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Denis Villeneuve Says His Dune Reboot Will Be Star Wars For Adults

Blade Runner 2049 received a highly divided reaction among critics and audiences alike back when it was released in October. The sequel to Ridley Scott’s legendary adaptation of Philip K. Dick’s Do Androids Dream Of Electric Sheep? was directed by Arrival filmmaker Denis Villeneuve, and while it was loved by some for its effective capturing of the tone of the original, and for exceptional cinematography, it was also loathed by others for its rampant misogyny. For this reason, all eyes are now on the director’s next project which is currently in development: Dune.

Evidently, Villeneuve’s intention is to make a new adaptation of Frank Herbert’s lengthy 1965 science fiction novel, as opposed to remaking the 1984 film version, which requires a thorough process of examination of the source material. It seems that this process has now begun, too – with screenwriter Eric Roth set to deliver an adapted
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Darth Vader Adorns Empire Magazine’s Fiery Villains Issue

Is Darth Vader the greatest antagonist in the history of cinema?

The rasping, all-powerful Sith Lord has been a cornerstone of pop culture ever since the release of Star Wars: A New Hope in ’77, and as part of their latest, villain-centric issue, the folks over at Empire Magazine present a case for Vader being the best baddie of all time.

He is, after all, the corrupt, power-mongering Sith Lord we all love to hate, even as George Lucas’ forgettable prequel trilogy introduced us to the man beneath the mask: Anakin Skywalker. Taken under the wing of Qui-Gon Jinn and Obi-Wan Kenobi, Anakin’s Force abilities far exceeded all expectations, ultimately leading him on the path to the dark side in Revenge of the Sith.

Indeed, it was Rogue One that carved out a tight-knit story situated between Sith and A New Hope, and it’s fair to say that Gareth Edwards
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"Star Wars" Dialogue: V. Revision

Star Wars Dialogue is a 5-part dialog between Mike Thorn, Isiah Medina, Chelsea Phillips-Carr, Isaac Goes, and Neil Bahadur about George Lucas's first six films in the Star Wars franchise.Mike Thorn: I’ve taken to the idea of assessing these six films on their individual terms from time to time, but there’s also a lot to be gained from putting them into conversation with one another. What is gained by looking at Star Wars as a single work, spanning four decades and multiple entries?Further, I’d like to hear your thoughts about Lucas’s obsession with retroactive revision—not only did he drastically adjust his original trilogy for a 1997 theatrical re-release (the original “Special Editions”), but he has also made emendations to all six films in every one of their successive releases on digital formats and home video. Personally, I see this as a radical gesture
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“If You Want That Melodramatic Shaft of Light, You’d Better Mean It”: Dp Sam Levy on Shooting Lady Bird

There’s a tradition of young directors looking for inspiration in the bygone eras of their adolescence. For George Lucas in American Graffiti, it was the California car culture of the early ’60s. For Richard Linklater in Dazed and Confused, it was the Texas high school rituals of the ’70s. And for Greta Gerwig in Lady Bird, it’s Catholic school and the suburban doldrums of early-aughts Sacramento. Written and directed by Gerwig, Lady Bird follows the titular character (Saoirse Ronan) through her senior year of high school as she fights with her mom (Laurie Metcalf), pines for a philosophical dilettante from the […]
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"Star Wars" Dialogue: IV. The Griffith Legacy

Star Wars Dialogue is a 5-part dialog between Mike Thorn, Isiah Medina, Chelsea Phillips-Carr, Isaac Goes, and Neil Bahadur about George Lucas's first six films in the Star Wars franchise.Mike Thorn: Considering the influence of silent cinema on the Star Wars films, how might we read Lucas’s series as it relates to D.W. Griffith’s work? I’m thinking very broadly here about some of the formal echoes between the climatic finale of The Birth of a Nation (1915) and that of A New Hope. Isiah Medina: In principle, there is nothing that cannot be reversed, there is no cinematic tactic or strategy that cannot be re-appropriated. Or, as Lucas would have it, there’s nothing that cannot be revised for and with future technological breaks. Okay, let’s say we have a Birth of a Nation ending mixed in with a Triumph of the Will (1935) award ceremony in A New Hope.
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China Completely Pulls Last Jedi, Actors Deemed Not Pretty Enough

China Completely Pulls Last Jedi, Actors Deemed Not Pretty Enough
The Last Jedi has been completely pulled from Chinese theaters after a disastrous second weekend at the box office. Chen Tao, a project manager and longtime Star Wars fan who runs a Chinese Star Wars forum says that one of the reasons the movie failed at the box office is because the actors "aren't very beautiful." That's definitely a new criticism that hasn't been brought up to Rian Johnson yet. The director might have to explain this one as he has every other decision that he's made for The Last Jedi.

