Okay here’s a weird one but seems doable with what’s currently available (though it might not pass the resolution test), has anyone thought about de-aging Padme in TPM? Using existing programs and blending reference stills of younger Natalie Portman and run them through ebsynth.
https://www.youtube.com/watch?v=mOhAJ18V4nA
This used to be a troublesome find, thank you!
Would need to look at the sequence again but I think there’s enough material to work with, Maul falling down the shaft could be done just by using the beginning of his fall before the split and cut to insert of Kenobi’s reaction then back again to a composite of the empty shaft. Re-timed this wouldn’t even need a score change everything moves fast already.
but as is it would mess with the pace and tension release too much
You mean provide a welcome break from the snail’s pace of the Tatooine section?
Maybe for everyone who is used to Star Wars that’s how Tatooine feels, as a kid I loved the mystery of the barren planet with the droids before meeting Luke. And yes if there was an exciting chase through a tight winding cavern in the beginning of the movie it would cause diminishing returns by the end of the movie, the sequence the entire story is building up to.
Maybe go from the Tantive IV section to Luke flying, then have that end with him flying home & have the T16 really small in the sky as you pan down to the escape pod with the droids walking away? Or move it later and have it pan down to the stormtroopers inspecting the crash site?
This is a fun idea, reminds me of the cut scene of Luke looking up at the action from the beginning.
In my personal opinion, 2001: A Space Odyssey is a very overrated movie. So many people say it is a masterpiece of a film. I personally think it’s just okay. The cinematography and especially the visual effects are very ahead of its time. But the movie has one big flaw. It is so slow. For some reason it doesn’t bother me when the LOTR movies have similar pacing though. Also, I think that the best Kubrick film is a tie between Eyes Wide Shut and A Clockwork Orange. They just feel more visually unique compared to 2001. The stories for both movies interest me more.
I think people often mistake 2001 for being slower than it really is, granted it’s still a long movie and a slow burn, you’re entitled to your opinion but I seriously suggest a second look, more is going on than at first glance.
There are existing clips from old episodes of Blue Peter or whatever where the kids DID question Luke’s piloting ability and brought it up in the context of a semi common topic of criticism at the time. I’ve brought up the idea of Luke going through beggar’s canyon in an old thread before, I think it’s something that shows up in one of the games as well. I agree with everyone else though it’s better to have the result at the end, if Star Wars were a mini series or even just a longer movie maybe it would make sense, but as is it would mess with the pace and tension release too much, plus you don’t want to tip the hint too hard and make it overly traditional, makes the movie too predictable and feels like going through the motions, especially when you pair the beginning action with the end.
I think it’s highlighting a bad example (my fault) when the bigger point is that whether you can draw connections or not it doesn’t make the result strong, the intention can all be there and it still fall flat. Stories are more than math, if there’s not an emotional connection with the audience it doesn’t come together. Think about Back to the Future, analyze too deeply and the logic doesn’t hold up but it’s forgiven for the result, it works on an emotional level and we feel with the characters. Most people aren’t playing a points game with the movies, it’s not a score sheet, it’s a taste test.
Everyone’s right, it’s really not a discussion over what technically does or doesn’t qualify as a “plot hole”, more-so plain lazy writing. It’s flimsy and unsatisfying, just because it’s not fundamentally broken at the level of its premise does not mean it wasn’t a rushed fumble. Throwing around the concept of inference doesn’t change anything, when people criticize Anakin’s line “I don’t like sand” they aren’t complaining that it doesn’t connect, it does, it’s still poorly written and executed.
Except inferences are there to clog up plot holes so the story would make sense. Why do you think J.J. had Kylo Ren be injured in TFA?
And “I don’t like sand” DOES make sense. He’s using it as a comparison to describe how nice and beautiful Naboo and Padmé are.
Secondly, Anakin grew up with an organization that kept telling him to repress his feelings and attachments, so of course “I don’t like sand” was gonna sound so awkward and lifeless. It reinforces how awful the old Jedi Order is.
You didn’t read what I said at all. My point was that technical connections don’t absolve poor execution. You can cook a chicken without burning it and still make a bland meal.
Everyone’s right, it’s really not a discussion over what technically does or doesn’t qualify as a “plot hole”, more-so plain lazy writing. It’s flimsy and unsatisfying, just because it’s not fundamentally broken at the level of its premise does not mean it wasn’t a rushed fumble. Throwing around the concept of inference doesn’t change anything, when people criticize Anakin’s line “I don’t like sand” they aren’t complaining that it doesn’t connect, it does, it’s still poorly written and executed.
Sounds way less like inference and more like headcanon.
Either way, if he was manipulating her here, why not go with the Palpatine manipulation right off the bat? Pull the same stuff he says in TRoS instead of waiting a year?
