Tobar

DominicCobb said:

No doubt for JJ and Rian and what not they’re more just like advisors

Which is what is relevant to the current discussion.

Jedit: as an addendum:

Kiri Hart Head of the Lucasfilm Story Group

It’s not about having control of it, I think it’s more about facilitating what storytellers want to do. And I think that our opportunity, that is really unique, is to create a lot of stories that connect to each other in unexpected and interesting ways. And there are a lot of really great creators who have come aboard to work with us and we’re all about facilitating the things that they want to do and the stories that they want to tell.

So I think I finally figured out the purpose of these. I’ve noticed this trend for a while now with my nieces and nephews, a lot of kids these days are given tablets and left to their own devices on Youtube. Youtube has a Kids setting that will play an endless number of videos from channels that are tagged as such. They’ve created a specific Star Wars Kids Youtube channel and created these short videos specifically to market to this generation of kids.

It’s actually pretty smart as the vast majority of the content out there now is pure garbage.

You guys put far too much weight into the Story Group. They’re mainly there as advisors. The two that do the most heavy lifting are Pablo and Leland and they just ensure that whatever a project’s director/writer is doing is consistent with the established lore. And there they’re fairly powerless. See: the Starkiller’s carnage being seen from Takodana and Holdo’s last stand. There is no grand road map, they’re just doing things project to project.

Man, Marvel is on a tear right now!

Marvel Studios’ Captain Marvel - Trailer 2

Marvel Studios’ Avengers - Official Trailer

So does anyone here play Star Trek Online?

Anakin Starkiller said:

And knowing JJ, there’s a very good chance that’s happening.

Are we talking about the same JJ?

I know he has a distaste for the PT BUT I can easily see him getting over it if he can use it to maximize the emotional manipulation of the audience. Which will be his primary goal for the end of the film/saga.

This is not the post you are looking for.

I would literally have to write off the entire ST if Hayden makes an appearance. And knowing JJ, there’s a very good chance that’s happening.

I don’t know if this controversial but I’m gonna put it out there:

TOS > DS9 > TNG > TAS > VOY > ENT

Saddest thing are the artists these days that use the blu-rays as color reference for their work.

Are Jodie Whittaker and the new ‘Doctor Who’ showrunner leaving already?

I decided to start another rewatch of Star Trek: The Next Generation and I’d forgotten that ILM did effects work on that series. Still holds up too.

oojason said:

‘ALL Doctor Who Title Sequences (UPDATED) | Doctor Who’…

https://www.youtube.com/watch?v=QNszKKAtEwU

Awesome!

Yeah, season 4 is such a slap in the face huh?

It’s why I don’t recommend the show and gave up on Bad Robot TV productions after this and LOST.

Here’s my original series review if you’re interested.

The way they’re doing the Discovery version of the Enterprise would have been tolerable.

What they did not only to the design of the Klingons but their culture as well in season 1 absolutely precludes it being part of the Prime Timeline.

And that’s ignoring the ridiculous Star Wars holograms throughout the series.

timdiggerm said:

They could never make Discovery if they were beholden to the aesthetic of the 60s, but some people don’t want a change in precedence.

And that’s why it shouldn’t have been set when it’s set. Nothing about it aside from who her adopted parents are necessitate it being set pre-TOS.

And if they really wanted her tied to Vulcan they could have made her Spock’s adopted daughter instead of sister.

OVERLORD (2018)

Intense, visceral, well paced. Best Bad Robot production since 10 Cloverfield Lane.

Handman said:

Hartnell has a lot of presence that Jodie just can’t match (and I don’t really think any who have followed him have).

You haven’t seen much of Troughton have you?

Dek Rollins said:

I’m sorry but Duck Soup is perfect.

This.

They’ve mined Underworld for a number of concepts already throughout the various projects Disney has overseen. However, if this report is true. I wouldn’t mind it never seeing the light of day.

ILM did just set up a television division. If anyone can figure it out, they can.

Hal 9000 said:

(I am not planning to remove Chewie walking past Leia at the end, since I kind of like this weird quirk, even if only for its probably accidental mirroring of Leia screwing over Chewie at the end of ANH.)

Oh well, looking forward to checking out the new changes!

I love that they’re avoiding the Jedi and the Force. The Galaxy is so much bigger than that.

The rousing spy thriller will explore tales filled with espionage and daring missions to restore hope to a galaxy in the grip of a ruthless Empire.

YES.

A surprise to be sure, but a welcome one.

Industrial Light & Magic expanding its offering of best-in-class visual effects and animation services to include the streaming and episodic television market with a new division: ILM TV. The division will be based out of ILM’s new 47,000 square foot London studio and supported by the company’s global locations in San Francisco, Vancouver and Singapore.

The ILM TV team will be lead by Visual Effects Supervisors Hayden Jones and Jonathan Privett alongside Executive Producers, Louise Hussey and Stefan Drury. Previously, the team set up and oversaw DNEG’s television division; winning a BAFTA for Special, Visual and Graphic Effects for their work on BLACK MIRROR.

ILM TV’s first projects will be Lucasfilm’s eagerly anticipated live action series based in the Star Wars universe, THE MANDALORIAN, being developed by Jon Favreau and Superman prequel series KRYPTON, now in its second season, based on DC characters from Warner Horizon Scripted Television for SYFY.

“It’s not often you get to create a new division at Industrial Light & Magic”, explained Rob Bredow, Executive Creative Director and Head of ILM, “We are seeing a real convergence in our creative approach used on films and in our immersive entertainment division ILMxLAB, and now we’re proud to be able to offer these ILM innovations in a way that’s suitable for streaming and television work to creatives around the world.”

ILM’s legacy in television dates back to the studio’s revolutionary and Emmy award-winning work for THE YOUNG INDIANA JONES CHRONICLES, which brought feature film quality effects to an episodic series for the first time.“We are extremely excited to be re-igniting ILM’s involvement in this market and to showcase the team’s expertise, unrivaled technology and production management globally.” adds VFX Supervisor Hayden Jones, “The television and streaming segments have grown exponentially in recent years and we are seeing substantial demand for high calibre visual effects that can be delivered on schedule and within budget, all of which lie at the core of our teams expertise and proven track record.”

ILM TV will offer producers and showrunners access to Industrial Light & Magic’s legendary VFX talent, infrastructure and technology combined with a fresh approach to visual effects, designed to suit the condensed production schedules and rapid turnaround times that episodic series and online streaming programs demand.

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