Well, we know that they fired Lord and Miller due to on-set conflict between them and Lawrence Kasdan, in addition to Lucasfilm not being happy with the direction they were taking the film (which was a direction they of course took it in, knowing who they are as directors). We know they hired Ron Howard to re-shoot almost the entire thing. I don't know, that sounds like extensive meddling to me.
I think people itt are implying Disney is taking issue with Ron Howards work even after the fact given the marketing time frame or what was it I expect that the aforementioned cast and crew replacements will continue for the duration of the series development. It is the most lucrative IP ever I guess.
The last three Star Wars movies are one watch movies. I just wish I’d been warned that the prequels are no-watch movies. Baby Driver is as good or better than the Last Jedi. Tarantino Reservoir Dogs through Basterds is as good or better than A New Hope and Empire, and considerably better than any other Star Wars.
I don't think they're necessarily taking issue with Howard's work re: the marketing blackout, I just think that they backed the film into a corner, quality-wise, where nobody could really fully fix it in such a short amount of time. Howard is doing he very best, I'm sure, to deliver the best film he can, but I believe the damage Disney did to this film isn't something that's possible to completely fix. I should add, of course, that I sincerely hope that I'm wrong about all this, because I don't want the film to be bad by any means. It just doesn't look like it really has much of a chance given its production problems.
Baby Driver is a true one-watch movie as it's a fairly simple story told very well over the course of one film. a great time, but not a lot there for me to wonder about/chew on. TFA and TLJ are much more rewatchable for me as they're loaded with easter eggs and subtle references and even just cool bits of world in the background.
Can't understand why on earth people would want Tarantino anywhere near a Star Wars movie, or even Star Trek for that matter, no matter how much you like the guy
Dude there's no need to get all threaty; this is a fucking message board not a school yard. Your baseless threats mean nothing. I was just quoting you to show people someone was making the argument you made. It's pathetic that you feel like you're in a position where a threat on a message board means absolutely anything.
Baby Driver is a blast and I get a lot out of marveling at the technical feat in the filmmaking of that movie every time. The direction of the action and stunts, the editing and sound design, the movie is truly a miracle even if the story is simple. Plus it’s so warm and fun and funny. The Last Jedi is two and a half hours and, while very good, I wouldn’t say it’s paced super well. I don’t need to see it again. I never liked TFA.
Agreed and I hear people say similar things about directors like David Fincher and PT Anderson and how they'd like to see them direct something like a Star Wars movie and I just sigh internally.
because it might yield a better result than no name directors like Treverrow. because theyve threatened to do stuff like that you can bet some of these films are going to be helmed by inexperienced directors with no voice in the future
Tarantino is the only big name director Id throw out there because the essence of his work is even on the playing field with Star Wars. Hes concerned with spectacle and trope over narrative.
Fincher I could kind of see since he's a little more of a journeyman director. But I just want PTA to keep making his own films forever.
I don't know what you're talking about regarding threats, and anyway like I said I'm not playing your game anymore, so whatever you have to do, block me or whatever, just leave me out of it.
Tarantino is absolutely concerned with narrative. I'm not sure how one could watch Pulp Fiction, Jackie Brown, or Inglourious Basterds and come away thinking otherwise. Even Django and Hateful Eight, think what you will of them, are character driven, narrative pieces. The Hateful Eight and Reservoir Dogs are both nearly entirely set in one room, the "spectacle" if anything being the narrative itself.
hes more concerned with trope. which is what I wrote. his tongue is planted firmly in cheek across his entire filmography.
If anything, I'd classify his films as being exercises in "dialogue-as-spectacle." Arguably the greatest thing he ever shot is a conversation between a farmer and a Nazi sitting at a table drinking milk.
I wouldn't say he's concerned with it at the expense of or "over" narrative, still. I can see that criticism more in his later work, which I'd attribute largely to losing Sally Menke.