I find 'A New Hope' hard to watch nowadays

[Campe]

If this doesn't make one sad, nothing will...

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I despise that video.

 

[fireproof78]

I despise that video.

Just out of pure curiosity (perhaps morbidly so) could you explain why? Type it up 5 pages, sources cited, please

 

[Campe]

Just out of pure curiosity (perhaps morbidly so) could you explain why? Type it up 5 pages, sources cited, please

I just finished my Masters two weeks ago, man! Fuck cited sources!

 

[HugeLobes]

I just finished my Masters two weeks ago, man! Fuck cited sources!

Five years on from my MA and I still think that whenever anyone gets all 'cite your sources'.

 

[fireproof78]

I just finished my Masters two weeks ago, man! Fuck cited sources!

Well, it was worth it for the reaction

 

[Vger23]

This thread went about as well as I expected.

 

[cooleddie74]

Maclunkey!!

 

[Tallguy]

Just out of pure curiosity (perhaps morbidly so) could you explain why? Type it up 5 pages, sources cited, please

I'll give you mine (shorter with no sources). It completely disregards the cinematography of Star Wars. I'm all for them making Prowse and Guinness more "spry" but that camera work is atrocious.

 

[fireproof78]

I'll give you mine (shorter with no sources). It completely disregards the cinematography of Star Wars. I'm all for them making Prowse and Guinness more "spry" but that camera work is atrocious.

I appreciate it. I was giving Campe a tough time because he just completed grad school. I sympathize since I only completed grad school 2 years ago.

 

[HugeLobes]

"It completely disregards the cinematography of Star Wars. I'm all for them making Prowse and Guinness more "spry" but that camera work is atrocious."

Thomas, Bill "Tallguy". 'I find 'A New Hope' hard to watch nowadays'. TrekBBS. 288 (2020).

 

[J.T.B.]

"It completely disregards the cinematography of Star Wars. I'm all for them making Prowse and Guinness more "spry" but that camera work is atrocious."

Thomas, Bill "Tallguy". 'I find 'A New Hope' hard to watch nowadays'. TrekBBS. 288 (2020).

Double quotation marks within double quotation marks? What style manual is this?

 

[HugeLobes]

Double quotation marks within double quotation marks? What style manual is this?

I think it's IDGAF.

 

[N-121973]

I've re-watched A New Hope twice in the last couple of weeks. The first time was on the eve of seeing Rise of Skywalker for the first time and the second was the beginning of this week when I watched it as a 'double-feature' either side of lunch with 2001 A Space Odyssey (which I watched first). I thought it was much faster paced than I remembered, though the cardboard cut-out X & Y-Wings in the rebel base stood out like sore thumbs on high-def. Couldn't they have been replaced by CGI? One thing I did notice, when R2 & 3PO go into hiding and the stormtroopers retake the hanger bay control room, you can see one of the stormtroopers bash their helmeted head as they go through the door.

 

[JD]

Thanks to Disney+ I was able to watch the deleted scene from the OT movies yesterday. I wish they had left in the stuff with Luke at Tosche Station, I thought it had some nice character stuff for him.
The only other one that I really wish had been left in was the scene with Vader contacting Luke as he was finish up his green lightsaber.

 

[Noname Given]

...I thought it was much faster paced than I remembered, though the cardboard cut-out X & Y-Wings in the rebel base stood out like sore thumbs on high-def. Couldn't they have been replaced by CGI? One thing I did notice, when R2 & 3PO go into hiding and the stormtroopers retake the hanger bay control room, you can see one of the stormtroopers bash their helmeted head as they go through the door.

Yeah - that's why I feel Lucas claims of 'all the bad effects I want to fix' ring hollow - because in the first theatrical 're-release' of the remasted STAR WAS - A New Hope, Lucas also left Darth Vader's light saber as un-colored in the scene where he's walking towards Luke running into the Falcon in the Death Star hangar bay. George left a number of things 'not fixed' with the remaster.

As for the Storm Trooper hitting his head, that's been a part of all the versions; and I always thought it just showed further that theses guys were human and fallible.

 

[Kor]

Thanks to Disney+ I was able to watch the deleted scene from the OT movies yesterday. I wish they had left in the stuff with Luke at Tosche Station, I thought it had some nice character stuff for him.
The only other one that I really wish had been left in was the scene with Vader contacting Luke as he was finish up his green lightsaber.

