.

From what one TrekBBS user has said, the original editing was much looser and the ending in particular was very noticeable with this (the final conversation with the Talosians is said to be much more somber in the original than the Menagerie recut).

I don’t know if this Portuguese VHS has ever been ripped or not, but it would be seemingly invaluable.

EDIT: Proof: https://www.youtube.com/watch?v=eMg5IuQRlMo

Post
#1479647
Topic
The Empire Strikes Back - Expanded Edition (Work in Progress)
Time

This is just amazing. There’s the same kind of giddiness involved as when the deleted scenes were first unveiled. The idea that the films you enjoyed could be given a totally new but old look. And I think in some ways, the deleted scenes of ESB are even more mysterious than the ones from SW77, just because of the glimpses the trailers and tie-in media give.

If only we had access to some other remarkable trims, like the cut Cloud City bluescreen footage or the complete Wampa attack footage (which, apparently according to Star Wars Aficionado and JW Rinzler, was filmed). Special editions be damned! This should be the alternative!

Post
#1478942
Topic
<strong>Star Wars (1977)</strong> - a general <strong>Random Thoughts</strong> thread
Time

TK MAXX-421 said:

I wonder how many Rebel pilots followed Biggs’ plan of attending the imperial academy and then defecting to the alliance? Sounds like Luke was planning on doing the same, is it a common? Surely the empire had measures in place to mitigate this?

Based on the dialogue of that scene, the academy is in some ways a separate entity from the actual Imperial army, given Biggs says that one becomes eligible for being drafted after completing the academy course.

The radio drama also has Biggs saying that a friend of his from the academy was suspected for Rebel sympathies and died in interrogation. Sounds like at least in Legends they made mention of some pretty severe measures in place to curb desertion, although our known canon defectors (Hobbie, Biggs, Wedge, and Bodhi) also seem to have had a tough time.

Post
#1478819
Topic
The Empire Strikes Back - Expanded Edition (Work in Progress)
Time

Bobson Dugnutt said:

And right you are! After looking at the 4th and 5th draft, and seeing this line, looks like the probe does attack an outpost.

script

The “Trooper Voice” is missing in the final cut, but there is around 7 seconds where I could dub the voice back if I could. I think it would slot right back in, and then with the clip of the Probot firing right after.

Evidence

And in case you needed more proof. 😉

Post
#1478716
Topic
The Empire Strikes Back - Expanded Edition (Work in Progress)
Time

Hey, Bobson! I think you’re on to something cool here, and a bunch of the clips look fantastic so far, but I think you’re using certain bits in ways that aren’t quite accurate. For example, I think that bit with the probe coming to camera through the flames isn’t supposed to be right after it crashes. I think it’s pretty clearly the scene from the script where the Probot wipes out a Rebel outpost before Han and Chewie are sent out to deal with it. I think that’s why the wreckage is pretty clear in frame. The actual destruction of the base is off-screen in the fifth draft, and the shot of the aftermath that it describes is almost exactly like this shot from the eBook.

Secondly, I think your edit of the Echo Base Wampa attack is a bit wonky on the continuity. Granted, the footage as presented isn’t exactly the most easy stuff to work with, but I think it’s very clear to see the shot from the finished film of the ice crumbling onto R2’s head is what segued into the wall collapsing, and then lead to him getting locked in the corridor. The scene of him peaking from the wall occurs during the troopers fighting the Wampa off in the script, and at this point I would say having the sound of the Wampa being defeated over this shot is probably the best bet with the available footage. It’s hard to say if the scene’s scripted finale, with the Wampa being defeated by some large gattling-gun style blaster, was ever filmed, but my money is on no.

And one last thing, I think a lot of the shots of the actual Wampa suit during the attack scene were probably shot just for safety. The script describes quick snippets all until you see the corpse on the floor at the very end.

Good luck on this! I think you may try perusing the sound effects wiki for the sound design question. In 1979, Burtt would still be using stock effects as well as his own recordings.

Post
#1435515
Topic
Star Wars: The Complete Screenplay
Time

I see!

Well, for the first part, it largely comes from various drafts of the Star Wars screenplays. Chiefly of course is the revised fourth draft, with occasional rearrangements based on how I thought scenes should flow or to roughly match the scene order of the final cut. Then, several scene extensions and setpieces come from the third draft, such as the expanded scenes on Yavin IV or the trash compactor scene. Sometimes I deferred to the continuity script on the Star Wars Aficionado blog for things that weren’t chronicled in any available script draft (mainly small bits of dialogue). Then, certain EU resources came in handy too. The novelization by Alan Dean Foster has a lot of overwrought dialogue but also useful things like scene extensions (the training scene in the Falcon’s main hold, for example). Similarly, small extensions from the radio drama by Brian Daley (whose script I have in book form) were also valuable since in many cases they came from direct consultation with Lucasfilm. However, an even greater bit of the script comes from my own ideas. I’m particularly proud of my expanded Battle of Yavin with the various squad leaders interacting and a more concrete attack plan than any version of the screenplay.