Kylo didn’t know by then, Palpatine told him on Exegol. If anything the question becomes why did Palpatine do the waiting.
romantic comedies (…) ‘20s
THEY HATE CHAPLIN, GET 'EM!
There’s enough evidence for me that it was intentional, Lucas is fascinated by the fall of Rome and what happens to societies preceding their collapse.
There’s some quote by Lucas comparing the fall of the Republic to the fall of the Roman Republic (comparing Palpatine to Caesar), and he comments that dictators don’t come to power at the head of a conquering army, but by turning institutions in on themselves.
So this guy’s fascinated enough by the fall of the Roman Republic to base a trilogy off of it, but not enough to know that Caesar actually did come at the head of a conquering army? The Senate gave him dictatorial powers after he conquered Rome, and it was an attempt to limit his power, not to give him power.
Palpatine also seized power through a coup via order 66, and with an army he created. I’m not sure I see the contradiction.
The quote you refer to also still points in the direction of Lucas’ intentions.
There’s enough evidence for me that it was intentional, Lucas is fascinated by the fall of Rome and what happens to societies preceding their collapse. The prequels might not have communicated this idea clearly and it doesn’t mean everything was planned out, but the PT is in part about the dissolution of democracy and the fall of the Republic due to institutional failings from all sides that allowed it to happen.
Even in TPM the council was flawed, that’s why Qui Gon representing the wise old sage isn’t a member of the council and defies their wishes to do what he feels he must, typically out of compassion rather than self interest. Dooku fully defected from the Jedi but formerly trained Qui Gon, one deleted scene even goes as far to compare the two as respected intellectuals who went against the grain. Dooku became corrupted and was on the wrong side of the war, but shared similar ideals and both in fact did perceive a larger view of the force.
Palpatine in ROTS calls the Jedi dogmatic and narrow minded, then twists this idea to further confuse and exploit Anakin before convincing him and the public that the Jedi Order are corrupt, tyrannical and traitors to the Republic. That’s his entire manipulation game, secretly inciting incidents that would create the conditions to a more divisive political climate, then sowing seeds of doubt until any faith in the whole system is in question.
I don’t think it’s just typical bad guy talk either, maybe for us as the audience because the movies already let
us in on who the true good guys are. At the same time we point out where the Jedi Order were flawed we still understand they aren’t the problem, but if you were living in that society without the awareness you were being misled, maybe you would take the bait further and become a separatist like Dooku.
Spielberg is so consistently good I’d believe just about any film from his filmography could make this thread. Well, maybe not 1941…
I think Spielberg was right when he said his mistake with 1941 was not making it a musical.
Favorite is probably Last Crusade just for how goofy it is, I don’t think it’s his best or even the best Indy but the sheer joy I get from it tops the rest, it’s a cozy go-to.
E.T. was the first movie that made me cry in a theater, we were all boys the perfect age. I remember a lot of bad mouthing in the car by other kids in the group who wanted to see a different movie instead, on the way back the car was mostly dead quiet, riding the high.
War of the Worlds is underrated, some seriously tense sequences Speilberg always has tension and paranormal horror in his back pocket.
I’m also just here to say if you watch BFG with an open mind it’s a cute kids film that is very visually fun, Mark Rylance is a great actor.
I think some noise can come back in and I’d be careful the colors aren’t too saturated. Overall looks fantastic, one of my favorite documentaries I didn’t even realize it wasn’t available in HD, it’s an important one to preserve!
Who’s been saying Palpatine’s return should have been set up in TLJ? I thought consensus was just that his reveal in TROS was poorly executed, rushed but only for the movie not the trilogy.
Twin Peaks: The Return
Best I can sum up for myself is that he just isn’t very compelling as a character. I don’t find Snoke confusing or a plot hole, he’s just very cookie cutter with little to weak motivation. I think when people are clamoring for some backstory it’s motivation they’re really after, particularly I felt like TLJ went overboard making his character a mustache twirler for the sake of it when he didn’t have to be. He can still be a power obsessed Sith, pure evil without compromise, but especially since we’ve already been there before I find it really sticks out how one dimensional he appears. He’s like a substitute, the first order by itself has more nuance.
If Snoke had been more aware of the dyad and was seeking it out as means to another end I would have felt at least he had specific goals beyond filling the Emperor’s shoes. Actually the fact that he is one of many puppet clones in a throwaway explanation at the beginning of TROS is the most interesting detail about him, pretty much by default. I didn’t need exposition to clear things up, I needed something to hook into to make me care.
No, Palpatine did not need to be brought back. Returning the Big Bad just to knock him down again is the easy answer to the difficult question of how to bring peace to a galaxy fractured by war. It implies that the only thing truly wrong with the attempts at peace was one dude who was always behind everything and if he were to die everything would be all unicorns and rainbows.
