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Star Wars: Episode VII: The Nerd Rage Awakens

This past year a refurbished Star Wars seemed to be everywhere, but I have no intention of revisiting any galaxy. I shrivel inside each time it is mentioned. Twenty years ago, when the film was first shown, it had a freshness; also a sense of moral good and fun. But then I began to be uneasy at the influence it might be having. The bad penny first dropped in San Francisco when a sweet-faced boy of twelve told me proudly that he had seen Star Wars over a hundred times. His elegant mother nodded with approval. Looking into the boy's eyes, I thought I detected little star-shells of madness beginning to form, and I guessed that one day they would explode. "I would love you to do something for me," I said. "Anything! Anything!" the boy replied rapturously. "You won't like what I'm going to ask you to do," I said. "Anything, sir, anything!" "Well," I said, "do you think you could promise never to see Star Wars again?" He burst into tears. His mother drew herself up to an immense height. "What a dreadful thing to say to a child!" she barked, and dragged the poor kid away. Maybe she was right, but I just hope the lad, now in his thirties, is not living in a fantasy world of secondhand, childish banalities.
- Sir Alec Guinness, interviewed in "The Telegraph"

While it might come across a bit harsh, I can definitely understand his concern there. And how an actor of his stature might have been appalled by the way a fun little scifi flick turned into this massive obsession and addition for an entire generation of kids, to the exclusion of almost everything else. And how unhealthy that might be for both them and society as a whole.
 
Fear of breaking from structure is a great way to make a bad film.

It's a great way to make a bad anything. "But this is the way we've always done it" is probably the worst thing any professional can ever say.
 
Which is a filmmaking philosophy that Star Wars megafan Kevin Smith has followed for much of his career, and whether one likes his movies or not it's hard to argue that he's stuck to just one predictable pattern of moviemaking over the past two decades. His films tend to feature at least a few of the same actors and even characters from production to production but one film is a seriocomic study of same-sex relationships and how heterosexuals respond to somebody who's gay while the next is pure, outright slapstick and sight gags where the characters routinely break the fourth wall and the film made right after that is more of a conventional comedy with traditional character interactions and relationships.
 
I see what you all are saying, but I still disagree. At least I think I do. Star Wars is its own style of foilm, and the storyteling has always been fast fast fast.. rescue, here, battle planet here, new planet, small pause, new battle. I remember when From Star Wars to Jedi came out when I awas a kid and Mark Hamill commented that Star Wars' storytelling was already quite different than any other films mainly due to the speed of the storytelling. It was fantasy and science fiction but it didn't get bogged down in the lengthy passages of exposition that would up both genres. It just did what it did and stopping at all - including flashbacks and all that - were not a part of the equation. Change for change's sake isn't good. If the Oscar's telecast was different.. if after five awards everyone got out out of their chairs and it turned into a dance and everyone started having fun, and they'd give out the next reward an hour later, well I', sure that the people in attendance would love that, but it doesn't make it a better telecast.
 
Nope, no flashbacks were filmed for any of the previous films and not even in any of the scenes that wound up on the cutting room floor and as DVD and Blu ray bonus features.
 
I don't see where having flashbacks in the movie would be that much of a problem. I honestly couldn't care less if they had them in the other movies, if it's appropriate for this movie then I think they should just do it.
This is a new series, with a lot of new people both in front of and behind the camera, and I don't think they should be forced to do things exactly how George Lucas, and the other people who worked on the OT and PT, did things.
 
If there are flashbacks, I'm sure JJ will be able to integrate them in a pretty natural way. With him directing, this movie is already bound to be a bit flashier and more stylized than the previous movies anyway, so a flashback scene probably wouldn't stand out as much as it might have before.

Especially if it's handled similar to how the Spock flashback in his first Trek movie was handled, which I thought worked really well.
 
In ROTS, the Tusken Raider yell heard in the background after Anakin kills Dooku isn't exactly a flashback, but it's something similar.

I'm not sure what that device is called exactly, when a sound from the past is played on the soundtrack in the present, both as if a character is remembering what it sounds like, in this case Anakin, and as an audio cue to remind the audience.
 
I'd rather they focused on the new villains instead of giving us flashbacks to Vader. It's going to be bad enough that the new villain will be compared to VAder in the first place.
 
I had forgotten that the sound effect heard when Anakin decapitates Count Dooku is a Tusken Raider yell. Thanks for mentioning that tidbit of trivia, CC.
 
I think that is called a "call back". There were also a lot of foreshadowing in the use to the Imperial March (Vader's Theme) throughout. Mostly when Anakin did something dark or when Yoda has concerns about the young boy. Also a quiet version inside Anakin's Theme. To the point where, in the credits, I figured out what Lucas was doing with these....and the breathing. Can't forget Darth Vader's breathing at the very, very end of The Phantom Menace.

But also hit over the head with at the end of Attack of the Clones. This "See this, hear this? THis is the problem and this is the guy behind it....in case you were not paying attention.
 
Yeah, I already knew about that one. That's the far more interesting sound effect because until many fans learned of the canceled plans to have Liam Neeson record Spirit Qui-Gon dialogue for the end of Revenge of the Sith the origin of Qui-Gon's brief, spectral voice didn't make all that much sense within the context of the second film.
 
No, during his slaughter of the Tusken Raider camp on Tatooine. Yoda hears Qui-Gon's voice at almost the same moment Anakin is brutally killing all the Sand People.
 
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