I’m slow at work (because of school and career stuff) on an expanded version of The Empire Strikes Back, with many ideas from early in production re-introduced and the existing plot expanded greatly. I think it’ll be even longer than this one ended up. Already I have most of the first episode of the radio drama with the attack on the Rebel convoy acting as the film’s new inciting incident.

To answer the question on software, it’s a plug-in for Google Docs called Screenplay Formatter. Most of it is done automatically, and you just have to fiddle with it a bit to get things where you want them.

Hope it helps. 😃

Post
#1374569
Topic
The Rise Of Skywalker - Abrams' Vision or Executive Meddling?
Time

macesmajored said:

I believe the fault lies with Disney and the make-believe “Lucasfilm Story Group” that they created for not mapping the trilogy and their new expanded canon (at least roughly) as a whole, back in 2012 or 2013 during/after the LFL purchase. It’s primarily Disney’s fault that the new TRILOGY as a whole doesn’t function better.

I get a lot of enjoyment out of the sequel trilogy and Disney canon, but with A LOT of asterisks. IMHO, as messy as TROS is, some of it could have been mitigated in editing (which some fine folks are doing on this very site). The main problems with the core of TROS seem to be with Chris Terrio and J.J. retconning Last Jedi stuff and leaning on fan service as a whole, all the while likely not being able to utilize anything from Trevorrow’s drafts because they would run into Writer’s Guild problems with crediting the story, and as far as I can gather there are massive egos at play with Kathleen Kennedy and J.J… Too many cooks in the kitchen.

Trevorrow leaving the project (maybe fired by Kennedy?) made it pretty “scorched earth” for not using story beats he mapped out. Some of which were pretty great. The new statements from Daisy Ridley and John Boyega really confirm the weak, rushed, scatterbrained production of TROS as well. But all things considered (production time, Trevorrow leaving, and Carrie Fisher’s untimely demise) it really could’ve been A LOT worse. I think (some of) the angrier fans among us don’t really want to acknowledge the factors they were up against, even though J.J. and co. didn’t all rise (pun intended) to the occasion on this film.

I just want to say I really appreciate you giving such a measured take on the situation.

Post
#1352578
Topic
The Unpopular Film, TV, Music, Art, Books, Comics, Games, &amp; Technology Opinion Thread (for all you contrarians!)
Time

Chase Adams said:

^ I’ve been meaning to watch the rebooted versions of those for ages now… But I don’t think I should bother.

They started off with a surprisingly faithful attempt to recapture Conquest of the Planet of the Apes (my personal favorite of the classic sequel films) and ended up straying further and further away from that intent. From what I can tell, Rise of the Planet of the Apes was supposed to end in a manner very similar to the original preview ending for Conquest… And just like Conquest, the ending was softened considerably before the final release.

Post
#1344456
Topic
What other, non-SW stories do you want to write/tell?
Time

With the Space Battleship Yamato (aka. Star Blazers) having been torn asunder from its creators Yoshinobu Nishizaki and Leiji Matsumoto due to rights issues/death, I’ve considered what a different remake might look like. Yamato 2199 is not a bad series by any stretch, but it feels very clearly like a “modern” remake and I feel the new story additions only clutter the story and draw attention away from the primary players. A good remake, in my mind, should not worry about fans of the source material getting tired of the reinterpretation. Rather, they should make a point to improve the foundations of certain iconic moments to make it an altogether more enriching experience.

To those unfamiliar with the original series, it centers around an interplanetary war in the 23rd Century between Earth and a far-off world named Gamilas. Gamilas’ neighboring plant, Iskandar, sends a message to Earth containing the secrets of a new weapons and propulsion system and promises a secret which could restore Earth to itself. With the threat of extinction looming over them, Earth outfits a ship (the titular Yamato) with the new technology and a crew of elite starpilots including the captain Juzo Okita and the main character Susumu Kodai. Over the course of the journey to Iskandar, they discover the devastating effects of the new technology, and the Gamilan leader (named Dessler) inadvertently uses it to cause his own planet’s downfall.

The series had many sequels between 1977 and 1983, with the cast of the first series returning in various capacities to encounter new threats. The creative staff clearly began to feel fatigue by the end, but at least part of this was the fault of creator/producer Yoshinobu Nishizaki’s strict code of rules. He only ever permitted there to be a handful of female characters, the main love interest Yuki Mori and the alien goddess of the particular story arc. He tried to keep the characters’ personalities as “classically Japanese” as possible, often at the expense of character development (and in a fashion which caused the departure of essential co-creator Leiji Matsumoto). He was notoriously wishy-washy on character deaths, often deciding at the last-minute to kill or spare a main character. The Yamato 2199 remake rectified some issues but exacerbated and created many of its own, including removing the element of the Iskandarian technology as a threatening element and a total overhaul of Gamilas’ motivations and chain of command. The remake of the second series, 2202, messed even more with the base story.

