From Screen Rant:
“One of Robot Chicken co-creator Matthew Senreich’s favorite things to parody on the long-running Adult Swim sketch show is Star Wars, which was fully supported by Lucasfilm guru, George Lucas, when the show started out. When Lucas sold his multi-billion dollar company to Disney in 2012, however, things changed a bit for Robot Chicken, and now it’s not as easy for the series to do Star Wars specials as it once was.
Speaking with Screen Rant at SDCC 2017, Senreich admitted the Star Wars stuff is “closest and dearest to his heart,” and it shows. […]
When asked how it was so easy for the show to have access to the Star Wars canon, Senreich replied:
“Because it was just one guy: George Lucas. He saw our show and he was the one to approach us, like, “What do you guys want to do with us?” It started a multi-year relationship. When he sold the company to Disney, it changed the relationship… It comes down to corporations playing with each other. As much as we know those people, and they like us and we like them, we are dealing with billion dollar companies that could care less what we think and how well we know each other.”
Senreich said that they will still poke fun at Star Wars, just in a shortened version – at least, for now:
“For a regular episode of the show, it’s parody so it’s no different from say Saturday Night Live making fun of any of these properties. But to do a full episode of an actual property, we would need the agreement of that company.””
From “The Daily Edition“:
According to Wookiepedia, “Moteé was a human female. She served as a member of the Naboo Royal Handmaidens protecting Padmé Amidala during the final days of the Clone Wars. Like her charge, she was dismayed by Supreme Chancellor Sheev Palpatine’s announcement of the formation of a Galactic Empire and the thunderous applause that greeted the announcement.”
According to IMDb, “Kristy Wright was born on July 14, 1978 in Sydney, New South Wales, Australia. She is an actress, known for Star Wars: Episode III – Revenge of the Sith (2005), Summer Bay (1988) and Something in the Air (2000).”
“StarWars.com is excited to announce Star Wars: Rogue One — Cassian & K-2SO Special #1, coming in August from Marvel. Written by Duane Swierczynski with art by Fernando Blanco, the 40-page one-shot will reveal how Cassian, one of the top intelligence officers of the Rebel Alliance, met K-2SO, a reprogrammed Imperial security droid. Check out the cover below by Julian Totino Tedesco, which finds the duo back-to-back, ready for battle.”
UPDATE : The video has been removed. Here are some screenshots.
“If you thought Squidward was mean to SpongeBob, you ain’t seen nothing yet. If you wondered why H.P. Lovecraft gave all his scariest monsters tentacles, you’re about to find out.
But first, a nice, peaceful video of the deep sea, as captured by the Australian research vessel Investigator:
Psych! The ocean is a place of danger, not peace. Especially if you’re a smallish squid, baited off the beaten path to grab some food and/or pose for the camera, when a bigger squid decides that cannibalism is a thing that is good and okay for cephalopods to do.
Fans of Star Wars Episode I: The Phantom Menace, you now have some extra ammunition. No, the video doesn’t prove Jar Jar was secretly amazing, but it does add real-life credibility to the “There’s always a bigger fish” scene.
Now, in the movie, that was of course a metaphor for the immediate invading force on Naboo being used by a greater shadow force that would pounce out of the darkness when ready and devour them. Sometimes, however, a squid eating another squid is just…well…a squid eating another squid. What can we say: ika sashimi is tasty. So watch out, bigger squid: there’s always an even larger sushi chef. […]”
Read more at Nerdist.
“In the case of Rogue One, there are plenty of sequences that are composed entirely of visual effects, whether they’re space battles or environments that are composed entirely of digital pieces. However, there are some sequences where you might not have realized that a partial virtual set was employed. Instead of throwing actors into a room that is entirely green/blue screen, the crew built proxy sets where the nitty-gritty details would be added in post-production by Industrial Light and Magic. They’re details that you never would have thought were visual effects.
During a keynote presentation given by executive producer and visual effects supervisor John Knoll at a press event held a couple weeks ago for the release of Rogue One on home video, John Knoll explained why they used virtual sets for a couple of their interior spacecraft locations:
“A spacecraft cockpit interior is a set where there are a lot of little techy bits, control panels and graphics displays and other things that are kind of a job to manufacture well. We had a couple of scenes on this bridge, but total screentime is probably less than 30 seconds, so it didn’t make a whole lot of economic sense to do a build as elaborate as this. It wasn’t really going to be advertised over particularly long scenes. We elected not to build it as a full set. But if you don’t build it as a full set and you just have a couple characters in front of a blue screen, that can be a very alienating experience for the actors. It’s difficult to light your actors so that they’ll go into that virtual environment in a believable way.
So I got talking with Greg Fraser about the right way to approach this work so we can get the best results. It was easiest for him to deal with. What we came up with was this idea of building the basic forms of the set, very simple undetailed forms as a proxy. It’s about the right shape, something that Greg can light in a meaningful way.”
“In this behind-the-scenes clip from Rogue One: A Star Wars Story, Lucasfilm’s Doug Chiang traces the design history of the U-wing.”