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Wait. If he takes off his helmet, he's no longer a Mandalorian and has to go back to the waterfall on the irradiated planet again.
Star Wars Griefing Thread (SPOILERS) - Safety off
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No, that was Embo, another TCW character from Cad Bane's posse.
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I haven't seen this pop up in the thread, but some outfit (Edit to add: the company the made "The Toys That Made Us") interviewed Marcia Lucas for a documentary, and they posted the full three hour interview here:
I'm still going through it but it is interesting. The interviewer seems to kinda suck, but I opted to have an AI summarize for me:
I'm still going through it but it is interesting. The interviewer seems to kinda suck, but I opted to have an AI summarize for me:
Summary of Marcia Lucas Interview: "Marcia Lucas Finally Speaks Out | Icons Unearthed: Unplugged (FULL INTERVIEW)"
This nearly three-hour interview (from the YouTube video) features Marcia Lucas, an Oscar-winning film editor (for Star Wars: A New Hope), in a candid, unplugged conversation with the host. Now retired and living in Hawaii, Marcia reflects on her career, personal life, and pivotal role in shaping iconic films, particularly the original Star Wars trilogy. The discussion is informal, blending professional anecdotes, behind-the-scenes insights, and emotional reflections on her marriage to George Lucas, their divorce, and family. Below is a structured summary of the key sections and themes.
1. Early Life and Career Beginnings
Marcia introduces herself as a retired film editor who started in the industry without formal training. Raised as a latchkey kid by a single working mother in modest circumstances, she was drawn to editing for financial security (editors earned significantly more than assistants). She began in a non-union film library, moved to unionized TV commercials as an assistant editor, and learned the craft through long hours and hands-on work.
She loved the thrill of cutting scenes, even in commercials, and credits watching old movies on TV (e.g., Errol Flynn swashbucklers, Doris Day comedies) as her informal education in storytelling, performance, and timing.
What made her a great editor: Hard work climbing the ladder (from librarian to apprentice to assistant), innate understanding of structure, authenticity in performances, scene transitions, and avoiding audience confusion. She emphasizes films as storytelling with clear beginnings, middles, and ends.
2. Meeting George Lucas and Key Filmmakers
Marcia met George while working on a U.S. Information Agency documentary about Lyndon Johnson's Southeast Asia trip, supervised by editor Verna Fields. George, a USC film student, was brought in to log footage and later edit scenes; Marcia became his assistant. They bonded over shared passion for filmmaking and didn't date until after the project.
They attended student film festivals where they met Martin Scorsese (showing his student films). The era's energy was one of adventure and excitement among young "filmmakers" (a term emphasizing auteur control over being "hired guns" for studios). Friends like Francis Ford Coppola, Brian De Palma, and others shared a dream of independent filmmaking.
Early collaborations: Assisted on Coppola's The Rain People (her first feature), Haskell Wexler's Medium Cool, and a 16mm documentary that earned an Oscar nomination (her first credit as "Marsha Lucas" after marrying George).
3. Key Films and Editing Contributions (Pre-Star Wars)
American Graffiti (1973): Initially an assistant, Marcia took over editing when the original editor left. She restructured the film from disjointed character vignettes into cohesive scenes with beginnings, middles, and ends, making it flow better. George initially resisted but agreed after seeing her one-day restructure; the film became a hit, earning her an Oscar nomination (shared with Verna Fields).
Worked with Scorsese on Alice Doesn't Live Here Anymore (1974), commuting from Northern California to Warner Bros. in L.A. She loved Scorsese's humor and energy; Ellen Burstyn won an Oscar for Best Actress.
The Candidate (assisted while George wrote American Graffiti).
General philosophy: Focus on story, performances, and transitions (e.g., avoiding confusing cuts like close-up to close-up). She drew from commercial experience, using wipes for scene changes (later applied to Star Wars).
4. Star Wars Trilogy: Her Role and Insights
George was inspired by 2001: A Space Odyssey to make realistic space films. After American Graffiti's success, he sold Star Wars (1977) to 20th Century Fox. Marcia wasn't initially editing (focusing on starting a family) but joined post-production.
A New Hope: Credited editor; suggested wipes for transitions (inspired by commercials) over dissolves or fades to black. Edited key scenes like Obi-Wan's death (making it emotional with pauses). Focused on clarity to avoid confusing audiences ("Confuse them, you lose them"). Won an Oscar for editing (with Paul Hirsch and Richard Chew).
