sherlockpotter

DominicCobb said:

This is a rough version I did: https://vimeo.com/414948227

That flows really well!

If I may ask, what’s the current trajectory of Rey Nobody looking like? Is Rey still going to be the one who murdered her parents? And speaking of, what’s their deal anyway? I’ve heard some discussion of “Were they good people?” “Were they still kinda lame and scummy?” I’m not really sure what the current look of the project is though.

I don’t know how possible it would be to aim for Rey’s parents to be lame and scummy, but I definitely think it would be stronger from a character perspective, not to mention being more in line with The Last Jedi. (The fewer ret-cons the better, I say.) If Rey is going to have murdered her parents, then you’d want to make it plausible that she’d fall to the Dark Side again. If her parents were good, Rey either killed them accidentally, or out of a misunderstanding. But! If they actually did sell her off, and Rey’s screaming into the desert after them…little Rey, so full of anger and bitterness…reaches out, and kills them.

If it was an accident, well, okay. She’s grown up now, she’s more mature, she can control her powers; it won’t happen again. If that innate darkness is fueled by a primal, justifiable cause though? Man, oh man, she could snap at any time. Maybe she will finally turn…

Your edit is almost there too - just trim the line about “Palpatine had your parents killed” and the flashback with them in it, and all of the dialogue works perfectly. Besides, that makes a stronger story thematically too - Palpatine isn’t some lame boogeyman who’s been plaguing Rey since childhood; he’s more so here to act as a metaphor for her own internal darkness, and he’s only interested in her because he can sense her darkness now that it’s manifested.

LesPaul32 said:

Also, if I could add my own input regarding any additional line alterations: the line that still lands with a painful thud for me is the “They sold you, to protect you” moment.

To be clear, I have no major issue with the film portraying Rey’s parents as being vaguely noble in their intentions… despite how crowbarred into the story it can feel at times. I just find the notion of selling your kid into endless slavery as a means of protection to be a really problematic concept to take seriously, especially when it’s so quickly brushed over with just a single line and a rushed flashback.

To me, this line attempts to sloppily reaffirm TROS’s newly proposed concept that Rey’s parents were completely innocent and did everything they possibly could for her, while still trying to somewhat gel with the retroactively jarring Simon Pegg slave trade moment in the TFA forceback.

I feel that in trying to achieve both goals at once, the film ends up severely missing the mark on each. My proposed fix for this is to trim the line to a simple “They sold you” with Rey promptly cutting Kylo off with “Stop talking!”

This change would instead make Kylo’s part of dialogue exist as more of a crushing taunt to Rey. It highlights the pain of her abandonment, a decision made by her parents which inadvertently went on to define her entire adult life (and character arc), a topic to which she’s more than understandably sensitive to. The actual payoff of this sequence (her parent’s intended nobility in selling her) would then have better punch, in that their “noble” intentions would now be revealed in the later flashback, instead of being deflated and spoiled in Kylo’s already redundant expositional line.

This change could also very mildly gel better with TLJ’s “drinking money” reveal, in that her parent’s intentions now have just a few clicks more ambiguity without such a concrete explanation given, leaving room for why supposedly “good” parents may have handed Rey over to Unkar Plutt, of all people.

Perhaps they were indeed good people forced into a tough situation, but did they truly do everything they possibly could to save their daughter from a miserable life? For me, having this question remain even vaguely open gives Rey’s arc in TROS so much more dramatic complexity, instead of just having her parents be flat out good people with no shades of grey at all.

Would it be feasible to trim the line like this without it disrupting anything else, or being too jarring? Less jarring than the line already is, I mean!

I don’t disagree with your points, but personally, I don’t think it matters so much with the Rey Palpatine version. We’re already committing a massive ret-con by making her heritage important; to me, making her parents good people is just kinda icing on that cake, rather than a new problem unto itself.

To put it another way, I’m just cutting my losses on the “Rey parents” stuff, which is why I’m holding out for Rey Nobody. But I definitely agree that her parents shouldn’t be good people in that version. Feel free to voice your thoughts on the matter on the Rey Nobody thread.

(… sorry for the essay. Oops! I guess I dislike the implications of the original line even more than I initially thought… lol)

I’ve written a few essays myself! I don’t think any of us would be contributing towards a fan edit if we weren’t passionate about Star Wars. As long as it’s respectful, I don’t think there’s an issue.

