Star Wars Griefing Thread (SPOILERS) - Safety off

[HandsomeDan]

I have always said this was a very unique and entertaining story that would have been great to see on "the big screen". It had very good world building as well.

It also followed the old lore as it made sure to mention the young lady medical tech was on her own as part of the all male Imperial crew.

The audio book is well done also.

 

[jspit2.0]

I have always said this was a very unique and entertaining story that would have been great to see on "the big screen". It had very good world building as well.

It also followed the old lore as it made sure to mention the young lady medical tech was on her own as part of the all male Imperial crew.

The audio book is well done also.

Man, that hit me in the gut. I just realized with the glut of Star Wars material from Mt. Disney and speaking of what might have been. Wouldn't it have been top tier if we'd gotten a horror series?

Imagine mashing galaxy of fear series Zak and Tash Arranda along with Hoole setting them against the Death Troopers story as the back drop.

 

[Sneed F91]

I'm with MM. I've read the Thrawn trilogy, the comic/novels. While an adaptation might be fun, I'm far more interested in Lucas doing something just to see what mixture of genius/awful we'd have gotten from him.

Because of George's autism and insistence on doing things that were risky and different with everything he does you always had the chance of what he made either being total shit or absolutely amazing. This is unlike Disney who refuses to take risks and either makes something barely half decent by accident (Mando S1) or Last Jedi tier.

I'd rather someone take a risk than make something like The Force Awakens or Solo.

 

[Uranus Pink]

Deal with George is even if he made total tier shit, it still would have been salvageable and made into something good. As the one thing Lucas haven't yet shat up is the sandboxes he creates and expanded upon.

 

[Green's Harbinger]

That book was one of the rare zombie spinoffs that wasn't a half assed "fuck you" to the source material.

 

[Ghostse]

Deal with George is even if he made total tier shit, it still would have been salvageable and made into something good. As the one thing Lucas haven't yet shat up is the sandboxes he creates and expanded upon.

When George fucked something (ie The Prequels) you could tell he wasn't fucking up due to laziness or lack of caring. He tried and put his soul into everything, even when it was a naked cash grab.

Disney is too soulless, and hires incompetents who only want to use Star Wars to elevate themselves. They don't care about the property, they care about the ass pats they'll get.

 

[Sneed F91]

When George fucked something (ie The Prequels) you could tell he wasn't fucking up due to laziness or lack of caring. He tried and put his soul into everything, even when it was a naked cash grab.

The narrative from seething fanboys was that by the time the prequels came out he was an out of touch lazy fatass who sat in a chair all day, overused CGI and greenscreens instead of "real sets practical effects" because it would require too much effort, and made every decision because it'd make him money off of merchandise and not for any reasons related to the plot.

It's stupid because we have evidence of Lucas going through the effort to make things practical and film on location like going all the way back to Tunisia to film Episode 1 when he didn't have to or going on vacation to Italy for the stuff on Naboo in AOTC.

In reality he hadn't directed anything in years and just wasn't as good as he was 20 years ago. He clearly cared about the story he wanted to tell and the world he created. Some would even say way too much. Maybe he should have done retarded shit like going to the desert to film greenscreens for "the right lighting" on a shot that's 99% CGI.

 

[Mississippi Motorboater]

The narrative from seething fanboys was that by the time the prequels came out he was an out of touch lazy fatass who sat in a chair all day, overused CGI and greenscreens instead of "real sets practical effects" because it would require too much effort, and made every decision because it'd make him money off of merchandise and not for any reasons related to the plot.

It's stupid because we have evidence of Lucas going through the effort to make things practical and film on location like going all the way back to Tunisia to film Episode 1 when he didn't have to or going on vacation to Italy for the stuff on Naboo in AOTC.

In reality he hadn't directed anything in years and just wasn't as good as he was 20 years ago. He clearly cared about the story he wanted to tell and the world he created. Some would even say way too much. Maybe he should have done retarded shit like going to the desert to film greenscreens for "the right lighting" on a shot that's 99% CGI.