The Empire Strikes Back (1980): Uncredited contributions; helped with emotional beats.
Return of the Jedi (1983): Uncredited but significant input. Self-dubbed "Queen of Death" for editing Vader's death (adding pregnant pauses for emotion), the Emperor's death (suggested a nuclear explosion for impact, as he's the "emperor of the universe"), and enhancements like electrocuting R2-D2 by Jawas. Milked tension in the Emperor's attack on Luke to build suspense. Critiques the film as uneven, partly due to editor Sean Barton's inexperience and George's heavy involvement.
Overall: Emphasizes teamwork in editing; she enhanced emotional depth, structure, and visual effects (e.g., ILM additions based on her ideas). Notes George's discomfort directing large crews and preference for technical work like ILM or building (e.g., Skywalker Ranch).
5. Personal Life, Divorce, and Post-Star Wars Reflections
Married George in 1969; they adopted daughter Amanda (born 1981) during Empire. Marcia gave up editing to focus on motherhood, commuting less and prioritizing family over career.
Divorce (1983, post-Jedi): Emotional end of an era; George stopped directing Star Wars films, unhappy with the process (preferred cinematography or documentaries). She felt sad leaving editing but valued raising Amanda. Notes George's happiest moments were building (e.g., ranch, museum) rather than directing.
George's sale of Lucasfilm to Disney (2012): Saddened her, as George vowed never to sell his company (tied to his father's small-business legacy and their clashes).
Legacy: Loves editing passionately but prioritizes family ("Movies come and go; children are the magic in life"). Adopted children are as cherished as biological ones. Reflects on the 1970s as a transitional era for young filmmakers from film schools.
Message to Star Wars fans: "You guys know what makes a good movie. When they're great, they're great, and you know it when you see it."
Overall Tone and Themes
The interview is warm, nostalgic, and occasionally emotional (e.g., tears over personal stories). Marcia comes across as humble, talented, and insightful, crediting collaboration while highlighting her intuitive contributions to storytelling. She critiques modern films for confusion and lack of emotion, contrasting them with classics. No major revelations about sequels/prequels, but she expresses mild disappointment in some later Star Wars elements (e.g., Jar Jar Binks, lack of heart in prequels). The conversation underscores the human side of Hollywood icons, blending professional triumphs with personal sacrifices.
Specifics on the prequels and sequels
Marcia Lucas's Views on the Later Star Wars Films
In the interview, Marcia Lucas (Oscar-winning editor for Star Wars: A New Hope and uncredited contributor to The Empire Strikes Back and Return of the Jedi) offers candid, often critical, insights into the Star Wars franchise beyond the original trilogy. She speaks from a place of deep personal and professional investment, having been married to George Lucas during the creation of the originals and witnessing the saga's evolution. Her comments on the prequels (Episodes I-III) and Disney's sequels (Episodes VII-IX) are interspersed throughout the conversation, often tied to themes of storytelling, emotional depth, character authenticity, and George's original vision. She doesn't hold back on her disappointments, emphasizing what she sees as a loss of "heart" and narrative coherence in the later films.
To provide depth, I'll break this down by era (prequels vs. Disney sequels), drawing directly from her quotes and context in the transcript. Note that her critiques are subjective, rooted in her editing philosophy (e.g., clear storytelling, emotional pauses, avoiding audience confusion) and her insider perspective. She contrasts these films unfavorably with the originals, which she helped shape through structural edits, emotional enhancements, and suggestions like scene transitions (wipes) and visual effects.
1. The Prequels (Episodes I-III: The Phantom Menace, Attack of the Clones, Revenge of the Sith)
Marcia expresses strong dislike for the prequels, viewing them as a departure from the magic of the originals. She attributes their financial success more to hype and nostalgia than quality, and she pinpoints specific flaws in character design, dialogue, story, and overall execution. Her comments suggest the prequels lacked the collaborative polish she provided on the originals, where she restructured scenes for better flow and emotional impact.
Overall Assessment: Lack of Heart, Junk Story, and Terrible Dialogue
Marcia bluntly states: "I'm not crazy about the prequels... But I think those prequels, I don't care for the sequels because there... The prequels? What's wrong with the prequels?"
