DarthDementous

Oh wow, that's quite tasteful and also a great track. Bodes well for his ability to adopt other's musical styles
This track is really nice, I've been checking out a bunch of random stuff from his repertoire and I've pretty much liked all of them. Very excited to see what he does with Star Wars

Oh this is quite John Williams-y (or more accurately his influences!
 

Yavar
 

Ya can't say that and then not post the track

A Star Wars-related wang is perfectly capable of popping up repeatedly, if Mattris' constant reappearances in the Disenchantment thread are anything to go by. 

It's definitely an interesting pick. I certainly appreciated how varied Nope was in its sound, even if the standout track was one that he'd already written years prior:
 
 
 

This is the only other Star Wars project I have hope for
 
Leslye is a big EU fan, so I hope she’s able to channel a lot of the pre-Prequel novels like the Bane Trilogy and Plagueis

Something nearly went very wrong with that scene, leading to a real-life 'Doctor saves companion' moment - 

'The water-tank booby trap Ace is trapped in wound up cracking under the water pressure  and very nearly electrocuted her. She was only saved by the fact that Sylvester McCoy noticed, swore briefly so that no one thought he was ad-libbing and yelled for the effects team to get her out. It later turned out that the tank's glass had not been made thick enough by the supplier from outside the BBC. The whole incident was filmed and later used in a BBC studio safety film. The footage was also used in a short documentary which can be found on the DVD release of this story.' 

Diego Luna on Season 2:
 
Today is the last day of filming Andor. I could not be more thankful to the entire crew for this amazing experience and the years of hard work. More than 700 people have worked on this production, and it is impossible to say goodbye and thank you to everyone individually, which is why I write here. THANK YOU for the love and the wonderful experience. See you soon.
 
https://www.instagram.com/p/C3I3Y4WLbaE/

I also think good drama and art should be thought of in terms of religiosity.
 
But I still take it as an aesthetic experience: its something you experience, and sort of washes over you. Its not a puzzle to be mechanically worked out: what Mattris is doing is essentially what the rabid Kubrickians do, dialed up to a million.

I think the one being aggressive is you though... But what do I know.

How can it simultaneously be so fun and so irritating to read one person's posts? 

Friendly reminder: personal attacks are not allowed on JWFan.  If you have no interest in the subject matter discussed in this thread, you can simply close the thread and read another one instead of replying here.

Except it's not. It's a children's story meant for 20 year olds. Lucas didn't make Star Wars for his kids or even his kids to be. He made it for him because he thought this stuff was crazy fun. See also Lost Ark, Raiders of the.
 
This has many advantages, not the least of which being that it means it has appeal to 10 year olds and 40 year olds.
 
As has been gone over a lot (A LOT) this was Star Wars. Then Empire was different for lots of reasons. Then Jedi was more different for lots of other reasons. Then by the time of the prequels Lucas had been drinking his own Kool Aid for a good long while.

Not to take away from the Mattris Comedy HourTM but I do think there's a wee bit more to it than that. Yes, Star Wars is a kids' movie, but I always felt like that was truer of the original film in isolation than of the series as a whole. Certainly, the kind of dilemmata conjured up by The Empire Strikes Back and Retun of the Jedi about the conflict between family ties and "political" allegiance - and what the choices of the father reflect upon the son - hardly passes for a life-lesson for twelve-year olds. Greek tragedy - a-la Revenge of the Sith - is again not exactly the stuff of children's films.
 
And the fact of the matter, even though Star Wars' main demographic IS unquestionably kids, it HAD been watched and enjoyed - and continues to be - by adults. That itself shows that there's a little bit - just a little bit - in it that goes beyond "message for daydreaming 12-year-olds."
 
Mind you, the whole "its for 12 and 10 year olds" rhetoric didn't surface until after Lucas read Bettelheim's column, by which point Star Wars was already almost entirely written, designed and to some extent even storyboarded. So, while its not too far off-base, it IS something of an affectation: earlier on, Lucas pegged the demographis as more in the direction of 14 and 15 year olds.
 
Okay, enough with the cerebral stuff, lets get back to Mattris Comedy HourTM

Its also a different format. The "rhyming" idea is that Episode I most closely resembles the original (it better, being that its based on one of its early drafts), Episode II resembles Episode V, and Episode III resembles Episode VI. And, as you say, its in the broadstrokes, not something that controls the specifics of the each entry. "Ring" theory suggests that Episode I corresponds, rather, with Episode IV, and Episode III corresponds with the original.
 
And, most importantly, how any of it makes any of the films or the series any more enjoyable is beyond me.
 