If the Prequel Trilogy suffered from anything, it was really Lucas being too ambitious more than lazy. Remember, that the most SFX-Heavy film at the time that The Phantom Menace was in production was Titanic, and that film had 500 FX shots. Menace was going to have 1,900 FX shots. To say that the level of visual quality that Lucas was going for was unprecedented would be a gross understatement, and the technological fidelity needed not only meant that Lucas would have to hire three different Effects Supervisors, but a director who had the patience to deal with that much SFX work dictating and even hindering production.

Add that prerequisite for a director to the fact that Lucas was blacklisted by the Filmmakers' Guild over petty nonsense pertaining to Empire Strikes Back (cutting Lucas' choice of directors to a very small list), and the fact that they had to do all of this unprecedented FX work under budget, which was all coming out of Lucas' own pocket in order to protect the film from outside studio meddling. To strive for Phantom Menace's unprecedented level of visual quality in the midst of all of these setbacks is not a decision rooted in laziness.

And of course, there's a lot of people out there who would say: "Well, did the films need to be that FX heavy? Did they NEED to push the envelope for CG and Green Screen for the time?"

...Yes. Yes, they did. Because in this primitive era of early digital effects, someone needed to take the step forward to pioneer this kind of filmmaking. Think about how commonplace CG and Digital Backgrounds of the same quantity as the PT is in modern filmmaking; we literally wouldn't have some of the capeshit extravaganza or FX-laden summer blockbusters of the last twenty years. Sooner or later in history, someone was going to be the sacrificial lamb in making all the awkward steps in revolutionizing the industry to make modern digital effects possible...and that lamb just turned out to be the Star Wars Prequels. Everything from the digital camerawork in Slumdog Millionaire to the breathtaking motion capture and green screen of the Pirates of the Carribbean Trilogy were made possible because of the awkward steps the PT made first, as a proof of concept for where SFX could go.

And to be honest, while a lot of the SFX in the Prequel Trilogy haven't aged well, it doesn't bother me upon returning to the films on constant re-watches. Why? Because, to me, how "realistic" the CG or Green Screen looks is utterly secondary to how mesmerizing the artistic and conceptual design is for every planet, ship and alien rendered in these films. Everything from the jaw-dropping Under Levels of the Naboo Palace where the Maul fight happens, the Geonosis Arena Beasts, the sleek and elegant Republic Gunships and Jedi Starfighters...it's those designs that remain etched in my memory as a kid, that made my imagination go wild and prompted me to sketch them over and over again in my school notebook. The opposite of that is what you have in the Sequel Films--superior effects, better textures and rendering work, impeccable green screen--all wasted on bland, recycled, and uninspired planets and designs that I'm not going to fucking retain any memory of five seconds after I've seen them. If the boundless creativity and immense worlds (hindered by admittedly outdated effects) as seen in the PT constitutes as Lucas being "lazy", then I'll take fifty more "lazily-made" films over one frame of the bland shit that Disney makes.

And believe me, if the recent Kenobi production photos are any indicator, the practical effects in Disney SW Productions are going to age worse than any fuzzy green screen in the Prequels.

 

[Adamska]

Fun fact: Lucas did all that CG entirely because he got nettled and wanted to beat Titanic in that regard since it came out the same year. It's also why the final big fight in Sith was so fucking long; he wanted to break another film record.

But at least he introduced characters fairly often, unlike that fat man with the cowboy hat. I don't think he's normal, I think he masturbates to beastialit-

 

[Uranus Pink]

To be fair as bad people think TPM is, it is still more watchable and entertaining than Titanic.

 

[Ghostse]

The narrative from seething fanboys was that by the time the prequels came out he was an out of touch lazy fatass who sat in a chair all day, overused CGI and greenscreens instead of "real sets practical effects" because it would require too much effort, and made every decision because it'd make him money off of merchandise and not for any reasons related to the plot.

It's stupid because we have evidence of Lucas going through the effort to make things practical and film on location like going all the way back to Tunisia to film Episode 1 when he didn't have to or going on vacation to Italy for the stuff on Naboo in AOTC.

In reality he hadn't directed anything in years and just wasn't as good as he was 20 years ago. He clearly cared about the story he wanted to tell and the world he created. Some would even say way too much. Maybe he should have done retarded shit like going to the desert to film greenscreens for "the right lighting" on a shot that's 99% CGI.

Now hold on. Lucas was grubbing for dollars.