She elaborates that the story is "junk" and the dialogue is "awful." In her view, the films feel contrived and lack the authentic, character-driven storytelling of the originals. She ties this to George's solo approach: "George wrote and directed those... He wasn't happy when he was making those films... He liked being in ILM [Industrial Light & Magic] a lot better than being on a set."
Context: During the originals, Marcia was a key collaborator, advocating for emotional beats (e.g., "pregnant pauses" in death scenes) and restructuring (like in American Graffiti, which influenced A New Hope). She implies the prequels suffered without such input, resulting in flat narratives. She notes George's inspiration from old serials and 2001: A Space Odyssey worked in the originals but faltered here.
Specific Critique: Jar Jar Binks as a Symbol of Failure
Jar Jar is a recurring punching bag: "Jar Jar Binks... Oh, Jar Jar Binks... The one with Jar Jar... And I was told that the kids named Jar Jar... If I gave you Phantom Menace and not a... Phantom Menace is... The one with the prequel."
She calls him "awful" and "stupid," questioning his appeal: "Jar Jar Binks is the worst character ever... He's just awful." She recounts attending early screenings of The Phantom Menace (the first prequel) and feeling disappointed: "Screenings of the one, the first prequel... Phantom Menace... Would see with Phantom Menace it's the... I knew it was a sequel, you know."
Deeper Insight: Marcia sees Jar Jar as emblematic of tonal missteps—aiming for kid-friendly humor but landing on annoyance. She contrasts this with the originals' balanced appeal: adventure for kids, depth for adults. She mentions the hype machine: "The prequels only made money because of the hype... Everybody was waiting for the next Star Wars movie." This echoes her broader editing ethos: characters must feel real and serve the story, not just fill space.
George's Role and the Prequels' Production
She discusses George's mindset: "Working on the prequels... Re-releases to make the prequels... Happening in the prequels?"
Marcia notes George always planned more films but exaggerated having full scripts ready: "He told everybody he had sequels, that he'd written sequels... But he told everybody he had sequels... George said, I got the sequel... Now I'm working on the sequel."
She humanizes George, saying he was exhausted post-originals and preferred technical work (e.g., building Skywalker Ranch) over directing. The prequels, made years later (1999-2005), reflect his burnout: "He wasn't happy... His first love would have been cinematography... He would have been a brilliant documentary filmmaker."
Personal Angle: The prequels coincided with their post-divorce era (they split in 1983). Marcia adopted their daughter Amanda during the originals and prioritized family, giving up editing—perhaps implying the prequels lacked a similar grounding influence.
In summary, Marcia views the prequels as a missed opportunity, profitable but artistically hollow. She doesn't dissect each film individually but uses Phantom Menace as a proxy for the trilogy's issues, emphasizing how they deviated from the originals' emotional core.
2. Disney's Handling of the Franchise (Sequels: Episodes VII-IX, and Broader Management)
Marcia's comments on Disney are more emotional, tied to the 2012 sale of Lucasfilm (for $4 billion) and what she sees as a mishandling of George's legacy. She's saddened by the sale and critical of the sequels' creative choices, blaming key figures like Kathleen Kennedy and J.J. Abrams for lacking understanding of the saga's essence. She contrasts Disney's approach with the independent spirit of the originals.
The Sale to Disney: A "Sad Day" and Betrayal of George's Vision
Marcia is heartbroken: "Lucasfilm to Disney?... I was another sad day... He sold it... That made me sad."
Context: George clashed with his father (a small businessman) and vowed never to sell or go public: "George always said to me, I've got a company now... I will never, ever sell my company... I will never, ever put my company on the stock market... I'm a success."
She sees the sale as George abandoning his "filmmaker" independence: "George's father was a small-time, small-business man... And George and his dad clashed a lot... This is my company." Post-sale, Disney prioritized sequels, which Marcia feels diluted the brand.
Critiques of the Sequels (The Force Awakens, The Last Jedi, The Rise of Skywalker)
Overall: "Disney has made?... New films go wrong?... Any of the sequels... I don't care for the sequels... And then at the end of The Last Jedi they... Have to make a sequel... Oh, now we're going to make a sequel... Count on having sequels."
She calls them "awful" now: "The new films go wrong?... And Disney didn't like it [George's script]."
