|THE MANDALORIANTHE LAST JEDIRIAN JOHNSONON WRITINGLAST JEDISTAR WARSKYLO RENREVIEWACTOR|
Last week, Hasbro celebrated Star Wars Fan Appreciation Day, because every single day is a new chance for the population at large to be marketed to by major corporations. Thankfully, we’re Star Wars fans, and the announcement of new Star Wars Black Series figures is an exciting one, especially when they include a new version of The Mandalorian in Beskar armor, the respected Admiral Ackbar, a fierce Ewok warrior, and a slick carbonized version of a beloved character from The Empire Strikes Back.The Mandalorian Black Series Action Figure
Just before The Mandalorian arrived on Disney+, the first wave of merchandising from the live-action Star Wars series arrived in stores along with the first action figures from Star Wars: The Rise of Skywalker. But it seemed Hasbro didn’t properly anticipate demand for the Black Series figures associated with the series, because nearly all of them have been extremely difficult to find, especially Mando himself. But hopefully that will change with this new version of the bounty hunter.
Unlike the first version of The Mandalorian Black Series figure, this one comes with shiny new Beskar armor. It’s a much cleaner version of the character, and he still comes with all the appropriate weaponry. Unfortunately, there’s no two-pack that comes with The Child known as Baby Yoda, but you can still buy the little guy separately.#gallery-3 #gallery-3 .gallery-item #gallery-3 img #gallery-3 .gallery-caption /* see gallery_shortcode in wp-includes/media.php */ Admiral Ackbar and Teebo Join the Black Series
Two characters from Return of the Jedi are getting their due diligence as Black Series figures. Admiral Ackbar joins the line, looking like his back has been seriously injured in the promotional photo above. Meanwhile, the Ewok known as Teebo is clearly not in the mood for dealing with any Stormtrooper crap, so don’t mess with that dude.#gallery-4 #gallery-4 .gallery-item #gallery-4 img #gallery-4 .gallery-caption /* see gallery_shortcode in wp-includes/media.php */ New Carbonized Boba Fett and Stormtrooper
Finally, after first being introduced on Triple Force Friday last fall, the carbonized variant line of Black Series figures is getting two new additions this year, and they should be infinitely easier to find than that initial wave, especially since they’re both available for pre-order over at Big Bad Toy Store right now.
Boba Fett is easily the...
Star Wars: The Last Jedi and its incredible throne room scene remains burned in our minds, even three years after the polarizing film’s release. Now, as we sit twiddling our thumbs and scrolling through Twitter during our self-quarantines, The Last Jedi director Rian Johnson is dropping a few behind-the-scenes photos from that scene, as well as a sweet candid image of Carrie Fisher. See The Last Jedi behind the scenes photos below.The Last Jedi Behind The Scenes Photos
A few lovely ones from the archives spoilers I guess pic.twitter.com/HWgeFkI0qG
— Rian Johnson @rianjohnson March 19, 2020
Shot on Johnson’s Ilford 3200 camera, the black and white photos offer a few glimpses of what it was like behind-the-scenes of Star Wars: The Last Jedi. The third photo is a pretty funny one, showing Andy Serkis, who voiced and motion-capture performed the role of the villainous Supreme Leader Snoke, crying over a prop of Snoke’s bisected body after he had been killed by Kylo Ren Adam Driver. It may come as a bit of a surprise that Snoke’s body was actually a prop and not entirely digital, but we had actually learned this in our oral history of the throne room battle scene.
But while Serkis sheds fake tears over his character’s dead body, you may shed some real tears to see Carrie Fisher and Oscar Isaac who played the rogueish pilot Poe Dameron goofing around in the first image, which Johnson admits had “some funkyness happening with that,” but he liked how it came out nonetheless. It’s amazing that Johnson had time to snap these photos while he was busy directing a tentpole sci-fi film that would go on to rake in $1.3 billion worldwide, but hey, the Oscar-nominated filmmaker is a multi-tasker.
The Last Jedi images come right as the final film in the Skywalker Saga, Star Wars: The Rise of Skywalker, comes on digital and before it arrives in 4K Ultra HD, Blu-ray, and DVD on March 31.Source: Slashfilm.com
If you need a break from sitting around watching endless hours of TV during quarantine and want to do some reading, Rian Johnson is here to help. The filmmaker has made the shooting draft of Knives Out available for all to read. Since it’s a shooting draft it’s pretty similar to the final film, although there are a few interesting differences here and there. Mostly, though, it’s another reminder of how damn fine a script this is.
Just posted the shooting draft of Knives Out to my site. All previous scripts that don't involve outer space are up there too. https://t.co/aseGDIdwZJ
— Rian Johnson @rianjohnson March 23, 2020
Hey, remember Knives Out? One of the best movies of last year? Well, it’s back – in script form. Rian Johnson was nice enough to put the script on his site, along with all his other scripts except for The Last Jedi. It’s a fun read, mostly for the tiny little differences here and there. For instance: in the final film, when Benoit Blanc is first introduced as sitting in on the questioning of the Thrombey family, he casually taps a piano key every time he wants the line of questioning to change. In the script, he simply taps the back of a chair with his foot – which isn’t nearly as over-dramatic and memorable as the piano key thing.
Beyond that, you might notice that Johnson has a weird aversion to punctuation in some places, and more often than not, certain character’s dialogue just stops – no period, no em-dash, nothing. It’s a little jarring, but who am I to argue with the guy who wrote and directed the best Star Wars movie?
DC has been a good home to screenwriter Christina Hodson. After writing Birds of Prey and the Fantabulous Emancipation of One Harley Quinn, DC and Warner Bros. hired Hodson to adapt two other comic book properties, including Batgirl. Based on the glowing reception to Birds of Prey, the studio now has another strong voice behind their comic book movies. They haven’t always this much sense of authorship and crystal clear vision.
Birds of Prey is a comic book movie that doesn’t overstay its welcome and has more personality than explosions, although the grounded action is a visceral delight. It’s a tight, character-driven comic book movie that Hodson – a former executive at Focus Features – recently told us about writing. Plus, she discussed her favorite Harley Quinn stories, the Trainspotting influences, and her days as an executive.
I heard you say in an interview you wanted to shake up some boxes with the movie, so what other parts of the genre did you want to subvert? What did you want to do that was new?
I love the genre. I love action movies, I love superhero movies, I love comic book movies. I’m generally a movie nerd, but I was seeing a lot of them, and we’ve seen as you say, kind of the big CGI wild ending stuff, but there’s only so many times you can save the world from blowing up.
I wanted to see a different angle on Gotham City. I think, in particular, I loved Gotham in the Batman movies, all the Batman movies, but I wanted to see a different texture. Margot and I from very early on decided to set the movie on a very hot, bright, summer day just because I wanted it to be sweaty, stinky Gotham. I wanted to see silly things like, “What does a Gotham bodega look like?” “What is a $2 egg sandwich in Gotham?”
I think that was kind of one of the fun things about telling a more contained story was that we got to see a lot of these details. We got to go home with some of these characters. You get to see what Huntress’ bathroom looks like, you get to see what Harley’s apartment looks like, with its very strange details, like the pillow and the picture of Harley with the nuns. Again, I think laying in some of that texture into this world was really fun and something that I just haven’t been before.
What about the nonlinear structure? How early on did you imagine it?
Immediately. Honestly, that was one of the very first things that I came back to Margot with. We knew we wanted to do an ensemble team-up. We knew we wanted to do it in a different way and then the challenge was, “How?” I went and did some thinking, and the way I pitched it to her initially was, “I wanted to see the four completely different women, living completely different lives. Each of them kind of set on a different path...