When Habro fired everyone in Kenner, including the person who's job it was to send Lucas the $10,000 yearly check to keep the licensing deal for toys together, Lucas decides THEN that its time to make Star War prequels. (Also prequels, and not a big-screen addition to Shadows of the Empire with an OG cast who was still young enough to make sequels without embarrassing themselves).

Just because he didn't deserve to be tossed out of a two story window, let's not pretend Lucas didn't give Marcelles Wallace's wife a foot massage, or that we don't know that giving a woman a foot massage isn't just giving her a foot massage.

But I'll agree that Lucas, even when fishing for dollars cared about this work.

The problem was that he was very excited about going all digital and new technical aspects of film making, and forgot the basics like dialogue. This had the extra problem of when interviewers came to him about fan backlash, "So... Jar-Jar" he didn't care and wanted to sperg about his new toys instead, which just make him seem dismissive.

And you're right. Lucas was very clearly off his game for the sequels. He got somethings right, the shots were excellent, score was great. But very clearly there was no one keeping him check.

To be fair as bad people think TPM is, it is still more watchable and entertaining than Titanic.

Titanic was the shittiest story on the most amazing set.

 

[Adamska]

To be fair as bad people think TPM is, it is still more watchable and entertaining than Titanic.

Kind of disagree. I think if you just cut to the part when the iceberg hits you get a pretty good action packed second act that stays consistently good, and the first act is boring and about on par or only mildly worse than TPM. It's a more evenly entertaining experience Titanic is to me. Then again, I do like disaster movies and ship wreck stories.

And again, I've learned hard that Star Wars is best when Lucas only has a mild majority of the say and has to do compromises to get shit going, and vice versa on all pieces of the group that made that film series.

 

[Mississippi Motorboater]

To be fair as bad people think TPM is, it is still more watchable and entertaining than Titanic.

I'll take Phantom Menace over James Cameron's cutesy romance writing and eye-rolling "muh rich people evil" nonsense any day of the week.

Also, Menace got Duel of the Fates while Titanic got Celine Dion. Contest fucking over.

Now hold on. Lucas was grubbing for dollars.

You'd be too if you were funding your own studio and every single one of its projects out of pocket. Remember that Lucas built Skywalker Ranch with the intention of being consistently self-funded, free of studio control, and operating as an alternative to Hollywood , where projects of both himself and other people could be realized in an independent sphere. It was something he and his other pals from film school like Spielberg and Coppola had always loftily talked about during their young, rebellious days: a permanent and fully-realized alternative to the Hollywood system.

Obviously, that didn't happen, and LucasFilm was already being outbid by other FX and film companies come the 2010's. Weta and Digital Domain were cleaning house with project after project, while LFL was lagging behind with only self-made internal projects like Red Tails, which did dick for studio growth and profit. This is one of the reasons why Lucas was still pushing for animated projects like TCW and Detours, AAA game and multimedia projects like Force Unleashed and 1313, and ambitious TV projects like Star Wars Underworld...so that the IP's exclusive to LFL could keep the studio afloat and realize its goal of becoming a full-fledged Hollywood alternative.

The only tempting alternative was to sell the studio to a company he could trust to allow it to function with independence and self-made creativity...and seeing the positive outcome of Pixar and Marvel's sale to Disney, to say nothing of Iger's relentless courting, Lucas opted to secure his company's future long after he passed away.

And we all know how that went.

The problem was that he was very excited about going all digital and new technical aspects of film making, and forgot the basics like dialogue.

Lucas has never been good at, or had any affinity for dialogue...by his own admission. He doesn't like to write scripts himself, or get involved with directing actors, primarily because he got his start as a documentary filmmaker. Rick Worley touches on this in one of his videos, explaining the San Francisco film movement that Lucas aspired to be apart of...and why he puts far more emphasis on the technical part of film over the written or acted part of it.

Any time he had someone else take on writing and directing duties he didn't want, Lucas never hesitated to relinquish it to them. That's why come Episodes I and II, he raced to pass writing duties to Frank Darabont, Lawrence Kasdan, and Jonathan Hales, who all turned it down, forcing him to rely on his own scripting as a last resort.

He didn't get distracted by SFX or digital camerawork anymore than he did when he was writing the original Star Wars back in 1977. It's that this time he had no one to pass the duties onto, and already viewing dialogue and plotting as ancillary to the impact of "pure cinema" (again, there's that documentary filmmaker mindset again), he never felt the need to prioritize it over the presentation or visual messaging of the film.