Shaddy Zaphod really hit the nail on the head, I think: “it’s becoming more and more impressive to me just how knotted-up the problems with this movie’s writing are…man this is a real fixer upper of a film.”

I like the thought, and I like the line. Would it feel too artificial though, given how far away he decided to stand from her in that moment? He’d realistically have to shout it. Maybe we could add a little reverb, to show that he’s now communicating to her in her head through the Force, rather than in person as a ghost?

Well, I guess the community has spoken. Ah well.

Were there any more lines up for consideration other than “Family’s saber” and “birth of her son”? We’d still need to find usable sources to make those line changes work, or else come up with different alternatives entirely.

BrotherOfSasquatch said:

Sherlock, you’re an absolute madman. lmao.

Personally speaking, I’m a fan of Option 4 with a little bit of Option 2 thrown in (I LOVE the interrupting Rey idea). However, like Hal, I still think the “It was fear that kept me here” line should still be in it. I’m about as much of a TLJ fanboy as you can ever find (having had MANY heated arguments with my anti-TLJ friends about it). With that said, I’ve never really had a problem with that line and I don’t think it really goes against anything Johnson was doing in his film. Also, I understand what you’re going for with the pause. But as it stands in each clip you posted, it just seems kind of awkward. I think it would just be best to keep the line intact where it’s at.

Another criticism I have is that the “Lesson Three” line in the fourth clip sounds a bit wonky to me. Oddly enough, I didn’t notice it sounding so weird in the third clip. But it’s definitely noticeable in that last one.

Lol I appreciate the feedback! That’s strange that Version 4 sounds iffier than Version 3, considering that it’s the same track, but now masked with music. Perhaps because it’s somewhat softer than the following “Confronting fear…” line, so the insertion is more noticeable? I could do a little more work mixing that in.

The gap could definitely be closed more on the line removal. I think my main issue with it is that Rian has talked a lot about how he didn’t want Luke to be hiding on the island out of fear; and after how much hate he already got from the fandom for “disrespecting Luke Skywalker”…I dunno, it feels like we’re not giving Rian the credit he deserves by undoing that.

For me, it’s another one of those things in TROS that just feels disrespectful towards TLJ, you know? Personally, I found that meta-feeling throughout the film as aggravating as the plot contrivances. But of course, if I’m outvoted on this, I’m outvoted. Fair’s fair. ☺️

Alrighty, I’ve done up four different versions of this exchange, because why not, right? That’s normal and healthy behavior. All of them remove Luke’s one line of “It was fear that kept me here.” Honestly, seeing it in practice, I like it even more this way - not only does it avoid (arguably) ignoring Luke’s feelings of guilt in the previous movie, not to mention undoing one of Rian Johnson’s fundamental goals when writing Ep. VIII - but it allows Luke’s declaration of “I was wrong” to hang in the air. The added space gives Rey (our protagonist) a moment of genuine self-reflection, one that is no longer interrupted by Luke’s prattling.

Version 1 - The Basic Trim: https://streamable.com/3qr20n
This version cuts out Luke’s one line, and then tightens the space around it a little to avoid excessive dead space.

Version 2 - The Early Cutoff: https://streamable.com/wqo8f2
Luke interrupts Rey’s explanation, deciding not to entertain her flawed justifications. This version also plays with a slightly redone version of Luke’s “I was wrong” line, where I repitched it a little and made the word “wrong” a bit louder, to make Luke sound more forceful. (It’s less, "Oh yeah, I was wrong about that. Sorry. ¯\_(ツ)_/¯ " and more “You moron, don’t you remember that I was wrong? You’re the one who told me that in the first place!”)

Version 3 - The Early Lesson Three: https://streamable.com/muk1wo
Luke frames their entire conversion around his long-promised Third Lesson to Rey - finding her courage, and embracing her title as a Jedi. For this version, I decided to reverse the shot of Rey between “I was wrong” and “What are you most afraid of” - Now she looks up at Luke when he mentions “Lesson Three.”

Version 4 - The Later Lesson Three: https://streamable.com/4742xw
Luke talks about fear and courage, and then imparts one final wisdom to her as his Third Lesson.

Both Versions 3 and 4 feature a slightly retouched version of Jar Jar’s “Lesson Three” cleanup, which was based on JXEditor’s design. I’ve run the “three” through a compressor to balance out the audio levels a little bit more, and I condensed/overlapped the gap between the words slightly to try and make it flow better. I also performed some noise reduction on the word “Lesson,” because there was some slight music in the background that I was noticing with the absence of music in Early Lesson version. We can play with that though.

