Re-reading Rinzler's Making of Star Wars, and going through all the contemporary accounts of Lucas's depression with the finished film - especially Gil Taylor's lighting ( Kurtz and Taylor practically fought on set over this) - I'm beginning to look at some of his revisionism in a new, ahem, light...For instance, his 30 year-old dislike for what Taylor did may be behind the look we find on the Blu-ray...
It's also striking that on the night of the premiere of the film, he was elsewhere, at a mixing facility working on the mono mix. During that night he gives a brief interview in which he expresses total disbelief at reports of the wild reception for the film, considering it - somewhat Threepio-like - 'beyond his capacity to understand' how audiences can like it. As an artist myself, if I was that p***** off with my work I think I'd still be tweaking it 20 years, 30 years later too... heh, imagine, you've got this piece of work you've always thought was full of holes, it's driving you insane, you try and plug them only to find that everyone in the world has deified those very holes... no wonder he's gone somewhat strange....
But what people have to understand is that Lucas, ever since May '77, has felt deeply, personally embarrassed by the film as it stood, in the state he was forced to leave it in. This is why he wants the original release buried. And while the original release is the only version I'm interested in, I do sympathise with Lucas' position. Would you want a deep personal embarrassment preserved for all time?
An interesting take, and I'd agree that it explains his constant tinkering over time. Trying to attain perfection, even though that's impossible, and never being able to "abandon" the great work of art he'd created. (so to speak)
But a lot of what you say REALLY speaks to his ego and sense of what's right and what's wrong. Not just for himself, but for the rest of us.
Yes. As a reminder to keep me on the ground that sometimes things don't always work out as I want it, but for some reason hit a home run with other people. I may not like the end result, but wanting to trash it is to trash myself and the impact I had on others. That is exceptionally selfish.
You learn from your mistakes. You learn nothing by running from them or trying to make people believe they never happened.
Exactly. This is where the ego kicks in. It's the notion that, no, I was ALWAYS right, and you guys were all ALWAYS wrong, and since it's entirely within my control, SCREW YOU YOU WILL WATCH MY VERSION OR NOTHING AT ALL.
It views art as essentially a one-way conversation, and I'm sorry, but that's just not the case. The author's intent is only part of the equation. The audience's reception is something entirely different.
As a film maker who has made tiny films and released them in various formats, I don't make them for me. I make them for the folks who want to watch them. Sure, the film may have something I wished was included or fixed before it was released, but if the audience doesn't care and can live with it, than I did my job where it mattered the most. Engaging the audience.
If I felt the film turned out really bad even though so many people liked it, I wouldn't try to fix it because that would be short changing the audience who did like it. If I felt that I could fix it in a way that I felt would make it better, I would have the decency to have the original available. There are some fans who like Deckard's monologues.
But most important of all, if this embarrassing work made a lot of people happy, got a lot of my friends recognition for their work and set me up for life, I'm willing to just say that it's just my opinion and understand why everyone else sees it more differently than I do. After all, a filmmaker can never truly see his own work from the perspective of an audience member. A perspective that I still hold dear because that's what got me into film in the first place.
And this, I think, is where Lucas parts company from a great many filmmakers. Lucas fundamentally tells stories FOR HIMSELF and invites us all to come along with him for the journey. He's never (apparently) been happy telling stories FOR OTHER PEOPLE, as evidenced by his dissatisfaction with the collaborative process and the end result it produced.
I think there needs to ultimately be a balance (which it sounds like you try to strike, Jeyl) where the author is trusting their own instincts as best they can to make a film that engages the audience AND reflects their own vision...and then they put it out into the world and say "Have at it, kids." Lucas, I get the sense, either never felt or over time grew to stop feeling that sense of releasing the film as a thing separate from him. Instead, it was always an EXTENSION of him because, for him, it was HIS story. HIS vision. This also explains why he has been so disillusioned by backlash from folks who were rejecting HIS vision because, in so doing, they're rejecting HIM.
Here's the thing, though, and it's where I think Lucas misses the point and has done so since 1997.
It's not that they reject HIM per se. It's that they want their version ALONGSIDE his version.
I actually started thinking about this when this thread first popped up, but I think it'd be kind of cool if we had releases of Star Wars that preserved ALL of the changes over time AND the originals. It would be like a living history-of-film-and-f/x-since-1977. As long as they were all done/remastered properly, that could be INCREDIBLY cool particularly for film buffs. In that sense, each new edition might be greeted with curiosity and an upbeat attitude, rather than "Oh god, what'd he screw up NOW."
Ultimately it's not the CHANGE that's the problem but rather the SUPPRESSION of what came before. He can change whatever he damn well pleases. I think it's cool to be able to compare and contrast. But I really dislike the elimination of the old versions.
Hell, maybe release an expensive, educational version of Star Wars to use in teaching film school students. "Star Wars Through the Years" so to speak. You could see the evolution of f/x and filming techniques, note how changes in color timing affect the scenes, examine the narrative impact of even subtle changes (e.g. "Han shot first"), and so on and so forth.
There's a TON that Star Wars can teach filmmakers and film historians, but to do that, the versions have to be preserved as they go, and updated for newer technologies.