Specific Issues:
Lack of Clue from Leadership: "Kathleen Kennedy and J.J. [Abrams] don't have a clue about Star Wars... They don't get it." She questions their grasp of the mythology, echoing fan complaints about inconsistent lore.
Character Mishandling: Killing Han Solo was "terrible... Now Han's dead, and he's got a kid... How'd that happen?" She dislikes abrupt deaths without emotional buildup (contrast her "Queen of Death" edits in the originals, like Vader's poignant pauses).
Tonal and Narrative Flaws: In The Last Jedi, Luke milking a creature is "stupid... What the hell is that?" The ending (a kid with a broom) confuses her: "Who's that little kid with the broom?... Is this the new Luke Skywalker or what?"
Story Coherence: The sequels feel disjointed, like the prequels: "The story and the characters... It's not there." She notes George wrote sequel outlines Disney ignored: "George was writing, you know, sequels... Written a script for a sequel script... And Disney didn't like it."
Broader Disney Critique: Marcia implies profit-driven decisions over artistry: "Disney has made?... New films go wrong?" She mourns the loss of George's control, seeing the sequels as lacking the originals' adventure and heart. No mention of spin-offs like Rogue One or shows, focusing on the main saga.
Deeper Implications: Loss of the "Filmmaker" Era
Marcia ties this to the 1970s independent vibe: Young filmmakers like George, Scorsese, and Coppola wanted auteur control, not studio "hired guns." Disney represents the opposite—corporate sequels without soul.
Personal Reflection: The sequels' era post-dates her involvement, but she feels protective: "You guys know what makes a good movie... When they're great, they're great." She implies fans recognize the drop in quality.
In essence, Marcia's critiques stem from her belief in storytelling fundamentals: authentic characters, emotional depth, and clarity—elements she fought for in the originals. The prequels suffer from George's unchecked vision, while Disney's sequels lack respect for the source. Her tone is wistful, not bitter, emphasizing family and life's "magic" over Hollywood drama.
This nearly three-hour interview (from the YouTube video) features Marcia Lucas, an Oscar-winning film editor (for Star Wars: A New Hope), in a candid, unplugged conversation with the host. Now retired and living in Hawaii, Marcia reflects on her career, personal life, and pivotal role in shaping iconic films, particularly the original Star Wars trilogy. The discussion is informal, blending professional anecdotes, behind-the-scenes insights, and emotional reflections on her marriage to George Lucas, their divorce, and family. Below is a structured summary of the key sections and themes.
1. Early Life and Career Beginnings
Marcia introduces herself as a retired film editor who started in the industry without formal training. Raised as a latchkey kid by a single working mother in modest circumstances, she was drawn to editing for financial security (editors earned significantly more than assistants). She began in a non-union film library, moved to unionized TV commercials as an assistant editor, and learned the craft through long hours and hands-on work.
She loved the thrill of cutting scenes, even in commercials, and credits watching old movies on TV (e.g., Errol Flynn swashbucklers, Doris Day comedies) as her informal education in storytelling, performance, and timing.
What made her a great editor: Hard work climbing the ladder (from librarian to apprentice to assistant), innate understanding of structure, authenticity in performances, scene transitions, and avoiding audience confusion. She emphasizes films as storytelling with clear beginnings, middles, and ends.
2. Meeting George Lucas and Key Filmmakers
Marcia met George while working on a U.S. Information Agency documentary about Lyndon Johnson's Southeast Asia trip, supervised by editor Verna Fields. George, a USC film student, was brought in to log footage and later edit scenes; Marcia became his assistant. They bonded over shared passion for filmmaking and didn't date until after the project.
They attended student film festivals where they met Martin Scorsese (showing his student films). The era's energy was one of adventure and excitement among young "filmmakers" (a term emphasizing auteur control over being "hired guns" for studios). Friends like Francis Ford Coppola, Brian De Palma, and others shared a dream of independent filmmaking.
Early collaborations: Assisted on Coppola's The Rain People (her first feature), Haskell Wexler's Medium Cool, and a 16mm documentary that earned an Oscar nomination (her first credit as "Marsha Lucas" after marrying George).
