Insert this scene into ROTS.
I genuinely laughed out loud at the first clip. Seconding everyone’s suggestions though, it’s good to have options to work with when possible.
I’m taking a short break from working on this, probably for about another week. I’ve got very limited time for hobbies right now and there’s a couple of other things I want to pursue in the short term; I’ll be right back onto this project afterwards, though. I’m really enjoying working on it.
Cap, that poster idea sounds really cool!
Thanks! Like I said, I think the idea came from RogueLeader. I agree with the comments about Crait Luke in the pose, and maybe some Aurabesh text. I’ll put something together when I can; I’m a bit busy with Real Life Stuff at the moment, but I should be able to sketch something in the next few days. Then we can revise it if necessary before I do any inks or colours.
And I’m not sure about a First Order announcement; I’d much rather put the emphasis on the Kijimi citizens rising up against their oppressors, than on the First Order doing more oppressing. Otherwise the theme of hope and rebellion will become lost.
Someone (I think RogueLeader?) suggested an image of Luke standing in the pose of the original movie poster. Are we all happy to go with that? I personally think it’s a fun idea that works in context, and I can visualise it a few different ways.
I’m down to draw some graffiti designs. I used to be a cartoonist for a living.
Yes there were ^^
this page documents all the changes from theatrical to bluray. https://photos.google.com/share/AF1QipMh7UH0DbCPGxQyEOdmfmYiFnh3lgoBNNLCPnHTQnvyCtXQnScSo8L_vR3x6A9y_Q?key=aDFfLXE3clp4SldVcndkalc3UjJ4UlU2ZUlDb0JB
This is fascinating to scroll through. I’ve seen the Despecialised Edition more times than I could count and I never consciously noticed the mountain.
I’d never heard about mountains being removed from that shot, and a quick google didn’t turn anything up - were there originally mountains in it that they removed?
That’s frankly amazing work!
Swap R2D2 and C-3PO’s audio, so 3PO is the sassy one who talks in beeps and whistles, and R2 is the cowardly worrywart.
Jar Jar Bricks said:
Yes, but at some point you have to consider whether it’s worth removing parts of the film in order to accommodate for something that only some people take issue with.
On the other hand, Jar Jar, flip that around. A lot of people think the dagger plotline is stupid. Is it worth including all of that nonsense, just for the sake of one joke that only some people care about? If we have to cut a single joke in order for the story to actually make sense, I personally think that it’s worth it.
So it seems like the consensus is to use V2, but keep the “Heads up” line, and trim the gap before Rey starts talking?
I personally think the gap before Rey speaks should stay as it is, not trimmed. It lets the tension hang in the air a little more, and prevents the scene feeling rushed. The timing of the dialogue just feels more natural to me with it there.
If there’s a consensus in favour of cutting it, though, it’s not a hill I’d die on.
Thank you! The first one is always going to be my favourite, I think.
They do feel like they were designed to be read aloud, don’t they? Probably a result of being told orally and written down. I’ve read them out to my wife, too.
I vote for v1. If anyone can find Naomi Ackie saying “alright”/“fine”/etc then it would be even better, but as it is now, I think it’s great.
I think V3 cuts between shots oddly rapidly and it feels noticeable (not your fault; your editing is excellent, it’s just the very tiny amount coverage you’ve got to work with).
Have you tried putting C-3PO’s line after Rey’s?
Jannah: Are you Resistance?
Poe: That depends.
Rey: We have to get to that wreck. There’s something inside we need.
C-3PO: Don’t you know an ally when you see one?
Jannah: I can take you there by water.
Breaking news: we now have Junior’s versions of ESB and ROTJ. I’ll type them up as soon as I can.
Redub Anakin with a Tommy Wassu soundalike
(Obi-Wan walks out of Padme’s ship)
“Everyone betray me! I’m fed up with this world!”
I agree, “Don’t you know an ally when you see one” works best of all of these and works really well. Is there a way to extend Jannah’s thinking time between 3PO talking and her making her mind up to help them? Even just a single extra beat there would honestly make this perfect in my opinion.
I’d absolutely record some dialogue like that!
I think “You needn’t worry, I am a highly trained resistance spy” works really well for the hangar scene, but if we wanted to use it here (which also works), it would be even better if we could get the word “apparently” in there, like
“You needn’t worry, I am a highly trained resistance spy, apparently.”
“You needn’t worry, I am apparently a highly trained resistance spy.”
It would depend on the intonations etc if we could even find it somewhere (it feels like the kind of word he’d use somewhere, maybe in TCW).
