Posts Tagged ‘George Lucas’
The Boiled Leather Audio Hour Episode 69! (nice)
December 19, 2017Sean. Stefan. Star Wars. ’Nuff said! Discover why Sean rates The Last Jedi as his least favorite Star Wars movie and learn what Stefan thinks it has in its favor as we go in-depth about Rian Johnson’s peculiarly divisive film in our longest episode ever!
Additional links:
Our Patreon page at patreon.com/boiledleatheraudiohour.
Our PayPal donation page (also accessible via boiledleather.com).
‘Star Wars: The Last Jedi’: Breaking Down the New Trailer
October 10, 2017The Last Jedi occupies the equivalent position in this new trilogy of The Empire Strikes Back, one of the most resolutely downbeat blockbusters ever released. Rian Johnson is no stranger to that bleak emotional palette – the man directed Breaking Bad‘s devastating final-season episode “Ozymandias.” When you add these hints at a heel turn from Rey with those grim fourth-wall-breaking shots of Carrie Fisher’s warrior princess on the verge of death, at the hands of her own son no less, the Dark Side is strong with the result.
Still, this is Star Wars Episode IX, not The Godfather Part II. The new AT-ATs, lightsaber, and little furry cute thing are all in keeping with the franchise’s fun side. Meanwhile, the Finn/Phasma fight and the Falcon flight remind us that from A New Hope‘s Death Star attack run to The Phantom Menace‘s “Duel of the Fates” to Rogue One‘s suicide-squad beach battle, this saga has always blended sci-fi/fantasy with rock-solid action filmmaking.
I wrote about the new Star Wars: The Last Jedi trailer for Rolling Stone.
The Boiled Leather Audio Hour Episode 58!
January 27, 2017Rogue One: A Star Wars Podcast
Rebellions are built on hope, and this episode of the Boiled Leather Audio Hour is built on Rogue One: A Star Wars Story! Stefan and Sean continue their exploration of that galaxy far, far away with a look at Gareth Edwards’s stand-alone contribution to the Star Wars cinematic universe. How does it stack up against The Force Awakens? What’s the impact of its countless cameos and Easter eggs on the one hand and its unprecedented-for-the-franchise story structure on the other? How do we feel about Edwards’s handling of action, character, setting, performance, and the all important “toyetic” factor? Hit play and find out!
And remember, if you like what you hear, subscribe to our Patreon to hear more of it via our subscriber-exclusive Boiled Leather Audio Moment mini-podcast!
Our BLAH episode on the prequel trilogy.
Our BLAH episode on The Force Awakens.
Sean’s article comparing Rogue One to TFA for Rolling Stone.
Sean’s list of the 57 Greatest Star Wars moments for Vulture.
Our Patreon page at patreon.com/boiledleatheraudiohour.
Our PayPal donation page (also accessible via boiledleather.com).
The Boiled Leather Audio Hour Episode 57!
December 31, 2016A Long Time Ago: The Star Wars Prequel Trilogy
This New Year’s Eve, ring in the coming year the old-fashioned way: Listen to Sean and Stefan talk about George Lucas’s Star Wars prequel trilogy for 80 minutes! For the final BLAH of 2016, we’re tackling one of our most frequently requested topics and going long on Episodes I, II, and III of the blockbuster franchise: 1999’s The Phantom Menace, 2002’s Attack of the Clones, and 2005’s Revenge of the Sith. An all but universally accepted punching bag for much of the decade since it brought the curtain down on the early adventures of Obi-Wan Kenobi, Anakin Skywalker et al, the prequel trilogy has seen something of a change of critical fortune at since dawn of the Disney era and its crowd-pleasing kick-off The Force Awakens. With another prequel, Rogue One, now in theaters (though Stefan hasn’t seen it, so shhhhh no spoilers), we thought it would be the perfect time to discuss Lucas’s uneven but ambitious auteurist prequel saga in depth, movie by movie. Are they the Fall of the Republic–level disasters they’re made out to be, or do they have an artistic Force worth reckoning with? Listen in and find out!
PLUS! With this episode of BLAH, our 14th this year, we’re pleased to announce the start of a new series of subscriber-only mini-episodes beginning this January! For the low low price of a monthly $1 contribution to the Boiled Leather Audio Hour Patreon, you’ll receive exclusive monthly podcasts focused squarely on A Song of Ice and Fire (with a bit of Game of Thrones mixed in, we suspect, but mostly the books) and derived from listener questions. It’s our way of saying thank you to those of you who’ve subscribed this year and thus made recording these so much easier for us—and, we hope, a tempting offer for those of you who haven’t yet taken the plunge. Visit our Patreon page, pitch in, and get in on the ground floor! And now back to your regularly scheduled BLAH. Happy Holidays!
