Lucky for us both Lucas and Disney rejected your fan script.
The Last Jedi - Actually Widely Hated?
- Thread starter crookeddy
- Start date
Lucky for us both Lucas and Disney rejected your fan script.
Let's see...
- In A New Hope, as others have said, there were some meetings, some talk, some deep philosophical conversations and a battle or two
- In The Empire Strikes Back, there were some talks, some meditation, some training, some more talking, and a battle or two
- In Return of the Jedi, there was some talking, some more talking, some more talking, some dramatic talking and a battle or two
- In The Phantom Menace, there was some talking, some more talking, some more talking, even more talking, some more talkin' now okeeday, some meditation and a battle or two
- In Attack of the Clones, there was some talking about feelings, some talking about sand, some talk about politics, some talk about Jedi training, some crazy Jedi dreams, some more talking about feelings and a battle or two
- In Revenge of the Sith, there was some talking, some more talking, some meditation, and a battle or seven
- In The Force Awakens, there was some talking, some more talking, some exposition, some more exposition, a little meditation and a battle or two
- In The Last Jedi, there was some talking, some more talking, even more talking a few flashbacks and a battle or two
Yes but in the original films, it was important to fight the good fight, to know what the good cause is. we watch these movies partly for that coming together, partly to see the fight, to see what a character can do what lines they will and will not cross.. and partly for the spectacle
Was it? Do we? Or is that what we tell ourselves? At the tender young age of three, I don’t think I have a damn about the good fight the first time I saw Jedi. I cared about spaceships and lightsaber battles. And I would stand to reason that most under the age of twenty-five really feel that way as well.
I think many watched it because it was entertaining. It was a good spectacle. It had never been seen before.
And, guess what? I see the coming together, the fight, as well as the risks, challenges and pitfalls of fighting that fight in TFA and TLJ.
The prequels just start the move from black and white to shades of gray, and the sequels continue that movement. TLJ expands on that by having the audience actually question whether all that violence was needed in the first place. Luke performs an act of true heroism - one that resolves a conflict without killing anyone.
whether ast 6 or my current age I don't care about Holdo and her purple hair
Now you’re just nitpicking.
Purple hair has nothing to do with anything, and wreaks of sexism.
I'm sure it does LOL
Random comment is random.
I could swear that - despite what you're told - The Force Awakens was the kind of script that was done around a the proverbial meeting table, with people calling out lines, naming SW images they like, and just patting themselves on the back because they knew they had a monster hit on their hands.
"I had Poe dying in the script"
Actor: "I don't want to die. I died in the last three movies I was in."
"Oh that's ok. .. fine. We'll have your character show up at the end of the second act without explanation!"
This is not storytelling. This is a corporate conglomerate patting themselves on the back for its ingenuity.
There are a few good ideas in The Force Awakens, and a few great acting moments, but it's mired by the context from whence it came .. the franchise, and not the film itself, was all that they were thinking about. They were thinking about the merchandise before the story and characters.. and Captain Phasma (is she still a thing?) is proof of that. It's all about corporate synergy here.. This film was feeding entirely off nostalgia so that it could feed into it's own marketing, and then propagate it's own theme parks. I feel like when she sees Luke and he is about to say something, his line would be "did we get close to the bottom line? How did our business model go?"
"I had Poe dying in the script"
Actor: "I don't want to die. I died in the last three movies I was in."
"Oh that's ok. .. fine. We'll have your character show up at the end of the second act without explanation!"
This is not storytelling. This is a corporate conglomerate patting themselves on the back for its ingenuity.
There are a few good ideas in The Force Awakens, and a few great acting moments, but it's mired by the context from whence it came .. the franchise, and not the film itself, was all that they were thinking about. They were thinking about the merchandise before the story and characters.. and Captain Phasma (is she still a thing?) is proof of that. It's all about corporate synergy here.. This film was feeding entirely off nostalgia so that it could feed into it's own marketing, and then propagate it's own theme parks. I feel like when she sees Luke and he is about to say something, his line would be "did we get close to the bottom line? How did our business model go?"
So deciding not to kill off a character because the actor requested his character to not die because it was something he as an actor had done several times recently is actually some super secret corporate strategy?
God, do you have a conspiracy theory for everything?
God, do you have a conspiracy theory for everything?
No. My argument is that it's not real storytelling.
I't "cheap" as is the sequel trilogy.
Funny that I really like the anthology films
I't "cheap" as is the sequel trilogy.
Funny that I really like the anthology films
I have a feeling that a lot more TV/movie content since the birth of the industry was/is created "around a table" than as someone's sole unaltered vision.
The original Star Wars that was in theaters in 1977 wasn't Lucas's unaltered vision. Marcia Lucas won an Oscar for editing it.
Not only that, but I think FSM needs to read The Making of Return of the Jedi to get an idea of how much story conferences led to the creation of an early entry of Star Wars. And its on sale for $9 on Kindle. Its an excellent read and might dispel some myths that he believes. Lucas, Marquand, Kasdan and producer Howard Kazanjian spend some significant time around a table breaking the story, which involved a lot of compromise.
I on the other hand just started reading Resistance Reborn this morning. I don't read a lot of Star Wars fiction, but this one's description drew me in. Loving it so far.
Last edited:
I'm looking at the Wiki for Rogue One and Solo...
Rogue One has four credited writers, not counting director Gareth Edwards and Kathleen Kennedy who would have obvious story input.
https://en.wikipedia.org/wiki/Rogue_One
Solo has two credited writers, not counting the three directors and Kathleen Kennedy who would have obvious story input.
https://en.wikipedia.org/wiki/Solo:_A_Star_Wars_Story
Some people have a quaint notion of how entertainment gets made.
I appreciate Solo for what it is (even if I really didn't need the origin of Han's gun... amongst origins of other things) but there are obviously a lot of hands on both of these scripts. Particularly with Rogue One where, at least to me, the reshoots are quite obvious that they softened Jyn Erso down considerably, along with adding the overt fanwanky appearance of Darth Vader... amongst other overt fanwanky appearances.
But yes, filmmaking is a collaborative, oftentimes corporate, effort, from the scriptwriting stage to final edits and everywhere in between. Anyone who can't see this doesn't know how it works.
All of this happened with the OT and the PT. As well as several other films.