3. Key Films and Editing Contributions (Pre-Star Wars)
American Graffiti (1973): Initially an assistant, Marcia took over editing when the original editor left. She restructured the film from disjointed character vignettes into cohesive scenes with beginnings, middles, and ends, making it flow better. George initially resisted but agreed after seeing her one-day restructure; the film became a hit, earning her an Oscar nomination (shared with Verna Fields).
Worked with Scorsese on Alice Doesn't Live Here Anymore (1974), commuting from Northern California to Warner Bros. in L.A. She loved Scorsese's humor and energy; Ellen Burstyn won an Oscar for Best Actress.
The Candidate (assisted while George wrote American Graffiti).
General philosophy: Focus on story, performances, and transitions (e.g., avoiding confusing cuts like close-up to close-up). She drew from commercial experience, using wipes for scene changes (later applied to Star Wars).
4. Star Wars Trilogy: Her Role and Insights
George was inspired by 2001: A Space Odyssey to make realistic space films. After American Graffiti's success, he sold Star Wars (1977) to 20th Century Fox. Marcia wasn't initially editing (focusing on starting a family) but joined post-production.
A New Hope: Credited editor; suggested wipes for transitions (inspired by commercials) over dissolves or fades to black. Edited key scenes like Obi-Wan's death (making it emotional with pauses). Focused on clarity to avoid confusing audiences ("Confuse them, you lose them"). Won an Oscar for editing (with Paul Hirsch and Richard Chew).
The Empire Strikes Back (1980): Uncredited contributions; helped with emotional beats.
Return of the Jedi (1983): Uncredited but significant input. Self-dubbed "Queen of Death" for editing Vader's death (adding pregnant pauses for emotion), the Emperor's death (suggested a nuclear explosion for impact, as he's the "emperor of the universe"), and enhancements like electrocuting R2-D2 by Jawas. Milked tension in the Emperor's attack on Luke to build suspense. Critiques the film as uneven, partly due to editor Sean Barton's inexperience and George's heavy involvement.
Overall: Emphasizes teamwork in editing; she enhanced emotional depth, structure, and visual effects (e.g., ILM additions based on her ideas). Notes George's discomfort directing large crews and preference for technical work like ILM or building (e.g., Skywalker Ranch).
5. Personal Life, Divorce, and Post-Star Wars Reflections
Married George in 1969; they adopted daughter Amanda (born 1981) during Empire. Marcia gave up editing to focus on motherhood, commuting less and prioritizing family over career.
Divorce (1983, post-Jedi): Emotional end of an era; George stopped directing Star Wars films, unhappy with the process (preferred cinematography or documentaries). She felt sad leaving editing but valued raising Amanda. Notes George's happiest moments were building (e.g., ranch, museum) rather than directing.
George's sale of Lucasfilm to Disney (2012): Saddened her, as George vowed never to sell his company (tied to his father's small-business legacy and their clashes).
Legacy: Loves editing passionately but prioritizes family ("Movies come and go; children are the magic in life"). Adopted children are as cherished as biological ones. Reflects on the 1970s as a transitional era for young filmmakers from film schools.
Message to Star Wars fans: "You guys know what makes a good movie. When they're great, they're great, and you know it when you see it."
Overall Tone and Themes
The interview is warm, nostalgic, and occasionally emotional (e.g., tears over personal stories). Marcia comes across as humble, talented, and insightful, crediting collaboration while highlighting her intuitive contributions to storytelling. She critiques modern films for confusion and lack of emotion, contrasting them with classics. No major revelations about sequels/prequels, but she expresses mild disappointment in some later Star Wars elements (e.g., Jar Jar Binks, lack of heart in prequels). The conversation underscores the human side of Hollywood icons, blending professional triumphs with personal sacrifices.
Specifics on the prequels and sequels
Marcia Lucas's Views on the Later Star Wars Films
In the interview, Marcia Lucas (Oscar-winning editor for Star Wars: A New Hope and uncredited contributor to The Empire Strikes Back and Return of the Jedi) offers candid, often critical, insights into the Star Wars franchise beyond the original trilogy. She speaks from a place of deep personal and professional investment, having been married to George Lucas during the creation of the originals and witnessing the saga's evolution. Her comments on the prequels (Episodes I-III) and Disney's sequels (Episodes VII-IX) are interspersed throughout the conversation, often tied to themes of storytelling, emotional depth, character authenticity, and George's original vision. She doesn't hold back on her disappointments, emphasizing what she sees as a loss of "heart" and narrative coherence in the later films.
