Let me ask you this: If you had your druthers, would you prefer Solo: A Star Wars Story (SASWS on the second mention from here on out, kids) debut in December?
Given the holiday fun everyone’s had with The Force Awakens, Rogue One, and The Last Jedi — and despite the ramp up to a second Star Wars film in six months (?) — I’m not alone in wondering why Disney/Lucasfilm seem intent on a May opening for the Han Solo spin-off. Am I?
Perhaps our holiday wishes are coming true. Read on my fellow padawans.
Did Deadpool Shoot First?
Yesterday, it was reported by THR that Deadpool 2 would move its release date from June 1 to May 18.
The Hollywood Reporter’s Ryan Parker and Borys Kit speculated that the change was “a strategic play as even second weeks have been exceptionally strong for Star Wars movies. (The Last Jedi earned a big $71.5 million in its second weekend in December).”
However, one of this space’s usual suspects — Forbes‘ Scott Mendelson — speculated there might be another movement afoot.
Maybe Fox smells blood in the water over the much-discussed Ron Howard-directed Han Solo prequel, a project that could theoretically move to December and take its place alongside the rest of the Disney Star Wars movies,” he wrote on Thursday. “Whether this is an intentional broadside against Solo, acting on a presumption that it might move to Christmas or merely deciding that opening a week before is better than a week after, it’s certainly a calculated risk for Fox’s biggest 2018 release.
Then there’s the recently rumored SASWS reshoots and the lack of ancillary materials for the Han Solo standalone project. Hmmm.
Rian explained it all (or at least some of it)
IGN reminded readers about a recent interview they did with Rian Johnson regarding The Last Jedi; when the director explained his thoughts regarding the “final” confrontation between Kylo Ren and Luke Skywalker.
According to Johnson, Kylo didn’t exactly know what happened to the “heroes’ lightsaber” as he was unconscious when Rey absconded with the pieces following their confrontation in Snoke’s throne room.
Meanwhile, Luke had a definite plan as he projected himself into the lightsaber battle on Crait.
quoted Johson saying:
[Luke] is basically tailoring this projection to have maximum effect on Kylo… He knows that Kylo’s Achilles heel is his rage, and so that’s why he kind of makes himself look younger, the way Kylo would’ve last seen him in their confrontation at the temple, and that’s why he decided to bring Kylo’s grandfather’s lightsaber down there — the lightsaber that Kylo screamed at Rey, ‘that’s mine, that belongs to me.’
It’s nice to have the director’s direct thoughts on that scene, for sure. However, here’s hoping (again) that some sort of filmmaker’s commentary is available shortly.
In the meantime, check out IGN’s video.
The Story Group Re-groups
While we are at it, if you haven’t watched “The Star War Show’s” near half-hour Youtube video outlining many of the mysteries of The Last Jedi, well, you’re just plain missing out. Have a watch as you sip your coffee at work Friday morning.
— Matt Martin (@missingwords) January 10, 2018
By the way, many of the Story Group’s members have been highly accessible via social media over the last few weeks and have cleared up quite a few questions posed by your’s truly and many others.
Thank you, guys! Nice to see you back together.
Hamill on Williams: “He’s the entire cast…”
As always, Mark Hamill remains active and opinionated, both on TLJ media junkets and on social media.
Recently, he (again) heaped praise on legendary Star Wars Composer John Williams.
The conductor, who has been tapped to write the theme for SASWS and the score for Episode IX, is in Oscar contention for his soundtrack to The Last Jedi and Hamill lauded the musician in a recent interview.
“Aside from George Lucas, nobody deserves more credit for the success of Star Wars than John Williams,” Hamill told Variety. “His music was epic. For a movie as modest as ours, his music elevated it to the status of Lawrence of Arabia.”
As for his visit to the recording studio where an orchestra — conducted by Williams playing his compositions — lay down the beautiful tracks for The Last Jedi, Hamill explained:
It’s indescribable, how he elevates every scene. He’s got to understand the emotion of the scene, the dynamics of whatever conflict we’re trying to portray, as deeply as an actor does. In a way, that’s even more complex. As an actor, you’re only one person, one instrument in the orchestra. He’s the entire cast.
I don’t think I’m alone in the sometimes-notion that many creative types are “just like us.”
That we — with a little luck — could be like them “with just a few tweaks.”
Um. Nope. And Rian Johnson is just one case in point…
In a recent story for The Wall Street Journal he said:
When I was writing Episode VIII, I was listening to “The History of Rome” podcast (hosted by Mike Duncan). The stories have a lot of similarities. They’re about family dynamics and family politics. They’re about war and the mechanisms of war. You’ve got characters like Nero who are these insane, larger-than-life, operatic madmen driving their country to ruin. It’s very timely.
I typed Episode VIII out on a MacBook Air. For security it was “air-gapped”—never connected to the internet. I carried it around and used it for nothing except writing the script. I kept it in a safe at Pinewood Studios. I think my producer was constantly horrified I would leave it in a coffee shop.
Honestly, there’s just no similarity at all. I drink my coffee on my way to work (spilling much of it), listening to the “highbrow” thoughts of MSWNTIP. And they only reason my Mac would end up in a safe would be if readers finally wanted to temporarily rid themselves of my meandering musings.
That said, Mr. Johnson had other items of note listed in the entertaining piece: “How Rian Johnson Kept His ‘Star Wars’ Script From Leaking Online.”