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6 minutes ago, Chen G. said:

Isn't Skull Island part of that "Cinematic Universe" (god, I hate that term) though?

 

Yes, but it didn't have Godzilla in it, unless you count his roar in the post-credits scene.

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12 hours ago, Larry O said:

Marvel not releasing anything after Endgame until 2022

 

Wouldnt that be glorious 🙂

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9 hours ago, Chen G. said:

Isn't Skull Island part of that "Cinematic Universe" (god, I hate that term) though?

 

Yes it is. 

Godzilla (2014)
Skull Island (2017)
King of the Monsters (2019)
Godzilla vs Kong (2020) 

Legendary Pictures owns Pacific Rim as well if they wanted to reboot that (I'm not sure if that's really feasible) they could probably include Jaeger's and such into further sequels. I don't think that'll happen though for multiple reasons.

Anyway, aside from both Skull Island and Godzilla sharing a shadowy secret organization dedicated to investigating monsters (Monarch) Skull Island had a post-credits scene that featured Rodan/Mothra/Ghidorah as well as the Godzilla roar. Essentially it was Legendary/WB's "Have you heard of the Avengers Initiative" stinger. 

 

Tying Godzilla and Star Wars together: I don't think Gareth Edwards has made anything since Rogue One, and was more or less removed from that picture when Gilroy came on to fix it (as he did with Godzilla). I wonder if he'll come back or if he realizes maybe he should be something other than a director. VFX supervisor, or cinematographer. Aside from Monsters (which was not a good movie at all) none of his adventures in filmmaking have ended well. Although I'd imagine jumping from making a movie for less than six figures to making GODZILLA, and then following that up with STAR WARS would warp you a little, too. 

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1 hour ago, Larry O said:

Tying Godzilla and Star Wars together: I don't think Gareth Edwards has made anything since Rogue One, and was more or less removed from that picture when Gilroy came on to fix it (as he did with Godzilla).

 

Wait, what? This is news to me. Got a link?

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30 minutes ago, The Original said:

 

Wait, what? This is news to me. Got a link?

 

"A lot has been written about the reshoots that were done on this film, and it’s rumored that Tony Gilroy came in and shot some of the new material himself. What really happened?
Tony is a great writer and he had done a few days’ work on Godzilla. We had always planned to do these pickup shoots, and in this day and age when everything has gone digital, you don’t have to be so literal about preproduction, production, and postproduction — the whole thing blurs together."

 

https://www.vulture.com/2016/12/gareth-edwards-on-rogue-one-diversity-reshoots.html

 

The extent of Gilroy's work on Godzilla really only came to the fore later, after he spilled the beans on just how much work he ended up doing on Rogue One. At the time I think it was reported as just script polish (which is how Edwards is describing it in that pre-release interview) but it was more than just rewriting some scenes. 

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Well anyhoo I reckon Edwards is very visually creative, but seems to struggle at creating compelling narratives without a lot of help from someone directing over him, so to speak.

 

It looks like KotM is going all-out Snyder inspired.

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3 hours ago, Larry O said:

none of his adventures in filmmaking have ended well

 

Edwards' Godzilla is a very good film.

 

 The human aspect rings kind of hollow, but the monster stuff is top notch.

 

2 hours ago, Larry O said:

Tony is a great writer and he had done a few days’ work on Godzilla. We had always planned to do these pickup shoots, and in this day and age when everything has gone digital, you don’t have to be so literal about preproduction, production, and postproduction — the whole thing blurs together."

 

Pickups and reshoots aren't the same thing. Reshoots denote doing something over, often to overhaul a whole portion of the narrative, root and stem, as has reportedly been done on Rogue One.

 

Pikcups are just part of honing-in on the cut as it comes together while editing. No matter how thorough you are in principal photography, you'll always find that you're missing a reaction shot here, a line there, etcetra.

 

Plus, he's talking about a few days of pickups. I doubt it was anything substantial, and at such a capacity its only logical for Edwards to entrust those shots to a second-unit director while he focuses on the edit and the effects.

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I think it has plenty of humanity. It's just uncooked and awkwardly arranged.

 

It's main offence is that its title character feels like a cameo in his own movie - he doesn't drive the story at all and it often feels like the characters have forgotten about him. It's really frustrating.

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2 minutes ago, The Original said:

t's main offence is that its title character feels like a cameo in his own movie

 

I'll never understand that argument. All great movie monsters are delivered in moderation. It makes their actual appearances stand out more.

 

I was actually surprised that we got to see Godzilla's features during the Hawaii sequence. I fully expected not seeing his face until the finale.

 

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Just now, Chen G. said:

 

I'll never understand that argument. All great movie monsters are delivered in moderation. It makes their actual appearances stand out more.

 

I was actually surprised that we got to see Godzilla's features during the Hawaii sequence. I fully expected not seeing his face until the finale.

 

You don't get what I mean. Even when he's offscreen, he's barely even spoken about. Forget about his actual screentime, he lacks presence in the film, as if it was made from an earlier script for an unrelated film that featured only the MUTOs and they rushed to slot him in key spots. It's an awkward script.

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Ah, I see what you mean.

