Yeah, while I agree with Robert that the vent thing from ANH didn’t need correcting*, I think we can safely assume that Erso’s flaw was the only thing he could design that wouldn’t get noticed by the other engineers.
*We do, however, benefit from seeing the Rebels’ first victory against the Empire. This movie cleverly uses that moment, so briefly described in ANH’s opening scrawl, to show the Rebel Alliance move from morally compromised guerilla fighting and assassinations to the morally upright organization we saw in the OT, which was hopeful and self-sacrificing where the Empire was cynical and corrupt.
Just picking up on this as it’s been confirmed that, at the time of Rogue One, General Syndulla is indeed Hera!
One of the most fascinating things of this movie for me was the continuity and the work they did on reconstructing the era of the original movie. It was so good. When the X-Wing pilots showed up in the movie, I said to my friend next to me “wow, I feel like I’m watching A New Hope”. And in fact I was watching scenes from that movie!
The line that stayed with me from the novel is Wedge’s acid put-down to Luke’s bragging about womp-rats being only two metres by asking if they have armour and turbolasers!
Also, I think Galen was thinking in terms of a commando sabotage raid, he didn’t allow for the Empire getting it fully operational so fast.
I was talking with the son this afternoon and I stumbled on something about this I hadn’t thought about until just now.
Anyone else wish some of the cooler alien designs had been worked into the file Rogue crew that goes on the Suicide mission.
There were a bunch as always, but in particular it seems kind of strange that the sloth bear guy (Moroff) and the one with the big mouth that laughs after firing his blaster (Pao) get figures and are named. But do much less than characters that didn’t get figures (General Raddis, Saw Gerrera, etc).
Even if they just got added to all the soldiers that just show up right before the big battle. It might have added to the rag tag resistance look.
I can certainly live with that not being how it played out. It just seems like a missed opportunity really.
The production and costume design were all excellent, as they should be.
It can be a fine line when integrating modern with retro, but I thought they got it it spot on.
What I really like about this story is Edwards did it without expecting much to come of it.
But what’s happened is that their inclusion - and the magic of doing so - has been noticed far more than could have been expected.
I spotted Red Leader and really liked the touch but couldn’t work out how they’d done it. It’s a great moment of movie magic, even when you know how it’s done.
There was a ripple of appreciation in my audience during the section where they appeared on screen.
It’s one of those examples I was talking about earlier when I said I couldn’t tell whether it was CGI, old footage or a mixture - and it didn’t really matter, as it worked perfectly either way.
One of the things about Star Wars that impresses me after all these years is how well its designs hold up to modern standards. 40 years later they’re still using what are essentially the same ships designs, broad aesthethic and architecture in modern films and videogames and it still works wonderfully. Star Wars doesn’t seem to have aged a bit. Ralph McQuarrie is a freaking genius.
The holograms and screens have aged, but now that’s charm.
He’s a freaking genius! He already conceptualized Coruscant back in the 80s, but the technical limitations of the era didn’t allow this to materialize. It worked to the original films’ advantage though, giving them that space western feel, taking place on desolated planets instead of the more civilized areas of the galaxy.
I like how that kind of changes the very nature of how the Force works, liking altering probability (which even for those who hate the prequels will have to admit, that’s exactly what someone else named Jinn [I know, I know, different spelling] did in The Phantom Menace).
I loved that “the Force of Others” was used in the movie. It’s one of the few things that really worked in terms of callbacks for me. This is how the Force was labeled in George Lucas’s original screenplay (which was later adapted into a fascinating comic by Dark Horse).
I argue we owe much more to McQuarrie than Lucas for Star Wars.
It’s controversial, but I stand by it.
Well, I’m home.
The Blake’s 7 of the Star Wars stories.
Needed more Bothans.
Didn’t you see the Bothan murder sequence??
Controversial but not without a bit of truth at the very least, Lucas was a genius for how many ideas and genres he combined for Star Wars, but I doubt he could have gone that far without the genius of McQuarrie and John Williams. It was an incredible convergence of the right people at the right place and time, and together they made Star Wars what it is.
I’ll tread carefully here because I ruffled some feathers last time I spoke about this - but I think if you took Lucas out of the original equation and keep every other production member, you lose very little of the final product. He was the catalyst, but not much more, I think.
George has been a completely different person a couple of times. The kid, the guy he was after wrapping his car around a tree, an up-and-comer, a moderate hit, Big Bang Giant-Killer Movie, and life from then. He’s been places we cannot imagine. But the first SW? George’s vision. That was his baby. Before or after, I can’t say. But being on the fringe there as far as going through the hiring process at ILM (took a different job, as you know) and intensely interested and knowing folks, the grapevine was consistent. Like I said, it may have gone wonky at other times, not Wars.