If anything, I think that mindset is what led him astray on the PT, not excitement or autism over visuals. It's his unrelenting commitment to his way of filmmaking--which I imagine stems from some of his resentment of dealing with meddling studio executives who regularly squashed him on projects like THX and American Graffiti. That mindset likely is what led him to refuse to compromise on certain elements in regards to the PT, and what ultimately led to its greatest weaknesses.

But ultimately, the key difference between Lucas and a self-described auteur like Rian Johnson is that Lucas was actually willing to listen to criticism. Once ROTS' production came around, and the deafening criticism around Ep. I and II became to loud to ignore, he adhered to the requests of Rick McCallum, brought in acting coaches to beef up performances that Lucas wasn't interested in squeezing out himself, and reduced some of the planned set-pieces to isolate the story around Anakin's character more.

Listening to critics is precisely why Revenge of the Sith became arguably the highlight of Lucas' career, and why every project Rian Johnson will work on after plugging his ears to TLJ's backlash will continue to get worse.

 

[The Valeyard]

George Lucas and Kathleen Kennedy Accept Milestone PGA Honor From Steven Spielberg: “A Producer Never Works Alone”

Archive

Spoiler: Article Text

At Saturday’s 33rd annual Producers Guild Awards, Steven Spielbergpresented the 2022 Milestone Award to Lucasfilm leaders George Lucasand Kathleen Kennedy. Lucas created the production company in the 1970s, and it’s best known for spawning the hit franchises Star Wars and Indiana Jones.

Introducing the pair, longtime collaborator Spielberg, who has worked with both Lucas and Kennedy for decades, said: “I feel even in this room, we need to define what producers do. Producers do whatever the hell it takes. Courage and imagination and utter lack of intimidation, the producer needs to know everybody’s jobs, and not how to do them, but how they are done well, which is what makes George and Kathy so deserving of this recognition.”

He concluded his introduction by noting “these two titans are still just like kids playing in a sandbox. So it is one plus one equals 175. That’s the number of projects they have together and apart: 175. Because their singular talents combined are all in the pursuit of creating new stories. New stories that have enriched the art form, driven our culture forward and inspired new generations to tell their own stories. They are and always will be the force to be reckoned with.”

In her acceptance speech, Kennedy noted she met Spielberg and Lucas at the “dawning of a new age” for the film industry. “We worked side by side through one revolution in our industry after another — revolutions not only in the means of moviemaking, and in the ways movies reach audiences, but also in the composition of our business,” she said. “As women, artists of color, LGBTQ and differently labeled artists and producers who have fought for and won a place at the table, propelling our community toward a more inclusive, diverse, richer, more sophisticated and nuanced sense of our responsibilities for social, racial and economic justice. There’s no one that I would rather share this moment with more than my friend, my mentor and the greatest master Jedi of them all: George.”

Lucas thanked his former mentor Francis Ford Coppola before giving an impassioned speech about a producer’s role in filmmaking. “To me, that’s the first and foremost job of a producer, which is to do the impossible. And you do it every single day. And then every single day, something comes along to destroy everything you’ve done. And you have to pick it all up at lunch, and figure out a new way to finish the movie, in conjunction with the director, and it’s daunting to say the least. But a producer never works alone. One, you have to have a great crew. I’ve always had the best crews,” he said. “I couldn’t have done it without them. And so I think my job also is to gather them all together and inspire them to be the best they can be.”

The Milestone Award comes as Lucasfilm celebrates its 50th anniversary. Kennedy, the company’s president, also created Amblin Entertainment with Spielberg and Frank Marshall, and worked on films such as E.T. The Extra Terrestrial, Schindler’s List, Jurassic Park and the Back to the Futurefilms. Lucas is known for directing the Star Wars films, as well as creating the Lucasfilm empire and producing for other great directors including Coppola, Spielberg and Akira Kurosawa.

The PGA Awards were postponed from their original date of Feb. 26 due to ongoing COVID-19 concerns. Check out a full list of the night’s winners here.

 

[Creep3r]

I have always said this was a very unique and entertaining story that would have been great to see on "the big screen". It had very good world building as well.