 

Well if that's your point then you're just flat out wrong that Star Wars has always had haphazard continuity. From the release of Heir to the Empire to The Clone Wars movie the continuity within the expanded universe was a huge consideration and meticulously handled. Any contradictions that arose would actually be addressed and 90% of the time resolved in future media or from members of the Lucasfilm Story Group themselves who took great time and care to respond to fan concerns. The amount of interconnectivity was also insane, you'd be reading a comic set in the Clone Wars and it would be simultaneously referencing events from the Knights of the Old Republic comics, as well as setting up elements for the Thrawn Trilogy which doesn't occur until post-ROTJ

Now, when I say 'to The Clone Wars movie' I don't mean that they just stopped giving a shit about continuity after it came out, but rather the Lucasfilm Story Group faced some extreme continuity challenges. Your favorite person Chen, George Lucas, had allowed people to flesh out the area between the Prequel movies quite significantly on the stipulation that he wasn't going to touch it. However, in the mid 2000s he changed his mind and put together The Clone Wars which completely bull-dozed through the existing expanded universe to the point the story group had to come up with a band-aid fix known as 'T canon' which elevated TCW above all the rest of the expanded universe. Unfortunately, while this means that TCW could continue unfettered by any restraints to what was previously established in the era, other EU stories had to bend over backwards to blend the old stories with Lucas' and it became pretty messy. The interconnectivity remained however, and some of the best expanded universe works came out post-2007 so it wasn't a complete write-off

Come post the 2013 Disney buy-out and everything is erased except TCW. Theoretically, with this clean slate, continuity should be easier than ever to maintain but the values of the Lucasfilm Story Group shifted significantly and no longer was there the same attention to detail in the pre-Disney expanded universe. However, a bizarre paradox arose where they had the ambition to have everything that was created, be it video game or novel, from now on to be on the same level of canon as the movies. This ultimately proved to be an utter disaster and fell into the MCU trap of alienating the general audience by having events in movies heavily rely on expanded material to understand

So, from my point of view when I look at the absolute disastrous state of Star Wars these days I can't help but partly attribute it to de-prioritization of continuity. I also can't help but notice how unbelievably solid it was pre-Disney when that was a greater concern, and how it lead to richer stories and a far more cohesive-feeling universe that also managed to not feel homogenous

That is why I do not tolerate the idea that Star Wars should just continue on the death-march it's currently on because 'that's what it did in the past', because not only is that not entirely correct but it's the kind of attitude that breeds stagnation

Gordy Haab is a bit of an uninspired choice. It'll sound like Williams but won't really be elevated beyond pastiche at least based on his past solo work.

I don't buy Ring Theory. Especially with the way Schilkeman tried to explain it by having all these different ridiculously convoluted caveats whenever it didn't fit the pattern, it smacks of confirmation bias and bending the movies over backwards to fit in that narrow perspective. It's especially telling how varying amounts of vagueness the comparative texts can be, stripped back just enough so it can superficially resemble whilst ignoring the wildly different contexts and details.

I believe that there's intentional rhyming, I do not believe that it's as rigorous or fixed of a structure as Ring Theory makes it out to be.

Gordy Haab is a bit of an uninspired choice. It'll sound like Williams but won't really be elevated beyond pastiche at least based on his past solo work.

Did a very rough rip of the introduction (beginning with TH’s introduction before the trailer). A friend of mine noticed that the Flight To Venice fanfare part made it in. (It’s at the very end)
RPReplay_Final1705721379 [music].mp3

Not to mention conveniently easy for some to either forget or simply never acknowledge the few times when it does manage to be successful in any capacity (which is admittedly reasonable if you're someone above a certain age threshold).
 
Or, rather unfortunately in the case of Steven Universe and Owl House (which is a proper Disney property), they get hastily concluded once they reach the point they push things far enough that the company simply can't sell them to every foreign market anymore. SW only has to deal with background lesbian kisses they edit out in China, so something like this would be an easy thing to miss.
 
There absolutely is truth to Disney using minorites purely for profit, and it definitely is right to be cynical about the ways in which they decide to use them. The issue for me is that it can get so muddled in trying to find things to blame for the sterilization of modern media that some tend to get inclined to blame certain demographics even existing at all for why a thing went bad, which I find gets a bit too close to that territory at times in the discussion (while acknowledging that phrasing + my own reading comprehension can often get in the way here).

I hesitated to mention Lucas because I know little about THX, so there could've been a possibility that it was only a sample of the sort of sci-fi George would've liked to have worked on (which I guess it wasn't).
 