These can also be mixed and matched depending on how people feel about them. Maybe you like the early cutoff in Version 2, but you also want to incorporate “Lesson Three” somewhere? Or you like the idea of the Early Cutoff, but you’d prefer it more with the original “I was wrong” audio track? Maybe you hate it all!

I’m curious what everyone thinks!

Neerb said:

I think “It was fear that kept me here” is better where it is than replacing it with “lesson three.” Fear did keep Luke there, after all. Fear that the Jedi have done more damage than good and need to die out (at the height of their power the Jedi created Darth Vader), fear of facing those he had failed (admitted as shame in the Ben flashbacks), fear of his own creations (it didn’t scare him enough then, it does now). His belief that his self-exile is a penance and a self-sacrifice for the greater good means it’s not exactly “cowardice,” but it all still comes from a dark place of fear, from a certain point of view.

Luke’s main thing though - why he isolated himself, why he cut himself off from the Force, why he wanted the Jedi to die, why he wouldn’t face Ben again - was shame. Luke says that very explicitly.

“It passed like a fleeting shadow, and I was left with shame. And the last thing I saw, was the eyes of a scared, young boy whose master had failed him.

But also, Rian Johnson took a lot of care and effort and attention when writing TLJ to make sure Luke wasn’t being a coward: https://comicbook.com/starwars/news/star-wars-the-last-jedi-luke-skywalker-coward/

Even if we can sit comfortably with the retcon, it still feels very much disingenuous to the character. And, if I’m being honest, pretty insulting to Rian, who worked very hard to honor a legend both in-universe, and out of it.

All of it for one sentence that’s ultimately throwaway…

I definitely want to keep Rey’s lessons on fear; I just think we can do that without dishonoring both Luke and Rian. We don’t even need “Lesson three” to do it; I just think it would be a nice touch.

EDIT: I’ll post some mockups later tonight, to show how it would work.

EDIT 2: Congrats, boys and girls, we’ve hit 400 pages! Dear god, that’s insane…

The original thought was for it to replace “It was fear that kept me here,” to avoid retconning Luke’s arc in the last film. So it would go:

“I was was wrong (to stay here.) [pause] Lesson three: What are you most afraid of?”

So, it’s like the title “Lesson three” opens the entire topic of “facing your fears,” rather than just buttoning up the final moral of the lecture.

The clip is sounding really good, Jar Jar! There’s just a slight pitch thing that I wonder if we could clean up a little more. Could you possibly share the .wav?

And Cinefy, I honestly can’t tell if that’s new content, or from the original film. Looks fantastic!

Ooh, Nev, that new establishing shot looks fantastic! And BrotherOfSasquatch, great idea to work it in!

Yeah, Jar Jar, I’m insanely curious to know where JXEditor sourced those dialogue clips. If he gets back to you, please let me know as well!

jarbear said:

It would be a, not sure what to call it, but a way to “connect” to TLJ making a connection about ‘the’ third lesson.

Of course the lessons back in TLJ was to disuade Rey from training as a Jedi, or “prove” the Jedi were wrong, but it would be a fun “twist” he plays on the lack of the third lesson (since Rey left) from the last movie and “converts it” to an actual “Jedi good/right” lesson.

Kinda would be a fun play on the whole lessons thing from the last movie.

Yeah, branching off of what Jar Jar said, if this became Luke’s “third lesson,” not only would it help to push Rey’s arc forward in this movie, but it would also act as a sort of epilogue to Luke’s arc in the last. He’s finally embraced the true meaning of being a Jedi. We’re not trying to stop the film from discussing fear, Hal - the lines about confronting fear are meaningful - we’re trying to find a way to make it more homogeneous with Luke’s story in TLJ. Luke was bitter in the last film; he should be a more positive force now, and not be dwelling on his old mistakes.

And the term you’re looking for, jarbear, is “through line”!

EDIT: Which deleted scene is it that Luke gave his Third Lesson?

BrotherOfSasquatch said:

sherlockpotter said:

“I’m never leaving this place. I’m doing what you di-”
“I was wrong. [beat] What are you most afraid of?”

You know… throw in a “Lesson Three” from that one TLJ deleted scene right before that beat and we might have something cooking there… 😉

Why don’t I remember that line? But honestly…

“I’m never leaving this place. I’m doing what you di-”
“I was wrong. [beat] Lesson Three [Rey looks up] What are you most afraid of?”