It also followed the old lore as it made sure to mention the young lady medical tech was on her own as part of the all male Imperial crew.

The audio book is well done also.

One of my favorite bits was the one where the imperials are scouring the freaky lab and one of them starts feeling regret for his life choices and having thoughts of home and painting. Its one of those bits alongside stuff like Garth Ennis' Troopers comic or Stradley's To The Last Man miniseries among others that reminds you that many stormtroopers were just orphans, recruits or farmboys who went to the academy too.

George Lucas and Kathleen Kennedy Accept Milestone PGA Honor From Steven Spielberg: “A Producer Never Works Alone”

Archive

Spoiler: Article Text

At Saturday’s 33rd annual Producers Guild Awards, Steven Spielbergpresented the 2022 Milestone Award to Lucasfilm leaders George Lucasand Kathleen Kennedy. Lucas created the production company in the 1970s, and it’s best known for spawning the hit franchises Star Wars and Indiana Jones.

Introducing the pair, longtime collaborator Spielberg, who has worked with both Lucas and Kennedy for decades, said: “I feel even in this room, we need to define what producers do. Producers do whatever the hell it takes. Courage and imagination and utter lack of intimidation, the producer needs to know everybody’s jobs, and not how to do them, but how they are done well, which is what makes George and Kathy so deserving of this recognition.”

He concluded his introduction by noting “these two titans are still just like kids playing in a sandbox. So it is one plus one equals 175. That’s the number of projects they have together and apart: 175. Because their singular talents combined are all in the pursuit of creating new stories. New stories that have enriched the art form, driven our culture forward and inspired new generations to tell their own stories. They are and always will be the force to be reckoned with.”

In her acceptance speech, Kennedy noted she met Spielberg and Lucas at the “dawning of a new age” for the film industry. “We worked side by side through one revolution in our industry after another — revolutions not only in the means of moviemaking, and in the ways movies reach audiences, but also in the composition of our business,” she said. “As women, artists of color, LGBTQ and differently labeled artists and producers who have fought for and won a place at the table, propelling our community toward a more inclusive, diverse, richer, more sophisticated and nuanced sense of our responsibilities for social, racial and economic justice. There’s no one that I would rather share this moment with more than my friend, my mentor and the greatest master Jedi of them all: George.”

Lucas thanked his former mentor Francis Ford Coppola before giving an impassioned speech about a producer’s role in filmmaking. “To me, that’s the first and foremost job of a producer, which is to do the impossible. And you do it every single day. And then every single day, something comes along to destroy everything you’ve done. And you have to pick it all up at lunch, and figure out a new way to finish the movie, in conjunction with the director, and it’s daunting to say the least. But a producer never works alone. One, you have to have a great crew. I’ve always had the best crews,” he said. “I couldn’t have done it without them. And so I think my job also is to gather them all together and inspire them to be the best they can be.”

The Milestone Award comes as Lucasfilm celebrates its 50th anniversary. Kennedy, the company’s president, also created Amblin Entertainment with Spielberg and Frank Marshall, and worked on films such as E.T. The Extra Terrestrial, Schindler’s List, Jurassic Park and the Back to the Futurefilms. Lucas is known for directing the Star Wars films, as well as creating the Lucasfilm empire and producing for other great directors including Coppola, Spielberg and Akira Kurosawa.

The PGA Awards were postponed from their original date of Feb. 26 due to ongoing COVID-19 concerns. Check out a full list of the night’s winners here.

I've said this before but it will never cease being idiotic how they completely demolished something to simply turn it into something else to appeal to a minority of vocal idiots who wouldn't be pleased no matter what they did or how much they pandered to them.

For example, just take a look at this wookieepedo fag:

Immi Thrax

starwars.fandom.com

"She" was one of those idiots who only got into SW or started editing on wookieepedo when Chuck Windbag's gay books, Aphra and TFA rolled around. They never gate a shit about Star Wars and only latched onto it because it could serve as another vehicle for attention whoring their off-topic idealism and was one of the major figures who orchestrated wookieepedo's sitewide overhaul into a stronger lgbtq and feminist focus to the point of inserting real world terminology into articles that didn't even exist in either pre-disney or post-disney canons, deleting hundreds of articles and info from pages on a whim, even orchestrating the permaban of the site's former top admins for unproven "transphobia", and removing all info that was deemed irrelevant or possibly unlicensed (all of which was actually licensed). And unsurprisingly this faggot just as quickly abandoned the wiki as soon as a better outlet for their crusade popped up- i.e. Fandumb's LGBTQIA+ wiki dumpsterfire made from the corpses of a few dozen deleted queer wikis and serving as an unending source of drama and discord stupidity.