To provide depth, I'll break this down by era (prequels vs. Disney sequels), drawing directly from her quotes and context in the transcript. Note that her critiques are subjective, rooted in her editing philosophy (e.g., clear storytelling, emotional pauses, avoiding audience confusion) and her insider perspective. She contrasts these films unfavorably with the originals, which she helped shape through structural edits, emotional enhancements, and suggestions like scene transitions (wipes) and visual effects.
1. The Prequels (Episodes I-III: The Phantom Menace, Attack of the Clones, Revenge of the Sith)
Marcia expresses strong dislike for the prequels, viewing them as a departure from the magic of the originals. She attributes their financial success more to hype and nostalgia than quality, and she pinpoints specific flaws in character design, dialogue, story, and overall execution. Her comments suggest the prequels lacked the collaborative polish she provided on the originals, where she restructured scenes for better flow and emotional impact.
Overall Assessment: Lack of Heart, Junk Story, and Terrible Dialogue
Marcia bluntly states: "I'm not crazy about the prequels... But I think those prequels, I don't care for the sequels because there... The prequels? What's wrong with the prequels?"
She elaborates that the story is "junk" and the dialogue is "awful." In her view, the films feel contrived and lack the authentic, character-driven storytelling of the originals. She ties this to George's solo approach: "George wrote and directed those... He wasn't happy when he was making those films... He liked being in ILM [Industrial Light & Magic] a lot better than being on a set."
Context: During the originals, Marcia was a key collaborator, advocating for emotional beats (e.g., "pregnant pauses" in death scenes) and restructuring (like in American Graffiti, which influenced A New Hope). She implies the prequels suffered without such input, resulting in flat narratives. She notes George's inspiration from old serials and 2001: A Space Odyssey worked in the originals but faltered here.
Specific Critique: Jar Jar Binks as a Symbol of Failure
Jar Jar is a recurring punching bag: "Jar Jar Binks... Oh, Jar Jar Binks... The one with Jar Jar... And I was told that the kids named Jar Jar... If I gave you Phantom Menace and not a... Phantom Menace is... The one with the prequel."
She calls him "awful" and "stupid," questioning his appeal: "Jar Jar Binks is the worst character ever... He's just awful." She recounts attending early screenings of The Phantom Menace (the first prequel) and feeling disappointed: "Screenings of the one, the first prequel... Phantom Menace... Would see with Phantom Menace it's the... I knew it was a sequel, you know."
Deeper Insight: Marcia sees Jar Jar as emblematic of tonal missteps—aiming for kid-friendly humor but landing on annoyance. She contrasts this with the originals' balanced appeal: adventure for kids, depth for adults. She mentions the hype machine: "The prequels only made money because of the hype... Everybody was waiting for the next Star Wars movie." This echoes her broader editing ethos: characters must feel real and serve the story, not just fill space.
George's Role and the Prequels' Production
She discusses George's mindset: "Working on the prequels... Re-releases to make the prequels... Happening in the prequels?"
Marcia notes George always planned more films but exaggerated having full scripts ready: "He told everybody he had sequels, that he'd written sequels... But he told everybody he had sequels... George said, I got the sequel... Now I'm working on the sequel."
She humanizes George, saying he was exhausted post-originals and preferred technical work (e.g., building Skywalker Ranch) over directing. The prequels, made years later (1999-2005), reflect his burnout: "He wasn't happy... His first love would have been cinematography... He would have been a brilliant documentary filmmaker."
Personal Angle: The prequels coincided with their post-divorce era (they split in 1983). Marcia adopted their daughter Amanda during the originals and prioritized family, giving up editing—perhaps implying the prequels lacked a similar grounding influence.
In summary, Marcia views the prequels as a missed opportunity, profitable but artistically hollow. She doesn't dissect each film individually but uses Phantom Menace as a proxy for the trilogy's issues, emphasizing how they deviated from the originals' emotional core.
2. Disney's Handling of the Franchise (Sequels: Episodes VII-IX, and Broader Management)
Marcia's comments on Disney are more emotional, tied to the 2012 sale of Lucasfilm (for $4 billion) and what she sees as a mishandling of George's legacy. She's saddened by the sale and critical of the sequels' creative choices, blaming key figures like Kathleen Kennedy and J.J. Abrams for lacking understanding of the saga's essence. She contrasts Disney's approach with the independent spirit of the originals.