That would be really good. Ties up a loose end from TLJ too, and creates a bonus through line between the two films.

The thing about “It didn’t scare me enough then. It does now”…that wasn’t why Luke went to Ahch-To. That was him underestimating how deeply Ben would descend into the Dark Side. But he didn’t have an existential crisis because he was scared of some punk kid with daddy issues; he had an existential crisis because of what he almost did to the punk kid (with daddy issues). “It passed like a fleeting shadow. And I was left with shame… and with consequence. And the last thing I saw… were the eyes of a frightened boy whose master had failed him.”

Of course, we could just be overthinking this line in TROS. Rather than try to ret-con yet another thing from TLJ, or do a dialogue reconstruction (which I know you’re understandably iffy about, Hal), we could simply cut the scene like this:

Rey: I’m never leaving this place. I’m doing what you did.
Luke: I was wrong…what are you most afraid of?

He acknowledges his past mistake, and then immediately gets to work trying to help Rey. It might also be helpful to trim/overlap the space between their lines, as if Luke doesn’t want to hear her petty excuses, and wants her to start being honest with him about what she’s doing here.

“I’m never leaving this place. I’m doing what you di-”
“I was wrong. [beat] What are you most afraid of?”

As for the purple sunrise, trust me, I have no intention of taking over Nev’s incredible work. It’s just an idea I had, and I wanted to put together a quick example of how it might look. So just as a general question, do people like the idea of a purple-tinged sunrise? Or do we think the current yellowy version is better?

Sorry to spam, but one more thing: I was messing with the Ahch-To coloring a bit more. Based on Nev’s 3.1 grade, I’ve:

• Tried to brighten the color tone of the fires a bit.
• Added an orange mask around the fire pit in the wide shot
• Played around with the sunrise tint a bit more, trying to get it to go from blues to purples to oranges, but being a bit lighter of hand in my colorizing. (Definitely rough right now in a few shots.)

Ultimately I defer to Nev’s expertise; I’m just tossing out different options.

https://streamable.com/ez8be0

So, Hal makes an excellent point that Rey’s arc isn’t about shame, but Luke’s in TLJ was. Why the filmmakers are trying to shmoosh together two different themes as if they’re identical is beyond me. Could we maybe rework the dialogue from:

“I was wrong. It was fear that kept me here. What are you afraid of?”

To:

“It was shame that kept me here. But you…you’re afraid. What are you afraid of?”

We could avoid ret-conning Luke into a coward in the last movie (something Rian deliberately tried to avoid), and we also highlight how Rey is being a dumb-dumb for coming here.

I also did some digging into those other proposed line changes: “I will earn your family’s saber,” and “Leia sensed the birth of her son”; but I couldn’t find any viable clips. Rey only says “family” the one time I believe - to BB-8 in TFA, and her vocal quality there doesn’t match the TROS line at all. And I can’t find Luke saying “birth” anywhere in the trilogy.

Unless someone can think of an alternate source for those words, or a different solution to the lines, we may have to pass on those.

sade1212 said:

• I do like TestingOutTheTest’s interpretation of Rey’s arc, but I don’t think her giving the lightsaber to Leia (and then getting it back a few minutes later) actually does anything for it. It feels totally half-baked, like an idea JJ and Terrio had but then forgot to expand on and just left in anyway. I also prefer the implication that Rey has been struggling with her training and ‘making excuses’ about it for a while, whereas leaving it in sort of makes it seem like this is the first time.

Agreed! MR actually came up with a clever solution if anyone wants to check it out: https://www.youtube.com/watch?v=878FfeIm7D8&t=607s

• I don’t think the Bestoon Legacy is Rey’s parents ship. The TFA flashback (and its reuse in TROS) do seem to imply that she watched them leave in it, but the name ‘Bestoon Legacy’ (Ochi of Bestoon) and D-O being onboard and all suggest to me it was Ochi’s ship. Plus, he must’ve gotten to Jakku somehow. I think in ret(con)rospect, we have to assume the Jakku part of the TFA flashback is a mixture of vision and flashback, and that little Rey never actually, literally watched that ship fly off while Unkar took her away. I’d assume that at some unspecified point after her parents sold Rey, Ochi arrives in the Bestoon Legacy, locates Rey’s parents, takes them on board for interrogation, flies off, and then kills them. Maybe Rey saw the ship fly off and sensed her parents were on it, hence that being part of her TFA vision/flashback or whatever. But there’s no way they sold her to Unkar seconds before Ochi flies away like the flashback would imply if interpreted literally, because that’s just silly. Rey also appears to ‘remember’ her parents being killed by Ochi, which isn’t possible, unless that bit of flashback/vision is just for the audience’s benefit.