It was never about Star Wars with these people. It was never about giving a shit about the characters or the setting. It was always about feeling validation or getting horny from seeing Rey, FinnPoe or Ahsoka.

And speaking of wookieepedo, this is what's user activity looks like 70% of the time.

The majority of the work on disney articles is being done by one single autist from the UK who has been active on the site 20/7 for the last 6 years without pay or sleep along with two users, one of which is a confirmed employee at Disney's SW park. The only other disney work is done by some faggot who only does product info and another one who handles images who may also be lucasfilm employees.

While the rest of the work on the site is being done by a guy named after HK-47 and two other random users who don't even touch the disney articles, just the pre-disney ones, but even then all they're doing is helping to feed the beast.

 

[Adamska]

That UK autist has to be a shared LFL account or just a fucking bot system made by LFL, because it'd be dead by now otherwise given how it literally never stops editing. It's not a real wiki anymore, just another pretend fan site run by the company.

Also fuck awards ceremonies; pure industry self-wanking garbage from people who should be fired for their incompetence by now.

 

[Ghostse]

You'd be too if you were funding your own studio and every single one of its projects out of pocket. Remember that Lucas built Skywalker Ranch with the intention of being consistently self-funded, free of studio control, and operating as an alternative to Hollywood , where projects of both himself and other people could be realized in an independent sphere. It was something he and his other pals from film school like Spielberg and Coppola had always loftily talked about during their young, rebellious days: a permanent and fully-realized alternative to the Hollywood system.

I am not against anyone making a buck. Where I get fiesty is when greed is dressed as something its not.

So every time someone paints Lucas out as some tortured misunderstood artiste, I'm going to remind them that the prequels weren't greenlit until Lucas stood to make an exta 5% on toy sales while blocking Kenner's attempts to expand the toyline. This doesn't mean his sole focus was money, but when people defend Lucas' artistic vision the fact he very clearly made choices based on financial benefit seems to get lost. There is nothing wrong with being savy with money, but call a spade a spade.

And while I understand Lucas' desire to not just go back to the well (except he kind of did with the Ewoks films), it is his fault we didn't get sequels with the original cast with their original teeth.

I'm not on the Lucas hate squad, I've stepped to people shitting on the prequels, but its always good for everyone to stay honest.

If anything, I think that mindset is what led him astray on the PT, not excitement or autism over visuals. It's his unrelenting commitment to his way of filmmaking--which I imagine stems from some of his resentment of dealing with meddling studio executives who regularly squashed him on projects like THX and American Graffiti. That mindset likely is what led him to refuse to compromise on certain elements in regards to the PT, and what ultimately led to its greatest weaknesses.
[...]
Listening to critics is precisely why Revenge of the Sith became arguably the highlight of Lucas' career, and why every project Rian Johnson will work on after plugging his ears to TLJ's backlash will continue to get worse.

I'm not saying he was full autismo. He clearly listened to fan backlash in ATOC.
But in interviews post TPM, he didn't do anything to correct the misperceptions. Lucas didn't want to talk about fan backlash or perceptions, he wanted to talk about how cool it was he was shooting the movie with digital cameras, how great CGI was now, and a bunch of other film nerd shit. This made every single charge leveled by angry nerds about him not caring about star wars or just seeing money seem true since he never really addressed the criticism except with bullshit 'Well we're telling a big story about vader, and I think they should see all the films before they decide' wait-and-see.
He also talked about the films being for Kids (and in later interviews how great it was to talk to young fans of the prequels who were his target audience) while ignoring he big merch push of shit that was clearly not aimed for the 7-10 year olds he claimed the films were for. Again, the issue isn't with what he did, its with the fact he dressed it up as something its not.

tl;dr - Lucas needs constant tard wrangling, and didn't get it post ROTJ. There is nothing wrong with the fact he made money and was wicked smart with merchandizing (hell, history shows he was right to wait out Hasbro nee Kenner) but I take issue when people ignore Lucas' clearly fiscal motivations.