The Sale to Disney: A "Sad Day" and Betrayal of George's Vision
Marcia is heartbroken: "Lucasfilm to Disney?... I was another sad day... He sold it... That made me sad."
Context: George clashed with his father (a small businessman) and vowed never to sell or go public: "George always said to me, I've got a company now... I will never, ever sell my company... I will never, ever put my company on the stock market... I'm a success."
She sees the sale as George abandoning his "filmmaker" independence: "George's father was a small-time, small-business man... And George and his dad clashed a lot... This is my company." Post-sale, Disney prioritized sequels, which Marcia feels diluted the brand.
Critiques of the Sequels (The Force Awakens, The Last Jedi, The Rise of Skywalker)
Overall: "Disney has made?... New films go wrong?... Any of the sequels... I don't care for the sequels... And then at the end of The Last Jedi they... Have to make a sequel... Oh, now we're going to make a sequel... Count on having sequels."
She calls them "awful" now: "The new films go wrong?... And Disney didn't like it [George's script]."
Specific Issues:
Lack of Clue from Leadership: "Kathleen Kennedy and J.J. [Abrams] don't have a clue about Star Wars... They don't get it." She questions their grasp of the mythology, echoing fan complaints about inconsistent lore.
Character Mishandling: Killing Han Solo was "terrible... Now Han's dead, and he's got a kid... How'd that happen?" She dislikes abrupt deaths without emotional buildup (contrast her "Queen of Death" edits in the originals, like Vader's poignant pauses).
Tonal and Narrative Flaws: In The Last Jedi, Luke milking a creature is "stupid... What the hell is that?" The ending (a kid with a broom) confuses her: "Who's that little kid with the broom?... Is this the new Luke Skywalker or what?"
Story Coherence: The sequels feel disjointed, like the prequels: "The story and the characters... It's not there." She notes George wrote sequel outlines Disney ignored: "George was writing, you know, sequels... Written a script for a sequel script... And Disney didn't like it."
Broader Disney Critique: Marcia implies profit-driven decisions over artistry: "Disney has made?... New films go wrong?" She mourns the loss of George's control, seeing the sequels as lacking the originals' adventure and heart. No mention of spin-offs like Rogue One or shows, focusing on the main saga.
Deeper Implications: Loss of the "Filmmaker" Era
Marcia ties this to the 1970s independent vibe: Young filmmakers like George, Scorsese, and Coppola wanted auteur control, not studio "hired guns." Disney represents the opposite—corporate sequels without soul.
Personal Reflection: The sequels' era post-dates her involvement, but she feels protective: "You guys know what makes a good movie... When they're great, they're great." She implies fans recognize the drop in quality.
In essence, Marcia's critiques stem from her belief in storytelling fundamentals: authentic characters, emotional depth, and clarity—elements she fought for in the originals. The prequels suffer from George's unchecked vision, while Disney's sequels lack respect for the source. Her tone is wistful, not bitter, emphasizing family and life's "magic" over Hollywood drama.
Last edited:
- Joined
- Sep 13, 2018
It's ok but I wish Pedo Pascal would keep the helmet on his head.
Also I'm tired of seeing these ugly Disney Wars aliens in my Star Wars.
Is that the same guy who voiced Tarkin in TCW?
GlupShitto
kiwifarms.net
- Joined
- Jul 31, 2021
Wait, is that not the Mythosaur in the lake where he goes to atone for taking his helmet off?
Anyway, this looks better than most modern SW. It's cool to see Embo come back, he was always my favorite Bounty Hunter as a kid. I also like that there are no niggers. The closest they get is Zeb.
That's Embo, he's a different TCW bounty hunter who has a helmet that doubles as a shield and a weapon as well as an attack dog (that didn't get a toy despite Embo getting both an action figure and a Lego minifigure, I had to use the Lego City dog as a stand in lol).
>IMPLYING
kiwifarms.net
- Joined
- Dec 14, 2022
Wasn't the issue the opposite? Rian and JJ had so much slack that the result was basically 100% their own? It's just, unlike Lucas, they didn't have any familiarity with the setting beyond the OT - at that - and so the films were half-echoes of these old films with a sprinkling of the director's own preference for story telling. The movies were basically fanfiction where the writers were given a blank cheque. Rian's movie being fanfiction of fanfiction, and JJ fanfiction of fanfiction of fanfiction, hence the progressively worsening quality.