Additional links:
Jesse Hassenger’s essay on the prequels for the AV Club.
Roderick Heath’s essay on the prequels for Ferdy on Films.
Sean’s list of the 57 Greatest Star Wars Moments for Vulture (warning: Rogue One spoilers).
Our BLAH episode on The Force Awakens.
Our Patreon page at patreon.com/boiledleatheraudiohour.
Our PayPal donation page (also accessible via boiledleather.com).
Carrie Fisher’s 10 Greatest ‘Star Wars’ Moments
December 27, 2016“This is our most desperate hour.” If you have to sum up the mood of the moment, look no further than the words of Princess Leia herself. In her most famous performance – one in which she’d anchor the first three films in the blockbuster Star Wars series, than reprise to rapturous acclaim decades later in The Force Awakens – Carrie Fisher embodied hope in the face of seemingly insurmountable odds. Whether she was playing it cool in one of Leia’s more regal moments, slinging insults and shooting stormtroopers as a Rebel leader or chronicling her real-life battles with addiction and mental illness in her fearlessly funny writing, Fisher was one of film’s great heroines, on screen and off. The 10 moments below are our tribute to the great woman’s greatest creation. We loved her; she knew.
On Christmas, before I found out about George Michael’s death and before Carrie Fisher died, I was already telling my cousins about the week a few years ago when The Sopranos’ James Gandolfini, muckraking young journalist Michael Hastings, and Fantagraphics co-founder Kim Thompson all died; 2016, I said, was that week stretched out over a year. And it wasn’t even done with us yet.
Why ‘Rogue One’ Is a Better ‘Star Wars’ Movie Than ‘The Force Awakens’
December 20, 2016Think back to Force‘s major settings and story beats. The three planets on which the bulk of the action take place – Jakku, Takodana and Starkiller Base – evoke the desert, forest, and arctic landscapes of the original trilogy’s Tattooine, Endor and Hoth, respectively. The story centers on a young adult stranded in a sandy world, awakening to their Force-dictated potential in the face of opposition from a black-masked wielder of the Dark Side, with Rey and Kylo Ren taking the place of Luke Skywalker and Darth Vader. Tentacled menaces threaten our heroes, with Han Solo’s captured Rathtars standing in for A New Hope‘s dianoga and Return of the Jedi‘s Sarlacc. Dangerous dogfights and narrow escapes dominate the action sequences, as they did in The Empire Strikes Back and A New Hope. Good guys attempt to blow up a superweapon by finding its secret weakness, a plot point so familiar that Solo himself cracks a joke about it. The hugely entertaining performances of relative newcomers Daisy Ridley and John Boyega, best-of-their-generation contenders Oscar Isaac and Adam Driver, and even lions-in-winter Harrison Ford and Carrie Fisher may disguise it, but in artistic terms, this is a very conservative film.
By contrast, Rogue One looks like an alien life form. No snow. No forest. Some sand, but mostly as the surroundings for Jedha, as teeming a city as the series has shown us since the prequels’ skyscraping metropolis of Coruscant. No edge-of-your-seat dogfights and “yahoo!” escape sequences – the only thing these characters escape is death, and then only briefly. There’s a tentacled monster, but it’s used as a method of “enhanced interrogation” rather than presented as an apex predator. The goal of the final fleet-on-fleet battle isn’t to destroy a superweapon, but simply to run interference so the method to destroy said superweapon can be smuggled out of storage and preserved until the time comes. Most importantly, none of the major new characters – whether they are one with the Force or in the service of its Dark Side – are men and women of destiny … because none of them, literally none of them, survive the end of the film. As far as survival and celebration are concerned, this thing makes Empire look like Jedi. It’s doing something no other Star Wars film has ever done: depicting the life and death of everyone who sacrificed so the Skywalkers, their friends and their foes could decide the fate of the galaxy.
Rogue One crammed in so much Star Wars fanservice—how did it still feel fresher than The Force Awakens? I tried to answer this question for Rolling Stone. I note in the piece that this is not to argue Rogue One is necessarily a successful film, just that it’s its own film in a way The Force Awakens isn’t.
The *57* Greatest Star Wars Moments, Ranked
December 20, 201657. Dude, where’s my theme music? (Rogue One: A Star Wars Story)
A long time ago, in a galaxy far, far away … nothing! Just a wide-vista shot of an unknown planet’s rim, a slightly off-brand variant of the first few notes of John Williams’s classic score by Lost composer Michael Giacchino, the words “ROGUE ONE,” and that’s it. Disney honchos had already indicated that director Gareth Edwards’s stand-alone “Star Wars Story” would jettison the traditional opening sequence as a way to set it apart from films set within the main saga’s trilogy framework, but hearing about it and witnessing it firsthand are two different things. After a lifetime of watching Star Wars movies, what didn’t happen in Rogue One’s opening seconds was nearly as striking as anything that did happen afteward.