 

[jspit2.0]

Fun fact: Lucas did all that CG entirely because he got nettled and wanted to beat Titanic in that regard since it came out the same year. It's also why the final big fight in Sith was so fucking long; he wanted to break another film record.

But at least he introduced characters fairly often killed characters fairly often, unlike that fat man with the cowboy hat. I don't think he's normal, I think he masturbates to beastialit-

Fixed it for you.

In order, George killed Qui-Gon Jinn,, Maul, Dooku, Grevious, and every member of the Jedi Council across nine hours.

Fagloni can't kill his darlings at the right moment.

Now hold on. Lucas was grubbing for dollars.

When Habro fired everyone in Kenner, including the person who's job it was to send Lucas the $10,000 yearly check to keep the licensing deal for toys together, Lucas decides THEN that its time to make Star War prequels. (Also prequels, and not a big-screen addition to Shadows of the Empire with an OG cast who was still young enough to make sequels without embarrassing themselves).

Just because he didn't deserve to be tossed out of a two story window, let's not pretend Lucas didn't give Marcelles Wallace's wife a foot massage, or that we don't know that giving a woman a foot massage isn't just giving her a foot massage.

But I'll agree that Lucas, even when fishing for dollars cared about this work.

The problem was that he was very excited about going all digital and new technical aspects of film making, and forgot the basics like dialogue. This had the extra problem of when interviewers came to him about fan backlash, "So... Jar-Jar" he didn't care and wanted to sperg about his new toys instead, which just make him seem dismissive.

And you're right. Lucas was very clearly off his game for the sequels. He got somethings right, the shots were excellent, score was great. But very clearly there was no one keeping him check.

That and he wasn't making movies consistently in the decade preceding them.

Besides, the biggest thing Lucas has done is actually not what he was doing on the prequels, everything including directing, but what he did in the 70s and 80s, which was executive producing/big picture stuff.

He did this with Empire, Jedi, and Jones 1-3. More than as a director, I'd actually argue his greatest talent was with production and management. Put George in charge of JJ or Rian Johnson and what would we have gotten?

I suspect It would have been career highlights for both of them. Same with Dave Filoni. His best stuff was when George was playing wrangler.

Put George Lucas in charge, give him a Disney size budge, and have him watched over by a sell out, corporate hack in his prime and you might just have gotten magic.

Titanic was the shittiest story on the most amazing set.

Pretty much. Oh, I think there were good bits, but it needed to be ballooned to touch on everything Cameron wanted.

 

[Mississippi Motorboater]

Put George Lucas in charge, give him a Disney size budge, and have him watched over by a sell out, corporate hack in his prime and you might just have gotten magic.

We almost got something close to this after the PT with Star Wars Underworld, because that was going to be Lucas in charge with a hefty budget, but supervising writers like Ronald D. Moore in crafting serialized story arcs about crime syndicates and Dark Times exploits in Coruscant's lower levels.

It was even going to resemble Shadows of the Empire in that it was going to have tie-in media like Star Wars 1313 set in the same time-frame and backdrop of Coruscanti Lower Levels, enabling the franchise the largest and most prominent cross-media hype it'd had since the 90's. If you remember the hype over Shadows, and then factor what it would've been like to have a big budget HBO miniseries starring Dash Rendar or the bounty hunters, then you have some idea what SW would've looked like in the late 2010's, had the Disney purchase never happened.

Think about how much better and more authentic to the universe that would've been, compared to Disney/LFL's laughable attempts at depicting "the criminal underworld" in Blando and Boba Fatt.

 

[Creep3r]

That UK autist has to be a shared LFL account or just a fucking bot system made by LFL, because it'd be dead by now otherwise given how it literally never stops editing. It's not a real wiki anymore, just another pretend fan site run by the company.

It has to be. I can't imagine someone working night and day adding info nonstop for free like he does unless they're a bot, a shared LFL account, or a handicapped high functioning retard on government money with nothing better to do.

Whatever he is, the site is most definitely run by Disney. You needn't look further than all the fags who had their disney employee status on their user pages until suddenly removing them around 2018 or 2021.