Again, agreed. If we can figure out a workaround for Ascendant, I think it’ll really help this movie to feel less contrived.

• I still believe editing TROS such that Rey’s parents were always bad people is feasible. Rey can still be mad that Palpatine killed them, even if they were terrible people. She does have reasons to hate him other than that too, such as him being Space-Hitler, his corrupting influence on Ben (to whatever extent she’s aware of that), and even surface-level stuff like Luke telling her she has to face him. I think the toughest question to answer with this change would be what was mentioned previously: why wouldn’t Rey’s parents give her up to save themselves? I think there’s a few ways you could come at that. Perhaps Rey’s Dad and his wife hated Palpatine so much they were willing to withhold that information just to spite him, even if it meant their own deaths, as someone (Jar Jar Bricks?) suggested earlier in the thread. It’s still essentially a sacrifice to save Rey, but it leaves them morally grey rather than having them be retconned into the loving parents that Rey wishes they were. Or maybe they did try to sell Rey out, but didn’t know exactly where she’d wound up - I’m sure there’s plenty of Jakku outside Niima Outpost - so Ochi killed them anyway. It does get a little contrived, I admit, but it’s not like this movie’s plot is rock solid as is, and I personally think it’s worth it to avoid undermining the TLJ reveal.

Once again, you’re right on the money, I’d say. The only thing is, I think this would work better in the Rey Nobody version; I don’t know how much it adds in Rey Palpatine, if we’re already ret-conning her parents into special people. They’re super important! But they were still assholes. Ehhhh…

Did a quick pass on replacing Luke’s “fear” with “shame,” mainly because I was curious about the idea. I could work it some more, but…

I really do like it in theory, but I don’t think it’s as critical as Dyad was. It’s also going to be harder to blend in, given A) Lack of music or background noise, B) The dialogue sounding more natural/unprocessed than Kylo’s was, and C) The lip syncing issue.

Is it worth pursuing?

https://streamable.com/ful9ne

EDIT: I could also only find one instance of Mark saying “Shame.” I tried to manipulate it a bit to avoid it sounding copy/pasted, but I’m not sure how well it works.

NeverarGreat said:

I’ve done some more tweaks to the sequence as suggested, mostly small adjustments. The biggest thing is replacing the simple feather effect on Luke’s Ghost with a proper glow:

http://www.framecompare.com/image-compare/screenshotcomparison/KGG6LNNX

*chef’s kiss*

Brewzter said:

In the final scene of TFA, the Falcon approaches the island from this angle which lines up with how the TLJ VD map shows the ship parked on that coast. The map shows Luke’s X-Wing on the far left side of the island from this orientation- in TROS, the establishing shot of the island shows Rey burning Kylo’s ship in the same area of the island. Let’s call this spot the “inlet” as the TLJ VD does. Since Rey hears Luke first start lifting the X-Wing while she’s digging the Wayfinder out of Kylo’s ship and then is able to run over in-time to see it lifted, that further confirms that she burnt Kylo’s ship right at the inlet. Next, the TLJ VD map shows that the temple cliff where Luke dies is also directly next to the inlet. I checked the TLJ novelization which says that he’s watching a sunset as he dies, not a sunrise, which means the suns must set in the direction the inlet is facing. Since the original TROS shows the remaining sunlight in the establishing shot coming from that direction, it lines up with the novelization saying this occurs at sunset. At the end of the Ahch-To scene when Luke lifts his X-Wing from the ocean, he’s facing the ocean from the inlet and the sun rises behind him, which again confirms our now well-established sense of geography.

First off, that’s an insane amount of detail you had to track, so mad props to you for that.

I think the current goal of the scene is for Rey to arrive on Ahch-To at night, start burning the ship, then have the heart to heart with Luke, grab the lightsaber, and get out of there. In which case, as you said, “the sun rises behind [Luke]…when [he] lifts his X-Wing from the ocean.” So aren’t we good? I feel like the time of day/night still matches up.