Chen Tao reveals that the Marvel Cinematic Universe movies do so well in China because they feature well-known locations (sometimes) and because the actors all meet the "public's aesthetic standards." However, The Last Jedi's actors aren't as pretty as their more beautiful cousins in the McU, according to Tao. He had this to say.

"These actors aren't very beautiful,
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Rushes. Republic Rediscovered, Argento on "Suspiria", Tribute to Straub

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGWe found Kiyoshi Kurosawa's semi-serious, semi-tongue-in-cheek sci-fi film Before We Vanish one of the best premieres of last year. The trailer for the American release plays it straight, but captures the wry verve of the film. Highly recommended.We adore the output of Poverty Row studio Republic (Driftwood, The Inside Story, I've Always Loved You), but rarely have had the chance to see the movies on celluloid and looking good. So we'll be front row, center for the Museum of Modern Art's "Republic Rediscovered" series, curated by Martin Scorsese. But just as good as any of those 1940s classics is the trailer for the retrospective, cut by filmmaker Gina Telaroli.The first look at Don't Worry, He Won't Get Far on Foot, Gus Van Sant's new film, set to premiere at Sundance.
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"Star Wars" Dialogue: III. Art and Technology

Star Wars Dialogue is a 5-part dialog between Mike Thorn, Isiah Medina, Chelsea Phillips-Carr, Isaac Goes, and Neil Bahadur about George Lucas's first six films in the Star Wars franchise.Mike Thorn: In her chapter of Glittering Images (2012) on Revenge of the Sith, Camille Paglia argues that, more than any other artist, George Lucas closes the gap between art and technology. How do you feel about this idea? In what ways are art and technology interacting with each other in these films, and how is Lucas cultivating that interaction? How has his innovation in this regard affected cinema since?Isiah Medina: Lucas claims that all art is, is technology. So the claim only works if we assume a gap to begin with. But more precisely, he says that one has an artistic problem, and then one invents a technology to solve it. In Heidegger’s Ponderings X he claims
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New Star Wars Comic Explains Why Leia Never Became A Jedi

Ever since it was revealed that Luke and Leia were brother and sister, and that Leia’s Skywalker blood gives her a huge amount of Force potential (as we teasingly saw in Star Wars: The Last Jedi), fans have theorized about her training in the ways of the Jedi. That possibility was apparently at the core of George Lucas’ original plans for Episodes VII-ix, which have influenced Disney’s own trilogy.

More specifically we recently learned from Star Wars: The Last Jedi – The Visual Dictionary that:

Skywalker’s first student was to be his sister, Leia. However, she ultimately decided that the best path for her to serve the galaxy left no room for the extended isolation of Jedi training.

Now, thanks to Marvel’s Star Wars comic (specifically, Star Wars #40), we can see the roots of why Leia chose to devote herself to politics rather than swinging a laser sword.
See full article at We Got This Covered »

James Cameron on ‘Avatar’ Sequels: “We Can’t Afford for It Not to Work”

At the TCA press tour in Pasadena this week, James Cameron spoke to journalists about his new project, AMC Visionaries: James Cameron’s Story of Science Fiction. In the upcoming six-part TV series, the director will be exploring the roots of science fiction by interviewing folks like Steven Spielberg, George Lucas, Ridley Scott, Sigourney Weaver, Will Smith, and more (all in all, around 100 creatives). But when talking about science fiction, both where it started and also where it's leading us, one has to bring up Cameron's Avatar. Though many originally thought that Fox has greenlit all …
See full article at Collider.com »