- Joined
- Jul 8, 2019
Disney Star Wars products are corporate slop, personified in Rey. There are other instances across most of their media, including the messaging in The Acolyte, the incompetence around Solo's production, the celebrity cameos in Mandolorian Season 3. Heck, even the "hired gun" line is just what JJ and Rian are - hired guns brought in, not caring for the soul of the product.
It looks a lot to me like's it's another trap door in a Hutt's palace, given his helmet is off. They certainly cut it to read that way in the trailer (granted, it's a trailer, real thing could be different). How much does this fucking guy have his helmet off in this movie if it's not after they rip it off in the Hutt's palace?
- Joined
- Dec 16, 2019
Trailer did not feel like a Star Wars film, or what I think this film should feel. First Star Wars film since 2019. Should have captured the epicness of the universe. Fighting Hutts in an arena, giant monster battles, armies, starships. A badass bounty hunter and his wizard kid hunting down dangerous targets. Instead it falls flat. Like this is just a movie of things that will happen.
Comedy elements should have been excised from the trailer. Again, takes away from the epic tone. And it will harm any serious scenes we will get with Grogu.
Comedy elements should have been excised from the trailer. Again, takes away from the epic tone. And it will harm any serious scenes we will get with Grogu.
- Joined
- Sep 3, 2014
I'm just amused that the second trailer even marginally improving from the nadir that was the first one has cattle in this thread moo in anticipation here to get optically skullfucked again by RatCo, especially since it just looks like more of the same shit people claimed to have gotten tired of during Mando season 2 at best.
Neat; we have a possibly a sub-skeleton crew tier movie that's a 5/10 possibly. IP is now not-dead-lame-gay I guess. I'm just going to assume the film is bad because it's worked rather fucking well with this IP to assume it and wait for others to be dumb enough n'wah cattle to consoom like a crackhead dying of tainted product in an opium den.
It'd have helped, but that ain't happening dude. RatCo assumes audiences need to see their "witty" jokes because god forbid you actually write scenes without quippy fucktarded bullshit out of insecurity over your inability to let a scene keep emotional impact.
Neat; we have a possibly a sub-skeleton crew tier movie that's a 5/10 possibly. IP is now not-dead-lame-gay I guess. I'm just going to assume the film is bad because it's worked rather fucking well with this IP to assume it and wait for others to be dumb enough n'wah cattle to consoom like a crackhead dying of tainted product in an opium den.
starborn427614
kiwifarms.net
- Joined
- Aug 27, 2020
This is the problem with a lot of modern trailers, especially ones from Disney.
- Joined
- May 7, 2018
The trailer is fine. For folks who just want to watch Mando and his Muppet do space things its probably going to be fine. Personally I got less interested in the series once it got bogged down with the TCL Mandalore stuff, so I'm probably going to pass
Gurney Halleck
kiwifarms.net
- Joined
- May 8, 2025
That's for the best. Do you want Filoni slopifying every character from the EU you ever liked? Mara Jade getting reimagined as a strong gay BIPOC?
- Joined
- May 19, 2018
What is Grogu even doing with Mando anymore?
- Joined
- Aug 31, 2020
Is Mando even a mandalorian anymore? Cause the (stupid) rule is that if you take off your helmet, you're no longer a Mandalorian and have to go back to Mandalore and bathe in the waters of the Mythosaur. What makes it even stupider is no one proctors this test.
Sleazy Car Salesman
Believe me when I say that I will take your money
True & Honest Fan
kiwifarms.net
- Joined
- May 27, 2021
Selling merchandise.
GGSurvivor
kiwifarms.net
- Joined
- Feb 4, 2026
Another marvel-slop movie with quips and a Star Wars-themed paint job. Something has to be done about this industry-wide decline in IPs. What are all the white male writers with talent doing while being blacklisted from Hollywood? Sitting around posting on X?
- Joined
- Apr 28, 2021
That would probably been the opening scene too.
- Joined
- Sep 21, 2024
The Mando movie is just going to be a filler episode of the show stretched out into 2 hours