Dork Side of the Force defends George Lucas, the Prequels and the Original Trilogy changes

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From Dork Side of the Force:

“Today an article crossed my path from Epic Stream that stated there are problems “ruining” the Star Wars franchise. The media source listed and broke down 10 reasons how the franchise has basically lost its way.

Even though the article is very articulate and well written, I completely disagree with its conclusions. In fact, I believe the 10 reasons that are brought up actually make Star Wars far better and not worse.

The article criticized everything from George Lucas, to the Prequels, to nostalgia, and more. Here is our counter to each point of their 10 arguments. […]

8. Thank you, George Lucas.

Their argument: That George Lucas was not the main reason for their success. They credited others (writers and directors) with more of the reason for the success of Star Wars, not the Lucas.

Our counter: Even though I agree that teamwork is key to Star Wars being what it is today and that the actors, Lawrence Kasdan, the writers, and the story group are critical to their success; they do not deserve most of the credit, Lucas does.

Lucas took all the risk when he first introduced Star Wars. If it fails, then he fails. If the creator didn’t take a chance on these directors, actors, and writers to help him create his vision, then they would not be successful. George Lucas deserves most of the credit.

Plus it was his vision for the animated series Clone Wars, which took the franchise to a whole new level. Thank you, George and we give you most of the praise and credit for Star Wars. […]

4. The remastered versions of Star Wars enhance the story.

Their argument: The remastered versions of the movies makes the Original Trilogy unrecognizable.

Our counter: These new changes actually make the original movies even more recognizable.

Every time these new additions are released, it introduces Star Wars to a whole new audience that may never have seen them before.

It’s also creative and makes the movies more fun.

An example of the revised versions adding to the originals is Hayden Christensen’s version of Anakin being displayed as a Force ghost at the end. Instead of having a guy we’ve never seen standing there with Obi Wan and Yoda, the portrayed and recognizable version of the character prevents confusion and connects the Original Trilogy and Prequel Trilogy together. […]

1. The Enduring Legacy

Their argument: That The Prequels ruined everything about Star Wars.

Our counter: That viewpoint could not be further from the truth, in my opinion.The Prequels expanded and gave us backstory that we’ve always wanted. We got vast worlds, intriguing politics, the Jedi in great numbers, and an origins story of the Emperor.

They mentioned the point of The Phantom Menace explaining too much of the Force i.e with midi-chlorians. I thought it was a nice touch showing the science of The Force, but still leaving much mystery on how it works.

Their biggest blunder was saying that Episode III was the worst of them all. In fact, I believe that Revenge of the Sith was the best of not only The Prequels but on the same level with any of the originals. Hayden’s portrayal of Anakin/Vader was dark, moving, and had a vast amount humanity that was just brilliant.

Remember, George Lucas wanted to set Vader as the victim, not the villain. Revenge of the Sith achieved that goal and displayed just how tragic Darth Vader really was.

We also got the Clone Wars and a plethora of prequel stories that spawned from the movies.”

Doug Chiang: Rogue One‘s design “fills the gaps” between Episodes III and IV

u-wing“[…] ComingSoon.net: Now this was interesting because I know in the prequels, you actually had a little bit of leeway, in the sense that you were so far before the original trilogy that you could kind of come up with some different looks. It was more of an art deco kind of throwback look. But on this one, it’s so close to “A New Hope”. How did you try to keep it contemporary, but also make sure to adhere to that design aesthetic?

Chiang: Yeah, that is a really good question because that’s the question we asked ourselves. We knew “Rogue One” was going to take place right before “Episode IV”. So a majority of our design had to fit seamlessly with “Episode IV”. Their approach was that what percent had to fit. And there’s fewer designs in the sense that you won’t just build the thing. So for instance, like the Yavin hangar. So we saw bits of it in “Episode IV”, but what if George had turned the camera around the other way?

 

And so, what it allowed us was to design something that kind of was heavily influenced by “Episode IV” and stayed true to it, but yet it gave us license to open up and expand the design vocabulary a little bit more, while still kind of fitting in. It was a really great approach for us, because one, we knew that the design had to feel as if we were designing a movie, as if we were designing an alternate version of “Episode IV”. But then, we also knew because the film before, there was going to be a small percentage, maybe 20 percent of new designs, and that was going to give us the excuse to bridge that “Episode III” to “IV”, to kind of have that sort of design history lineage, to make sense of all that.

And that’s one of the great things. When I started working on “Star Wars” George said, “You know, we’re going to try something new that we weren’t going to copy old designs.” And it seems like that was kind of the best thing because the process of designing for “Star Wars” was exactly the same. The only difference was the result. But I got to understand how George approached designs for “Star Wars”. And his approach was, really, he created the designs in our design history so that, you know, there are a lot of visual distinctions. Like, “IV”, “V” and “VI” can be easily anchored in the 50’s, 60’s and 70’s designs, and “I”, “II” and “III” are like, in the 20’s and 30’s. And so, when you know that, you can then fill in the gaps, you know how to bridge the non-aesthetics.

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John Knoll compares the number of VFX shots in every Star Wars movie

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/FILM : “Let’s talk about the visual effects, something that you’ve been involved with for awhile. How many visual effects are there in Rogue One, and how does that compare to the other Star Wars movies?”

John Knoll :  “It’s about 1,700. The original A New Hope was about 360. Empire Strikes Back was about 700. Return of the Jedi was about 900 or 950. Episode I was 1,900-something, 1950, I think. Episode II was 2,200. Episode III was 2,400. Episode VII was, I think just under 2,000. So we’re kind of in the middle.”

Read the rest of the interview at /FILM.

John Knoll is Chief Creative Officer and Senior Visual Effects Supervisor at Industrial Light & Magic. He has been Visual Effects Supervisor of The Phantom Menace, Attack of the Clones, Revenge of the Sith and Rogue One, among many other films.