"Star Wars" Dialogue: II. Avant-Garde vs. Classical

Star Wars Dialogue is a 5-part dialog between Mike Thorn, Isiah Medina, Chelsea Phillips-Carr, Isaac Goes, and Neil Bahadur about George Lucas's first six films in the Star Wars franchise.Mike Thorn: Of particular interest in the Star Wars franchise is the relationship between Lucas’s avant-garde roots, and the way his experimental tendencies work with (and/or against) classicism. Do any of you think these films should be read more intently in terms of either one formal category or another (classical or avant-garde)? That is, do you think they’re “more” avant-garde than classical, or vice versa? Would your answer differ from film to film?Isiah Medina: Continuing the theme of revision, what is avant-garde can be revised as well, but I don’t think there is value in calling Star Wars avant-garde other than a provocation. It’s classical through and through. In terms of artistic movements within moviemaking,
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"Star Wars" Dialogue: I. "A Long Time Ago"

Star Wars Dialogue is a 5-part dialog between Mike Thorn, Isiah Medina, Chelsea Phillips-Carr, Isaac Goes, and Neil Bahadur about George Lucas's first six films in the Star Wars franchise.Mike Thorn: I’ve spent a lot of time thinking and writing about George Lucas’s work, especially his Star Wars films; I hold this six-part series in extremely high regard, especially the prequel trilogy. In my Bright Lights Film Journal article “Star Wars Episode III: Revenge of the Sith: George Lucas’s Greatest Artistic Statement?”, I discuss the breadth of Lucas’s extratextual reference and his brazenly unique sensibility. In “George Lucas’s Wildest Vision: Retrofuturist Auteurism in Star Wars Episode II: Attack of the Clones (2002),” I pay serious mind to Lucas’s interest in cinematic form and his avant-garde background, unpacking the ways in which his early experimental projects inform his later work. For the purpose of
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It’s Impossible to Please Each Faction of Star Wars Fan, So Was Rian Johnson Right Not to Even Try?

Samuel Brace on Star Wars: The Last Jedi

Given the longevity of the Star Wars series and the various factions amongst the franchise’s fans that have emerged over the decades, it seems to me that it’s nigh impossible to please each one of them, and perhaps, if you believe this hypothesis carries any water, that Rian Johnson should be forgiven for not even trying.

Now, I should preface my case here by reiterating my own personal disappointment with Star Wars: The Last Jedi, the film on which of course Johnson was the director. My qualms regarding the film, however, it would seem, are but microscopic grumbles in comparison to the rather censorious asseverations that have often been unfairly used as a cudgel against The Last Jedi from other parts of the fandom. This is not to suggest that the gripes held by fans aren’t without merit, some
See full article at Flickeringmyth »

How Far Can Star Wars Go?

Tom Jolliffe takes a look at the Star Wars franchise and just how far it can go…

Before I start the ball rolling, I think we’ve all established that Star Wars: The Last Jedi was divisive. In the end the big band of people who thought it was a Cleveland steamer upon the chest of George Lucas have angrily huffed their way into hyperbole comas. Likewise, the few who claimed it as being an evolutionary, redefining masterpiece probably need to give it a few more viewings before firmly pitching it up as the greatest thing ever to feature lightsabers (personally I feel like Spaceballs could more rightly claim that title over Tlj). The reality, for me, was somewhere in the middle. It’s a good blockbuster. It does a lot wrong, but nothing all the rest aren’t guilty of these days, and it does a hell of a lot right.
See full article at Flickeringmyth »

Blu-ray Review: Land Of The Dead Collector’s Edition

For some horror fans, the late, great George A. Romero is considered the George Lucas of horror: he created a trilogy of classic films that changed the face of the genre forever, then years later returned with a second trilogy that was less well-received. But whereas Lucas’ second set of Star Wars films close off his universe, answering unasked questions and making his world feel smaller by tying every corner of it together, Romero’s 2000s trilogy expands his living dead world further and brings the series into a new millennium. They don’t diminish the legacy of his first three zombie movies. If anything, they make it richer.

Land of the Dead, new to Collector's Edition Blu-ray courtesy of Scream Factory (a disc was previously available from Universal), marks Romero’s return to the zombie genre he created after a 20-year absence and is his first (and only) made for a major studio.
See full article at DailyDead »

Incredibly Cool Indiana Jones Trilogy Triptych Poster Art

Artist Enter Gabz has teamed up with Lucasfilm and Bottleneck Gallery to create an amazing triptych poster for George Lucas and Steven Spielberg's Indiana Jones trilogy. Raiders of the Lost Ark, The Temple of Doom, and The Last Crusade are all such great films and if you're a fan, this is a poster that you'll want to get your hands on.