 
Jenkins is another great example of someone who really didn't show much indication of being able to tackle a superhero movie prior to WW. And yet this is one instance where her limitations likely ended up being on display, given the sequel lacked a lot of the input from Snyder and DC/WB to shape the movie like she had with the first one. This led to action that was generally considered much weaker (since it apparently had a different second unit that hadn't worked on ZS productions prior), and a story rife with questionable choices and some seriously unfortunate implications (a couple of which make you question its attitude regarding men). So it's really up in the air over how she might've worked with Lucasfilm, had the project gone forward.
 
 
It's incredible how much one line ("no one should care") is one in which two people agree with, and yet for vastly different reasons.
 
We lived (and for some still live) in a time when because certain groups have had it harder in life that, for decades, their opportunities were much scarcer as a result. To be on big budget projects like these would be a huge accomplishment for anyone, let alone those who had to work harder to get to the position they have (or at least are grateful it's reached a point where they can be considered just as qualified as everyone else). It's a few ways off, but we're getting closer to the point where it won't be a roadblock for you to do what you love because of how your identity is perceived.
 
So it pisses me off when people suggest that the hiring of diverse talent is purely so an ideology can be pushed onto the masses, since I'll be perfectly blunt: what ideology? Because so far, there's really little in the way of consistency in terms of what nu SW has presented in its sociopolitical messaging. There's certainly things you could read into the movies as a result of what it does decide to push (which is just have more people that aren't white males), but what the hell is an audience divorced from online discourse going to actually think? "Too derivative, too subversive, too hackneyed" is what you heard them say with the ST, and are probably what they'll continue to think about them for the time being.
 
Oh, but those whose news headlines that are only about how x director is all about smashing the patriarchy? Yeah, get back to me when it's Lucasfilm themselves highlighting those facts, and how they'll incorporate them. Last I checked, James Cameron going on about how testosterone is a toxin that men should purge from their bodies didn't end up informing the content of Avatar 2. I am aware we had things like "the force is female," but did that actually go further than a T-shirt someone wore?
 
Look, is Disney really bad about incorporating these things? Absolutely. Should I blame the hired creatives for it? I wouldn't be entirely certain, since we often never really know what happens behind the scenes for these projects. I'd just rather look at the positives, since ultimately this is all stuff future filmmakers will learn from going forward.
 
 
I really don't understand this line of thinking, since the only real examples I've seen of them being toxic against the fan base is in the times when they've had to stand up to actors getting harassed on social media. Hell, if anything, they seem too committed to staying within a cycle of incredibly safe fan pandering with how they've treated legacy characters and certain concepts/stories post the ST.
 
The Rise of Skywalker is even more of an enigma then if the intent wasn't to please every possible vector of the fan base after its predecessor allegedly killed cinema. Is there passive aggressiveness in what LF made afterwards that I'm missing here?
 
 
 
I think within here lies the more prominent reasons for Lucasfilm struggling so much, since they seem so willing to flip the switch the moment a person they want to work with suddenly has one dud, which should really suggest a serious lack of proper vision for the company. Sure, they have had a tighter grip on a lot overtime, but to what real end that isn't more tired fanservice and half baked stories/filmmaking?
 
Kevin Feige had worked on enough Marvel movies prior to the MCU to get a real good feel for what they should be going forward. Kathleen Kennedy simply was a producer and associate on several Spielberg pictures. Two very different backgrounds that serve to fundamentally show why the latter struggles so much. She simply has stretched herself too thin trying to be a proper creative force for so many projects, when her expertise lied in basically letting a friend do whatever he wants.
 
If anything, it makes The Last Jedi more tragic, since it essentially was the closest any of these got to matching her filmmaking experiences prior to being at Lucasfilm. Trust seems to have completely evaporated for Kathleen Kennedy.

Yes, all the evidence is Lucas was pretty hands-on on Return of the Jedi. But I think this description is exaggerated: if the film was really directed-from-the-back-seat by Lucas (which Marquand, as well as his DP, denied), it would have a more Lucas-like sensibility than it does. Lucas still needed a competent director who knew how to work with actors, and how to block a scene and edit a movie.

Even within SW: who the fuck was Richard Marquand before RotJ? All I know about him is being one of the first to do a Beatles biopic, and that's really it. Hell, while I admire him as a filmmaker, Rian Johnson didn't really have much showing he could do as something as grand as SW, even if he had tackled sci-fi beforehand.
 
The point I'm trying to make here is that you never quite know who might be qualified to do a project until you give them the reigns. The real issue is that Lucasfilm (and by extension much of Disney) seem to have jumped into this particular tactic too much, since we are seeing the natural limitations of such a concept within a couple of their works (Obi-Wan being a particular example). Hell, even well established directors like Robert Rodriguez and Guy Ritchie have had their style sucked out of them when working within the system, so really the real issue lies somewhere else.