Sounds just as dumb as anything we got. It must be true!
I don't bemoan the "lost opportunity" of this or Treverow's script. Or the alternate cut of Rogue One. Or the Lord and Miller cut of Solo. Some ideas are just bad. They just are. Doing a Han Solo origin story was uninspired and unnecessary. Just like Rogue One. No one needed to know HOW the plans for the first Death Star were stolen. That idea was a catalyst to jumpstart the story. No further explanation necessary. It was in media res, a techinque for getting you immediately invested in the story about to unfold, and didn't require any further exploration.
I read the synopsis for Treverow's Ep. 9 and it sounded just as bad as what JJ delivered. I don't care that George's original vision of Star Wars had Anakin Starkiller and Darth Vader as two separate characters or that Luke and Leia were never siblings. None of those ideas made it to the final cut of the movie and are in essence irrelevant other than fan musings. Sure some of those ideas may have been sloppily handled but it doesn't change the fact that the movie exists in it's current state.
I don't care about the intention or potential of a story so much as what ended up on screen. I intended my novel to be a best seller but that intention is totally irrelevant if it never came to fruition so I learned to do better in the future rather than whine about how my dream never came true. So waxing on what could have been is living in the past. Things could have been better if handled differently, but lost potential doesn't change the result of the end product. Which is why I'm so against the S.E. and the endless fan edits. If you must continue the story, make sure that it's worthy of continuation right from the blank page rather than overcorrect the past.
When you write something, or direct something, or cast a specific person in a role, you're making a creative choice. Art is a series of specific creative choices and those choices affect the finished work for better or worse.
I don't bemoan the "lost opportunity" of this or Treverow's script. Or the alternate cut of Rogue One. Or the Lord and Miller cut of Solo. Some ideas are just bad. They just are. Doing a Han Solo origin story was uninspired and unnecessary. Just like Rogue One. No one needed to know HOW the plans for the first Death Star were stolen. That idea was a catalyst to jumpstart the story. No further explanation necessary. It was in media res, a techinque for getting you immediately invested in the story about to unfold, and didn't require any further exploration.
I read the synopsis for Treverow's Ep. 9 and it sounded just as bad as what JJ delivered. I don't care that George's original vision of Star Wars had Anakin Starkiller and Darth Vader as two separate characters or that Luke and Leia were never siblings. None of those ideas made it to the final cut of the movie and are in essence irrelevant other than fan musings. Sure some of those ideas may have been sloppily handled but it doesn't change the fact that the movie exists in it's current state.
I don't care about the intention or potential of a story so much as what ended up on screen. I intended my novel to be a best seller but that intention is totally irrelevant if it never came to fruition so I learned to do better in the future rather than whine about how my dream never came true. So waxing on what could have been is living in the past. Things could have been better if handled differently, but lost potential doesn't change the result of the end product. Which is why I'm so against the S.E. and the endless fan edits. If you must continue the story, make sure that it's worthy of continuation right from the blank page rather than overcorrect the past.
When you write something, or direct something, or cast a specific person in a role, you're making a creative choice. Art is a series of specific creative choices and those choices affect the finished work for better or worse.