I gave my list of the Greatest Star Wars Moments for Vulture a post–Rogue One update. Check it out!
The 50 Greatest Star Wars Moments, Ranked
December 16, 20164. The Yub-Nub Song (Episode VI: Return of the Jedi)
Accept no substitutions: The original Ewok song of celebration that ends the first trilogy is the only Ewok song that matters. For reasons beyond comprehension, George Lucas and John Williams replaced this charming, percussive, gibberish-based hoedown with corny pan-flute New Age–isms when Lucas re-released the trilogy decades later. But no viewing of Jedi in my house was complete without dancing around the living room to those gleeful “yub-nubs,” the xylophone made of captured Imperial helmets, and that final choral sweep into the closing theme. For me, this was Star Wars.
With Rogue One hitting theaters, I ranked the 50 greatest moments in first seven Star Wars films for Vulture. I had a lot of fun, boy oh boy.
The Boiled Leather Audio Hour Episode 43!
December 21, 2015Star Wars: The Force Awakens, or Episode Seven Kingdoms
A long time ago, in a galaxy far, far away, Sean and Stefan discuss the new Star Wars movie! Star Wars Episode VII: The Force Awakens Jedi mind tricked us into dedicating this episode of our A Song of Ice and Fire podcast to an entirely different fantasy franchise. How did the film fit in with larger saga? How did J.J. Abrams’s direction differ from George Lucas’s? Is Rey a Mary Sue, and if so, how does that impact the film? What the hell was up with Starkiller Base? We answer all these questions and more, including a discussion of the film’s cinematography, the performances of its actors, the pros and cons of the characters, and even a few connections to the world of Westeros. I’ve got a good feeling about this…
Additional links:
The 50 Best Sci-Fi Movies of the ’70s
January 14, 201518. ‘THX 1138’ (1971)
As visually and sonically stunning as anything George Lucas would later do in a galaxy far far away, his future-fascistic nightmare is a pure product of the decade’s New Hollywood renaissance, exploring sex, drugs, mind-numbing television, governmental malfeasance, and both the necessity and futility of rebellion. Robert Duvall is quietly tremendous as the movie’s equivalent of 1984‘s Winston Smith. It’s not just a film, it’s a jumping-off point for an alternate universe in which George Lucas’s body of work veers closer to Sixties cerebral sci-fi than Thirties serials.
“What’s wrong?” I contributed a couple of items to Rolling Stone’s list of the 50 Best Sci-Fi Movies of the ’70s.
On the Star Wars trailer, because someone asked
December 1, 2014I find the idea of Star Wars without George Lucas singularly unappealing, even troubling. Turning Star Wars into a depersonalized, committee-driven content factory divorced from its creator in perpetuity, like the major superhero franchises, is a tremendous regression in any number of ways. Whatever his faults, Lucas is a real filmmaker, and these were his original ideas. J.J. Abrams, by contrast, is a facilitator, a babysitter for the ideas of others —Mission: Impossible, Star Trek, Star Wars, the Spielberg gestalt (Super 8). His involvement with Lost was minimal — the germinative idea was brought to him by the network, and other than his admittedly fine work co-writing and directing the excellent pilot, 95% of that show, good bad and ugly, was Damon Lindelof and Carlton Cuse. Alias is a sexy female spy series. Honestly, his greatest claim to originality is Felicity. In other words, he is Hollywood’s first “auteur” in the mold of the countless superhero-comics writers and artists who’ve been content to labor with the tools made for them by actual visionaries decades ago, spending entire careers creating nothing new, ideal employees for a system that has wholly conflated art and product. Moreover, his visual style is capable of being parodied in its entirety with a five-second montage of a shaky-cam shot and lens flare. That he’s apparently pouring Star Wars into his bog-standard garden-variety postmillennial action-blockbuster directorial mold (shaky-cam stormtroopers) instead of adjusting for the material is crass and sad. I’m sure the movies will have entertaining moments performed by state-of-the-art special effects technicians and likeable, talented actors, and have all the soul, guts, and idiosyncracy of a superhero movie, which is to say none at all.
Also the lightsaber makes no sense. “Check out my sword. It’s extra good because it has two little swords sticking out from the hilt of the big sword, in case I need to stab someone standing immediately to my right. Or to my left, even — the possibilities are endless, really.”
Far, far away
March 15, 2013
This week on Vorpalizer I wrote about Sam Alden’s webcomic Haunter and George Lucas’s movie series The Star Wars Trilogy. Spectacle and scale are the main concerns.