Is the deleted stuff inserted into the movie, or is it a separate thing like the "extra features" on DVD and blu-ray?

Kor

 

[cooleddie74]

Separate. Those scenes were never reincorporated into the movies they came from. They exist as deleted scenes and separate material.

 

[J.T.B.]

Thanks to Disney+ I was able to watch the deleted scene from the OT movies yesterday. I wish they had left in the stuff with Luke at Tosche Station, I thought it had some nice character stuff for him.

Nah, it was a good decision to cut all that. There's a lot going on in the first 15-20 minutes, a lot of information to convey, and the Luke scenes would really mess up the flow of the movie.

Separate. Those scenes were never reincorporated into the movies they came from. They exist as deleted scenes and separate material.

And seeing them that way doesn't give the full picture of how they break up – and disrupt, IMO – the pacing of the first quarter of the movie. Think of how they would have been placed:

• Artoo and Threepio are introduced and find themselves in the middle of a shootout as stormtroopers board.
• Some kid in a desert looks up to see spaceships in the sky, gets excited and takes off.
• Darth Vader makes his entrance on the rebel ship.

• Artoo and Threepio look back at the star destroyer as the pod falls toward the planet.
• Luke goes into some kind of hangout, banters with his young adult friends and shows them the ships in the sky.
• Stormtroopers bring Leia before Vader.

• Threepio, lost in the desert, sights some kind of vehicle and waves to it.
• Biggs and Luke talk about the rebellion and Luke's future.
• Artoo enters a spooky ravine.

As I said earlier in the thread, Star Wars asked some heavy lifts of the mainstream 1977 moviegoer. Nobody knew what was going on or why, but Lucas and his editors were very clever about securing audience buy-in very early in the movie. One of the keys was quickly establishing a strong emotional connection with the viewer. Nothing new about that, but in this case the connection was with two non-humans, one of which couldn't be understood, which was a somewhat radical step.

One way the emotional bond was cemented was for the audience to identify with the robots as underdogs, targets through no fault of their own of a relentless pursuit by some obviously very bad guys. The robots caught up in circumstances beyond their control were a bit like the audience, who didn't know all the ins and outs of this strange world. By keeping to two settings, one at a time (the rebel ship, the desert planet), the audience stays focused on the stakes for the robots and the princess (who is obviously good and associated with the robots). By the time Luke is introduced (with masterful shots and scoring), the droids' adventures have so established them with the audience that their sympathy transfers straight over to him. "Oh great, now they're going to be after this poor kid, too."

To keep the focus singular, two other scenes were also moved:

• "Look sir, droids!" was moved up, from around the sand people observing the landspeeder to just after Threepio and Artoo are reunited on the sandcrawler. This established that the bad guys were quite close on the trail and upped the danger factor.
• The Death Star boardroom/choking Motti scene was moved back, from just after the sandcrawler reunion to after the scene in Ben's home. This kept all attention on the droids' situation.

Again, it's easy to overlook all this after having the movie's structure as common knowledge for 40 years, but the choices made by George Lucas, Paul Hirsch, Richard Chew and Marcia Lucas were pretty brilliant and a big part of why we are still talking about the picture today.

 

[Smellmet]

Nah, it was a good decision to cut all that. There's a lot going on in the first 15-20 minutes, a lot of information to convey, and the Luke scenes would really mess up the flow of the movie.



And seeing them that way doesn't give the full picture of how they break up – and disrupt, IMO – the pacing of the first quarter of the movie. Think of how they would have been placed:

• Artoo and Threepio are introduced and find themselves in the middle of a shootout as stormtroopers board.
• Some kid in a desert looks up to see spaceships in the sky, gets excited and takes off.
• Darth Vader makes his entrance on the rebel ship.

• Artoo and Threepio look back at the star destroyer as the pod falls toward the planet.
• Luke goes into some kind of hangout, banters with his young adult friends and shows them the ships in the sky.
• Stormtroopers bring Leia before Vader.

• Threepio, lost in the desert, sights some kind of vehicle and waves to it.
• Biggs and Luke talk about the rebellion and Luke's future.
• Artoo enters a spooky ravine.