It’s just a weird sequence of events. In the film, the whole thing seems to happen at midday over the course of about an hour. In the novel, doesn’t it say that it takes place from dusk to dawn (while they’re also under a time crunch)? So, does it take place during the day, or during the night? Is the film “canon,” or is the novel?

I think Neverar’s grade feels best in terms of visually tracking the passage of time, and also symbolically. So that has my vote, once those last new nitpicks are ironed out.

Darth Muffy said:

Burbin said:

NeverarGreat said:

To show how much I love y’all:

https://vimeo.com/519825458

I really like the ‘early morning’ aesthetic. It’s not as drastic, and more passable, than trying to make it look like night, and we do get that gradual progression of daylight setting in that implies the passage of time, not to mention it’s more visually pleasing.

Agree the morning light aesthetic added by NeverarGreat in his vid is very cool, just need to deepfake the already nice looking Leia vs Luke close up fight scene now for perfection. 😉

https://static0.srcdn.com/wordpress/wp-content/uploads/2020/03/Luke-and-Leia-Star-Wars-Rise-of-Skywalker-Jedi-Training-Flashback.jpg?q=50&fit=crop&w=960&h=500&dpr=1.5

I honestly don’t think Luke looks bad at all. Leia though…whoo boy, if anyone here does know how to deep fake…

Also, I think that Testing’s and MR’s idea of cutting “I’ve seen that ship before” would work really nicely! I think we can keep Rey saying “Ochi’s ship!” if we wanted the exposition; but yeah, as Hal explained, it’s incredibly stupid that it would be Ochi’s ship flying away on Jakku.

(Tangentially related, but…)

“She’s not on Jakku!”

“Okay, I guess she’s not on Jakku. Where is your daugh-” [stab]

Like, my god, it’s like a Bugs Bunny cartoon; except the characters in a Bugs Bunny cartoon are smarter than this.

NeverarGreat said:

Okay, here is the new attempt at implementing these critiques:

https://vimeo.com/520121712

Password: fanedit

The fireside chat is now even darker, with much more roto work.

The second half of the Hut scene is now lightened to merge more seamlessly with the next scene.

The sunrise scene has a grade which is now at 50% strength to keep a bit more of the original look.

YES! Dude, that looks amazing. God, seriously, wow.

Just two things kind of stand out to me, and maybe I’m wrong, but…

At the second establishing shot (the wide of the fire after Luke pops up), the green on the hill behind them might be a tad too bright? I think it would either been tinged orange from the firelight, or still kind of shadowy.

When Luke stands up, it looks like a feather mask? That’s what I was experimenting with too, until MR pointed out that it makes the background around Luke’s body light up too, rather than being a true “glow” in the immediate space. Clearly I’m not an expert on it though. MR linked a video that might explain it more. That’s the only shot I noticed where the glow seemed kind of off though.

Seriously, amazing work!

I don’t really think this is the time or place to talk about Rey’s arc. Unless Hal is willing to upend the entire structure of the film for V2, that should be kept in the Redux thread, methinks.

I’ll just say that I disagree with your analysis, Testing. There’s a lot of circular logic in your points, but I can only offer my own interpretation. I don’t think Rey’s arc was ever about being “loved”; it was about finding where she belongs. They’re similar, but not exactly the same. She doesn’t need other people to love her; hence why she was initially tough with Finn, rather than friendly. But she immediately likes Han, who represents a new mission. After Han she tries to go with Luke, when Luke fails her she goes to Kylo. She wants to belong with other people; she doesn’t want to be admired by them. That’s why her Force Vision shows her with no one but herself.

Maz even explictedly tells her “The belonging you seek is not behind you, it is ahead.”

TestingOutTheTest said:

She believes this lie that the only way to feel happy, to feel loved is if she gains approval from others as well as if she pleases others which would then result in said others giving her the validation she desires to make herself feel happy; why do you think she freed BB-8 from Teedo? Why do you think she bypassed the compressor on the Falcon? Why do you think she told Luke that she would not fail him in the way Kylo Ren did?

I mean, it didn’t seem like she was worried about gaining anyone’s approval on Jakku. (Remember when she didn’t sell BB-8?) And I just thought she did those things because she’s, ya know, nice? Maybe I’m reaching.

Again, let’s move this discussion to another forum though.