Also: if we can agree on at least a preliminary “translation” speech, I can have another crack at recording it. But also, when we’ve finally settled on something for good, I’m friends with a voice actor who does a lot of villain roles, and I reckon he’d think it was fun to have an anonymous go at it too if I asked.
Hal 9000 said:
That’s not bad, Cap’n. It seems maybe a little redundant to have Wayfinder and “find… way.” Also, just to be clear, I worded a few things to try to set up Kylo’s ‘gotcha’ when he grabs the Wayfinder on the DSII.
I don’t mind the redundancy personally; again, the audience only hears this once, so repetition is good in that sense. But if that line is even a tiny bit distracting, then it should definitely change for the same reason.
Can you elaborate on setting up the gotcha moment?
And that clip works well, Sherlock! Because it’s so tight, a hilarious 3PO line might actually drown out the rest of the scene. “Is everyday like this for you people” might work best.
If we end up with a clean(ed) line about being a “highly trained resistance spy,” maybe it could replace the lines when he’s chatting with a stormtrooper on the star destroyer.
I agree strongly with both of these ideas.
Here’s what I’ve got, running with Hal’s ideas.
Since the audience only gets to hear this once, I’ve tried to keep it as simple and easy to follow as possible, and focus solely on hammering home the absolute core message that needs to be taken away: the Dagger leads you to the Wayfinder, but only if you let the Dark Side in.
This dagger whispers to a darkened heart,
Towards the Wayfinder you will be led.
Surrender to Darkness to find the way,
When you embrace it, only this blade tells.
All four lines say the same information, but it goes by so quickly and we absolutely need the audience to remember the key message, so I don’t think it’s a worry.
Also, I’m never going to stop being tickled by how “only this blade tells” fits perfectly into iambic pentameter, what were the odds.
Trying out a few different things here. Thoughts?
I think what would really sell it is if we could find some instance of Naomi Ackie saying “Fine.” I also reversed the clip of Horse Man, so that he looks over towards Jannah before she makes her verdict. I think it would be perfect if he looks over when she says “Fine. I can take you there by water.”
This is really good so far! I agree it would be great if she said “Fine.” at the start of her line; surely Naomi Ackie has said that somewhere in her filmography.
I do feel like it needs a C-3PO “ice breaker” though. But I’m not sure what. His movements in that shot look like he’s meant to be talking, too (that’s not your fault though, obviously).
I think if we’re not going to go with a poem, we should make it as easy to follow as possible. The audience is only going to hear this once, and there’s a rule of thumb in film that you need to repeat something three times for the audience to retain it automatically.
I agree that keeping iambic pentameter would be good even if it doesn’t rhyme; again, that was a technique Shakespeare used for his characters from the nobility. I’ve got some ideas of my own, I’ll mess around with something tonight and see how it goes.
The first of the two could also work given the last time we see the Master Codebreaker (or in this case the “”“Master Codebreaker”“”?) he seems to kind of just be an ordinary asshole.
Yeah, when I first saw the movie in cinemas, I assumed he was misdirection for that exact reason, and this dude in the cell with them was going to turn out to be who Maz was talking about the whole time.
Was the frame shot wider for Imax, or did they just crop the anamorphic 2.39:1? In that case, if you’re just after the aesthetic, you could potentially just take the 4k releases and crop them to 4:3 aspect ratio.
Has anyone tried to imply DJ was always the Master Codebreaker Maz was sending them after in TLJ?
My reasoning: we’re told there’s only one man with that set of skills, which is why they have to go to this one specific place which was highly inconvenient for them… then they happen to find a second man with the exact same set of skills by absolutely coincidence in a place they randomly end up in nearby. It just strains credulity past breaking point for me.
My two ideas of how to achieve it:
Somehow add a red plomme bloom to DJ’s introduction in the prison cell. Maybe he uses it to pick the lock instead of the hairclip thing he uses. Then, you can dub in Finn and Rose yelling “The Master Codebreaker!” to each other when he leaves the cell (their faces are luckily obscured in the wide shot where they turn and speak excitedly to each other).
Pros: you retain everyone saying the phrase “red plomme bloom,” which I find funny and endearingly Star-Wars-y, especially when Finn and Rose declare it with such gusto. It’s a less intrusive change to the rest of the movie.
Cons: would require at least one VFX shot from one of the visual wizards here to add the plomme bloom brooch in place of the hairclip/key/thing.
Remove reference to the red plomme bloom, the Master Codebreaker is just someone they have to find on Canto Bight.
Pros: relatively simple to implement.
Cons: you lose the “red plomme bloom” references, and requires cutting the movie more intrusively. You’d also have to find a way for them to declare that DJ is the Master Codebreaker to each other when he breaks out of the cell.