The 36 x 24-inch regular version (above), is available now through 11:59pm Est Sunday and you can buy it here. The gallery will print as many as are sold and it will cost you $50. There’s also a variant edition (below) which was limited to 250 print and it's already sold out.

It's nice that they didn't force Indiana Jones and the Kingdom of the Crystal Skull on there. We've got a fifth Indiana Jones movie coming out in 2020 with Steven Spielberg and Harrison Ford returning and I won't lie.
See full article at GeekTyrant »

John Williams Will Score Star Wars: Episode IX

Composer John Williams says he will return for the final entry in the current trilogy of Star Wars films, which is set to be directed by J.J. Abrams. Williams has been scoring Star Wars films since 1977, when Steven Spielberg put him in contact with a friend who was looking for a composer for his latest film – George Lucas and Star Wars: A New Hope.

If anyone was worried that Williams wouldn’t be returning for Episode IX, there’s no need to fear. The composer has apparently spoken with the film’s director, J.J. Abrams, who is excited to see Williams pen the score for yet another Star Wars film.
See full article at Comic Book Resources »

Mark Hamill Hails ‘Star Wars’ Composer John Williams: ‘He Elevates Every Scene’

Mark Hamill Hails ‘Star Wars’ Composer John Williams: ‘He Elevates Every Scene’
“Aside from George Lucas, nobody deserves more credit for the success of `Star Wars’ than John Williams,” says Mark Hamill.

It’s a pretty bold statement from the actor who plays Luke Skywalker in five of the eight “Star Wars” movies, including a leading role in “The Last Jedi,” now the biggest-grossing movie of 2017. But then, perhaps more than most actors, Hamill appreciates the role of music in movies.

Hamill’s interest was sparked as a child, first taking note of Carl Stalling’s name as composer on old Warner Bros. cartoons, then Bernard Herrmann’s on the fantasy films of special-effects wizard Ray Harryhausen. “I saw ‘Jason and the Argonauts’ on a double bill with ‘7th Voyage of Sinbad,'” Hamill tells Variety. “I could hum the main-title themes from the time I saw them.

Once he realized that Herrmann was the same composer who had terrified moviegoers with his music for “Psycho,” he was even
See full article at Variety - Film News »

John Williams will be returning for Star Wars: Episode IX

In what is the least surprising news on the planet, but still very exciting: legendary composer John Williams is planning on returning for Star Wars: Episode IX. During an interview with Variety, Williams reveals that he has confirmed to director Jj Abrams that he would be returning for the as-of-yet untitled Star Wars sequel. In the interview, Williams specifically states: “I would very much like to complete that.”

Obviously, this comes as no surprise. George Lucas has always said that John Williams’ music was the secret to the Star Wars films, and the franchise would feel very strange without him. John Williams’ music has been one of the best aspects of the new trilogy (looking at you Rey’s Theme!), and this next film should prove no different.

See Also: Daisy Ridley was moved to tears by Colin Trevorrow’s Star Wars: Episode IX pitch

Williams has also recently been
See full article at Flickeringmyth »

John Williams Is on Target to Set Yet Another Oscar Record

John Williams Is on Target to Set Yet Another Oscar Record
With both “The Post” and “Star Wars: The Last Jedi” in the running this Oscar season, composer John Williams, who already has 50 Academy nominations, more than any other living person, could earn a 51st or even 52nd nom.

Both films stem from working relationships that date back to the 1970s, both of them studded with awards recognition and success. “The Post” is Williams’ 28th film for Steven Spielberg, a partnership that began with the director’s “The Sugarland Express” in 1974. “The Last Jedi” is the composer’s eighth “Star Wars” movie, having launched the original George Lucas space franchise in 1977.

Acknowledgement of one or both scores would be especially sweet considering that Williams, who will be 86 next month, is marking his 60th year composing for TV and films. His earliest screen credits were in 1958, for TV’s “Playhouse 90” and a low-budget drive-in movie titled “Daddy-o.”

And while both “The Post” and “Last Jedi” mark a return
See full article at Variety - Film News »
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