In the end, it isn’t individual people who are a threat to peace, not really. It is much more the systems that subvert democracy and the twisted incentives prioritizing armed conflict over negotiation. TLJ was on the right track with this necessary argument, despite how poorly it was implemented. Palpatine’s return, along with his magic fleet, throws this necessary perspective in the garbage.
I don’t want to prolong a debate at its end but after reading what everyone had to say for 5 pages this is the comment that resonates with me most. I really hoped the ST would at least try to tackle this concept. Lucas himself was intrigued by the idea and I think it really expands the lore from all sides where each generation faces a unique environment, giving a fairly full and rounded summary of the stages of war and peace. Though much like the reality it isn’t so easy to figure out vs destroying a boogeyman, which isn’t an invitation to have no big bads or anything, just not zombie hitler.
I would love a link to the full file, been going back and watching parts these past few days and it really is the most comprehensive collection of behind the scenes and interviews. Goes in depth on almost every fine detail of production. Fantastic work I commend you for all the effort put in I really don’t think there exists a better compilation than this.
I think you’ll just have to decide for yourself what scenes are really worth it, a reason I would give to cut out subplots completely rather than trim like Ben’s civil war antics for example is that by having less it ends up feeling more jarring and pointless to see it abridged. I think there’s room for little moments but they shouldn’t be so over the top while also being too short or it will just feel confusing why it was brought up in the first place only to be resolved by the next scene.
Still need to see this edit before I give proper feedback but I agree with LeperMessiah that some stuff really can just be cut, I might need to check again but I don’t think James and Donna really come back for anything post Evelyn subplot, Donna is in Miss Twin Peaks but she also never left town except to talk to Evelyn in the same subplot, so truthfully I would cut it off when James leaves town and that’s it. I think same can go for Ben’s civil war mental break, he’s already been beaten and morally defeated so I don’t see a problem going from him in shambles reminiscing about his childhood to eating a carrot trying to reform his ways, cleaner just to avoid entirely.
On things that should be reduced but still kept in small doses either for continuity or character development, the whole travel critic thing and Norma having a bad relationship with her mother is so typical sitcom and pointless except that we need Ernie introduced. More obvious trims for Nadine and little Nicky, though I would keep some of the humor when it works.
Another I might be going out on a limb with is Windom Earle, haven’t seen his stuff mentioned but it’s a huge part of what makes season 2 abysmal for me personally. Giving Cooper this Joker-esque mad genius ex partner was really a mistake that only diminishes Cooper’s character to a comic book hero going after villain of the week. That stuff plays in so much it can only be tilted so it’s less on the nose, but if it can be helped I’d like only the best of Windom, no horse suit kidnapping Major Briggs, less with the stupid flute and dead random extras we’ve never met encased in paper mache chess pieces, the show should really be above those sorts of things.
Can’t wait to watch the edit!
It’s weird how TLJ kept toying with the idea of Kylo being redeemed, only to arrive at the same conclusion that TFA did. Kylo was offered every chance at redemption. Vader at least had the excuse that he was under Palpatine’s thumb, and that he thought he had lost everything and had nothing to live for beyond vengeance and serving the Emperor. By the end of TLJ, Kylo was very much his own man driven by his own agency. Despite the movie’s teasing the idea of redemption and romance, TLJ’s ending seemed to go out of its way to close the door on him ever turning good, and put Kylo into a scenario where he simply didn’t want to turn away from his path. He freely chose damnation rather than being tricked or forced into it, making him have much more in common with Palpatine than with Vader.
I thought his arc was poorly executed, and that he wasn’t a strong enough, intimidating enough villain to carry the role by himself for a whole film, but I appreciate the concept they were going for.
This is why I really can’t feel satisfied watching TLJ standalone as a coda to the OT as some suggest, it still leaves me the viewer to make up my own ideas of what happens afterward the same I would with only TFA. In addition, with no added context from the previous film I now really am placed in the middle, but not in the good ‘in medias res’ way, more the confusing ‘caught it in the middle on tv’ way with fresh new characters who haven’t really been properly established, major elements of at least Rey and Finn’s characters come from TFA, you need the context to have the arc. Cherry on top Kylo’s fate and backstory remain ambiguous and overall the cycle repeating with no resolve paints what happens after ROTJ into a very cynical corner, now we’re again back to imperials/rebels status quo except Han is gone and I can’t connect with the new cast because I have no idea where they’re coming from, a hybrid edit of both would be much more coherent, though I appreciate the idea in theory.
Absolutely stunning, so happy to hear from you again, emanswfan. That last screenshot is really exciting, can’t wait to see the full impact when it comes to episode II with the full film emulation.