While we’re on the topic of additional lines that might warrant some tweaking, I have a few contenders:

• Rey’s line about “I will earn your brother’s saber…someday.” There’s never been any indication that she felt unworthy using the lightsaber in the previous two movies, and she doesn’t end up “earning” the saber at all; it’s just handed back to her five minutes later. Also, Rey ends up using an entirely different saber in the finale? And she gives Luke’s to Kylo? (The only rationalization I can think of is that it’s subtextually foreshadowing “Ben will earn your brother’s saber”? But that’s unbelievably messy, even by this film’s lofty standards.) I dunno, it doesn’t make much sense. It’s another “Rey, I never told you- Blurgbruglbgrub” - They set something up, and then they forgot to pay it off. Maybe Rey could simply say “Here,” as if she’s just “hanging up” her weapon after practice? Or reverse the footage - Leia gives the saber back to Rey as a show of encouragement? (Implied that Rey gave it to her after the training course out of frustration.)

• Trimming around Hux’s “I’M THE SPY!!” “*WhAaAaAaAT???” ThisIsCreation had a really solid idea for this on the Redux thread. It’s like “You were a spice runner??” to me - out of place humor that breaks what should be a tense moment. (I know I lost that argument, I’m not trying to restart it.)

• “Leia sensed the death of her son at the end of her Jedi path.” So she decided not to pursue being a Jedi, which resulted in…the death of her son, her own death, and the rise of the First Order and the destruction of the New Republic at the hands of her son? Way to go, idiot, you played yourself! If Luke just says “She sensed ‘death’ at the end of her Jedi path,” it’s at least vague enough that we can assume the alternative future would have been even worse.

Script is whack, yo.

Good to know, Hal. My monitor ain’t the best. We can definitely tone that down. And going off of what hinventon said, I don’t think my first establishing shot works after all. It was worth a try, but Neverar came up with a far cleaner solution.

EDIT: Yeah, the orange is from the fire. I like it, but maybe it could be worth trying to whiten it a bit. If that makes it look too “daytime” though; I think I’d rather have the orangey fire glow, myself.

Movies Remastered said:

CaptainFaraday said:

I think the porg shot is fine, personally.

You wouldn’t get that rear, pure white lighting effect around them from moonlight. It would be a lot softer. Just my thoughts though.

EDIT: Here’s a good fire reference. Maybe try a colour change from White to Orange just for that clip?

https://youtu.be/UUO1__cMTik

JEDIT: Just realised the lighter sky in Luke’s close up is from his glow. Did you use a fathered mask or a glow effect for that?

Wondering if this will help https://youtu.be/CKyztMknex0

Can’t pull the wool over your eyes, eh, MR? You’re right - I was trying to do it with a feathered mask. I’ll take a look at that video later; thanks for the reference!

NeverarGreat said:

To show how much I love y’all:

https://vimeo.com/519825458

Password: fanedit

No sound, for even my love has limits. And I don’t have a good source 😉

Anyway, there’s no second establishing shot since I’m not sure if it can be made dark enough for these scenes.

The fireside chat is just about as dark as it will get, methinks, and the light entering the hut is slightly brighter to give more of a gradient into morning.

Daammmnnn Neverar, those early shots look fantastic. I was actually playing around with it myself, to see if I could make the scene any more “Night-y”; but you managed the orange mask on Rey way better than I did.

There were still a couple of things that I wanted to try though. I used Neverar’s edit as the base, and left their early bonfire shots as is. Additionally:

• Tried to make the original establishing shot match the nighttime tone. (Moved Neverar’s new establishing shot back to its original spot.)
• The Fireside Chat still seemed too bright to me, especially since the Hut Scene seemed darker in comparison. I’ve tried to go through and darken it up a bit.
• After darkening, I tracked a light mask around Luke in all of his shots. It just felt like, against the darkness, his Force Ghost-ness should shine extra bright to me.
• Also increased the relative brightness around the fire during their chat.
• Finally, I experimented with a purple hue during sunrise, to symbolize Leia('s (new) lightsaber). Thus, Rey “feels” both of her masters supporting her. Also, as the X-Wing rises, the sky starts adding pinks and oranges into the mix. The coloring would have to be cleaned up more though before release.

During the flashback, I also replaced the Blue Leia lightsaber with the Ascendant Purple Leia lightsaber, without further color corrections. I like the purple; what can I say?

https://drive.google.com/file/d/1RlWcPXdX0IRIxwlAXvZOYx2Zg4lLr7lu/view?usp=sharing