As I said earlier in the thread, Star Wars asked some heavy lifts of the mainstream 1977 moviegoer. Nobody knew what was going on or why, but Lucas and his editors were very clever about securing audience buy-in very early in the movie. One of the keys was quickly establishing a strong emotional connection with the viewer. Nothing new about that, but in this case the connection was with two non-humans, one of which couldn't be understood, which was a somewhat radical step.

One way the emotional bond was cemented was for the audience to identify with the robots as underdogs, targets through no fault of their own of a relentless pursuit by some obviously very bad guys. The robots caught up in circumstances beyond their control were a bit like the audience, who didn't know all the ins and outs of this strange world. By keeping to two settings, one at a time (the rebel ship, the desert planet), the audience stays focused on the stakes for the robots and the princess (who is obviously good and associated with the robots). By the time Luke is introduced (with masterful shots and scoring), the droids' adventures have so established them with the audience that their sympathy transfers straight over to him. "Oh great, now they're going to be after this poor kid, too."

To keep the focus singular, two other scenes were also moved:

• "Look sir, droids!" was moved up, from around the sand people observing the landspeeder to just after Threepio and Artoo are reunited on the sandcrawler. This established that the bad guys were quite close on the trail and upped the danger factor.
• The Death Star boardroom/choking Motti scene was moved back, from just after the sandcrawler reunion to after the scene in Ben's home. This kept all attention on the droids' situation.

Again, it's easy to overlook all this after having the movie's structure as common knowledge for 40 years, but the choices made by George Lucas, Paul Hirsch, Richard Chew and Marcia Lucas were pretty brilliant and a big part of why we are still talking about the picture today.

I used to find the early scenes on Tatooine after the films opening a bit slow when I was kid, now, I think they're just magical and among the best scenes in the film.

 

[JD]

Nah, it was a good decision to cut all that. There's a lot going on in the first 15-20 minutes, a lot of information to convey, and the Luke scenes would really mess up the flow of the movie.



And seeing them that way doesn't give the full picture of how they break up – and disrupt, IMO – the pacing of the first quarter of the movie. Think of how they would have been placed:

• Artoo and Threepio are introduced and find themselves in the middle of a shootout as stormtroopers board.
• Some kid in a desert looks up to see spaceships in the sky, gets excited and takes off.
• Darth Vader makes his entrance on the rebel ship.

• Artoo and Threepio look back at the star destroyer as the pod falls toward the planet.
• Luke goes into some kind of hangout, banters with his young adult friends and shows them the ships in the sky.
• Stormtroopers bring Leia before Vader.

• Threepio, lost in the desert, sights some kind of vehicle and waves to it.
• Biggs and Luke talk about the rebellion and Luke's future.
• Artoo enters a spooky ravine.

As I said earlier in the thread, Star Wars asked some heavy lifts of the mainstream 1977 moviegoer. Nobody knew what was going on or why, but Lucas and his editors were very clever about securing audience buy-in very early in the movie. One of the keys was quickly establishing a strong emotional connection with the viewer. Nothing new about that, but in this case the connection was with two non-humans, one of which couldn't be understood, which was a somewhat radical step.

One way the emotional bond was cemented was for the audience to identify with the robots as underdogs, targets through no fault of their own of a relentless pursuit by some obviously very bad guys. The robots caught up in circumstances beyond their control were a bit like the audience, who didn't know all the ins and outs of this strange world. By keeping to two settings, one at a time (the rebel ship, the desert planet), the audience stays focused on the stakes for the robots and the princess (who is obviously good and associated with the robots). By the time Luke is introduced (with masterful shots and scoring), the droids' adventures have so established them with the audience that their sympathy transfers straight over to him. "Oh great, now they're going to be after this poor kid, too."

To keep the focus singular, two other scenes were also moved:

• "Look sir, droids!" was moved up, from around the sand people observing the landspeeder to just after Threepio and Artoo are reunited on the sandcrawler. This established that the bad guys were quite close on the trail and upped the danger factor.
• The Death Star boardroom/choking Motti scene was moved back, from just after the sandcrawler reunion to after the scene in Ben's home. This kept all attention on the droids' situation.

Again, it's easy to overlook all this after having the movie's structure as common knowledge for 40 years, but the choices made by George Lucas, Paul Hirsch, Richard Chew and Marcia Lucas were pretty brilliant and a big part of why we are still talking about the picture today.

Looking at it in that context, I can see why they were cut. They're still good scenes though, so I'm glad we at least got to see them as deleted scenes.