My own remake (which I started adapting as an audio drama) would try to incorporate elements proposed by Matsumoto and other writers during the development of the first two series, and try to turn the story into a cohesive trilogy; one focusing on the war with Gamilas and the voyage to Iskandar, the next being a hybridized reimagining of the second arc (the ‘Comet Empire’ storyline), and a third final series with a largely original plot based on elements of the 1980 film Be Forever Yamato.

Among other things, I would like to diversify the cast from the original series. Juzo Okita would remain the same, a hardened and strict Japanese man, but the rest of the cast would be heavily altered. The main character becomes Jason Kodai, a Japanese-American whose dual parentage resulted in him having a very hot-blooded view of the world behind a wall of insecurity. Daisuke Shima, his best friend, becomes Shane Davison, a character who acts as an anchor to his intense personality. Engineer Sanada would become Santiago, but remain the stoic and logical voice of reason of the crew. Two other characters from the bridge, Yoshikazu Aihara and Yasuo Nanbu, would become Yoshiko Aihara and Yahan Anbu; one a strict Japanese woman playing the role of communications officer, and the other a weapons expert who is very much in over his head as a member of the crew.

The story for each season would diverge from the original but keep the primary elements intact. The biggest changes would center around the role of Dessler. He becomes one of the most interesting villains in animation at a certain point, but in the first series he is by and large far less interesting. Matsumoto’s plans (and his comic adaptation) paint the entirety of Gamilan culture in a far more nuanced and intriguing manner, and early story ideas for the inner circle contain characters unfortunately not included in the eventual TV series. Not to mention, Dessler’s concubine Mela and daughter Jura, two telepaths who wage a psychic war on the Yamato and its crew and who segue into perhaps my biggest initial change…

Yuki Mori (Nova in my version) is a character who no writer seemed completely confident writing. She seemed a very confident and capable woman in the first series, and then slowly (due to the influence of Nishizaki) became a Japanese stereotype of the perfect woman. Moreover, Matsumoto and other authors seemed to always be hinting that she was more than she seemed, though no series ever followed through on that. In my version, she would be much more than she seemed; a telepath and empath who had been forced to conceal her talents until her tenure on Yamato, and whose abilities would play not only into a war with Mela during the Gamilas War, but into each further arc as she steadily became the confident woman Matsumoto envisioned her as.

I never fully planned out my changes to the third arc, though I did have the first and second lined out rather extensively. Given the time to edit them, I’d be happy to post them here.

Post
#1342398
Topic
Weird Idea but maybe it will work - Anakin and Darth were two separate people
Time

This is an idea that has worked in other fiction. In ‘Gundam: The Origin’, Char Aznable and Casval Deikun were two separate (and similar-looking) soldiers in the Zeon army, but Casval took Char’s name as his own early in the war after a failed coup.

I recall that one early fan rewrite actually used this twist to some effectiveness. I would like to see another version of the story which includes this idea.

Post
#1341733
Topic
Star Wars: The Complete Screenplay
Time

I actually started this around Christmas, but had more time with the quarantine to be able to finish it. What this is is a version of the screenplay for the original Star Wars, reordered and extended with elements of the third, fourth, and revised fourth drafts, as well as sequences from the novelization and radio drama (and my own imagination). What I think this represents is what Star Wars might have been if allowed to be every bit as epic as Lucas had first imagined it. It takes the structure of the final film (scene order and all), but the events are shown in far more detail. I’m pleased with how it turned out, and I hope you all enjoy it too.

You can find it here.

Hope you enjoy! And May the (Belated) Fourth be with You!

Post
#1339722
Topic
General Star Wars <strong>Random Thoughts</strong> Thread
Time

I don’t know if anyone else has made this observation, but I just realized it upon another viewing.

In ‘Solo’, when on Kessel, many people have caught on to the fact that the “Calrissian Chronicles” recordings that Lando is making are referencing the old Brian Daley Han Solo trilogy. That on its own is rather amusing, but I think there may be a deeper level to the joke.

Unless I’m mistaken, part of the concept behind the Legends rebranding is that they’re stories that exist AS stories within the universe. Combine that with the idea that Han Solo was a pop-culture hero in-universe and…

I’m reasonably certain there was a meta joke being made about the Daley Han Solo novels actually being stories of Lando that Han has gone and substituted his and Chewie’s names into.