 

When the movie starts out, it definitely spends more time estabilishing the MUTOs rather than Godzilla. But that only makes his appearance in Hawaii more dramatic, and after that showstopper, the film hardly needs to do much to maintain his presence.

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17 minutes ago, Chen G. said:

 

Edwards' Godzilla is a very good film.

 

The human aspect rings kind of hollow, but the monster stuff is top notch.

 

 

I wasn't speaking to the quality of the film (I think it got a bum rap for the most part, it's in the upper tier of the Godzilla filmography easily, and is better than "Shin Godzilla" despite that movie almost uniformly being used to denigrate Edwards' film) but the fact the project itself was troubled and while it was good and profitable enough to catch Kathleen Kennedy's eye, the overall feeling is that he didn't really bring the project in the way anyone involved wanted, hence Gilroy being paid to fix it in post. 

 

Quote

 

Pickups and reshoots aren't the same thing. Reshoots denote doing something over, often to overhaul a whole portion of the narrative, root and stem, as has reportedly been done on Rogue One.

 

Pikcups are just part of honing-in on the cut as it comes together while editing. No matter how thorough you are in principal photography, you'll always find that you're missing a reaction shot here, a line there, etcetra.

 

Plus, he's talking about a few days of pickups. I doubt it was anything substantial, and at such a capacity its only logical for Edwards to entrust those shots to a second-unit director while he focuses on the edit and the effects.

 

 

What I'm saying is that Edwards was obfuscating as to the depth of what Gilroy helped him with, much like he did on Rogue One (see how he's calling what was happening on Rogue One "pickups" when it later came out it was full-blown reshoots, and Gilroy was doing most of it himself). Basically, both of Edwards' big budget forays had to be bailed out by Tony Gilroy at a not-too-small financial expenditure. The reason Kennedy even knew to go get Gilroy to fix Rogue One was due to the precedent of Gilroy's having done that same thing once before. 

Edwards was PR-finessing the story of how both Rogue One and Godzilla got finished in those interviews, and Gilroy came out later and basically laid it all out in that linked podcast. 

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8 minutes ago, Chen G. said:

Ah, I see what you mean.

 

When the movie starts out, it definitely spends more time estabilishing the MUTOs rather than Godzilla. But that only makes his appearance in Hawaii more dramatic, and after that showstopper, the film hardly needs to do much to maintain his presence.

 

I disagree. I really think it should have made more effort to acknowledge him, instead it feels like he doesn't exist outside the scenes that he's in. Compare that to Alien and Jaws where the monsters aren't actually visible on screen all that much, but the scripts are written in a way that acknowledge their presence, their looming threat and what to do about it. Godzilla 2014 lacks any of that, but of course in that film's case, they could've written more dialogue about how important he is, what are his intentions, and is he a threat to humanity or a benevolent force if he defeats the MUTOs?

 

Fortunately the promotional material for KotM suggests that much of these scripting problems have been fixed.

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Here's a nice lengthy oral history of the making of The Phantom Menace and its aftermath.  No mention of Williams or the music generally, but it includes good new interviews with a lot of people involved with the movie - George Lucas, Ben Burtt, people from ILM, people from the art department, the costume designer.  Only cast member is Ahmed Best.

 

https://www.starwars.com/news/star-wars-episode-i-the-phantom-menace-oral-history

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2 hours ago, SteveMc said:

Well, I think she is looking quite well.

 

Thirty-five years ago, she'd be cast as the "ingenue", in Merchant Ivory films, and poor HBC wouldn't have gotten a look-in.

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Was Alec Guinness right about Star Wars and its sad geek following?

 

Sir Alec seemed to believe in George Lucas. He criticized the dialogue of Star Wars, but then so did everyone else and yet the movies are massively quotable. Go figure. Anyway, Alec was an actor who starred in serious films. His appearance in Star Wars would seem baffling as it's clearly a fairy tale popcorn movie for children. But I think this appealed to him for some reason. He even complimented the movie.

 

Then came the aftermath. Legions of nerds obsessively watching the movies over and over again. His face on dolls, coloring books and bedsheets. He would never be associated with anything else on the level of Star Wars. He also loathed the effect it had on culture. Everybody loved Star Wars, so there was a push for more Star Warsian popcorn fare.

 

Alec didn't want to be remembered as Obi-Wan. He didn't want to give some kid an autograph after he'd seen Star Wars a million times. I don't blame him.

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1 hour ago, Disco Stu said:

When it's that close, why not just use the original cantina music?

 

Royalties I guess. It's probably way cheaper to pay some young composer a flat fee for a knock-off version, than to pay Williams royalties every time his version is played in a theme park (literally thousands of times a year, forever).

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15 minutes ago, crumbs said:

 

Royalties I guess. It's probably way cheaper to pay some young composer a flat fee for a knock-off version, than to pay Williams royalties every time his version is played in a theme park (literally thousands of times a year, forever).

 

Could that be the reason his main Galaxy's Edge is apparently not heard much in the actual park?  But then again, doesn't Giacchino's Married Life play on a loop at one of the Disneyland areas?  I imagine that wouldn't be cheap either.

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