|STAR WARS: THE RISE OF SKYWALKERTHE RISE OF SKYWALKERRISE OF SKYWALKERSKYWALKERINTERVIEWBABU FRIKSTAR WARS|
Even three months after its release, Star Wars: The Rise of Skywalker refuses to leave the national conversation. Perhaps that’s because so much supplementary material keeps coming out after the fact to fill out the plot gaps in the film’s ever-so-complex narrative. The latest from the Star Wars: The Rise of Skywalker novelization is all about Kylo Ren and his arc form Big Bad to big softie, and how exactly it happened.
Kylo Ren’s redemption arc was arguably one of the most dissatisfying parts of Stars Wars: The Rise of Skywalker, primarily because all the motivation for his turn from the Dark Side to the light took place offscreen and in supplementary materials. But here is a little more supplementary material to explain why Kylo Ren turned out the way he did. The Star Wars: The Rise of Skywalker novelization fills out some of the plot holes in Ben Solo’s arc from the Skywalker heir apparent to fallen son.
First, there’s an explanation of Kylo Ren and Rey’s first fight in The Force Awakens, when the new Force wielder was able to beat a trained Jedi in a lightsaber duel. We can thank Chewbacca for that, according to the novelization, which reminds us that the Wookiee shot Kylo Ren after he killed Han, putting him at a disadvantage in the fight with Rey. The book reads per CinemaBlend:
‘I have not forgotten that you shot me,’ Kylo said. That wound had resulted in a defeat at Rey’s hands. Had he been in top fighting form, the scavenger never would have gotten the best of him.
Yep, this sure is an explanation that doesn’t take away from Rey’s victory at all, because how could a girl who had been forced to survive on her own on a desert planet all her life eke out a win against a trained warrior? Uh, huh.
But that’s not all that has been revealed about Kylo Ren in the novelization. The retcon of Kylo’s “lie” about Rey’s parents being no one in Star Wars: The Last Jedi is further explained, writing per Digital Spy:
“He’d glimpsed her parents in a vision, a poor, frightened couple eking out a meagre existence, surviving on the edge of desperation. He hadn’t been lying when he’d told her they were nothing, nobodies. But Force visions were filled with tricky truths and potential realities. Maybe he had missed something. Bringing all the power of the Force to bear, Kylo Ren demanded, ‘Who is she?’ The rotting remnant of Emperor Palpatine smiled.”
The last revelation digs into Kylo Ren’s pivotal turn, when he lays down his lightsaber and finally embraces his identity as Ben Solo. In the film, it appears to be his mother Leia’s death that leads him to make this turn, at the of his battle with Rey, when she mortally wounds then heals him. In the...
The Rise of Skywalker went through more rewrites than Chris Terrio has ever experienced. Terrio co-wrote the story with director J.J. Abrams. To put things into perspective, Terrio co-wrote Justice League, and we all know how that turned out. Joss Whedon even ended up with a writing credit on that one after $25 million reshoots lasted over a month. Regardless, there are still a lot of Star Wars fans who were very satisfied with the way the final installment in the Skywalker Saga unfolded, even if it was seemingly written on the fly.
Colin Trevorrow was originally on board to write and direct Star Wars 9, but he later left after running into some creative differences with Lucasfilm and Disney. So, J.J. Abrams was brought back to the fold and he brought Chris Terrio along to help write a brand-new story, which could not have been easy, especially because it seems like they never really stopped writing, even when the cameras were rolling. Terrio had this to say about the experience.'I've never rewritten a film as much as this one. It's like a tide. There's a new script every morning. But we just keep going at it and going at it, loosely thinking that it's not good enough. It's never good enough.'
The Rise of Skywalker hit theaters in December and a lot of fans still have unanswered questions. However, much like the Wayfinders used in the movie, hardcore Star Wars fans can seek out novels, comic books, and video games to help fill in the blanks. As far as the rewrites are concerned, Chris Terrio says they were lucky to have a flexible crew with them. He explains.'Luckily, the production team is so good that they can shift and adjust. We're course-correcting as we go - we're trying things, and some things don't work and some things aren't ambitious enough. Some things are overly ambitious. Some things are too dense. Some things are too simple. Some things are too nostalgic. Some things are too out-of-left-field. We're finding our balance.'
Since The Rise of Skywalker is out digitally and coming out on Blu-ray tomorrow, we have been getting a lot of behind-the-scenes looks at what could have been. The Art of Star Wars: The Rise of Skywalker book is out tomorrow too, and it features a wealth of concept art, along with several interviews with the cast and crew. The concept art within the book shows some of the material that was originally written for the movie, but ultimately did not make the cut.
Once Star Wars fans started to hear about the concept art and ideas that didn't make it into the final cut, rumors started to circulate about the J.J. Abrams cut. The concept art, paired with Abrams' on words about cutting the runtime down helped to spread these rumors. But, there is no J.J. cut since most of the things that were written and unused were never completed or even shot. Adding to this idea is the fact that there are no deleted scenes included in The Rise of Skywalker digital or Blu-ray release. Chris...
Apple has resurrected Steven Spielberg’s anthology series Amazing Stories as part of its Apple TV+ streaming service, the first of their shows to be a revival of a pre-existing show. The original series ran from 1985 through 1987 on NBC. Apple’s first season consists of five hour-long stories.
The first episode of the new series stars Dylan O’Brien as a modern man who travels back in time through the basement of a house he’s restoring. Episode two tells the afterlife tale of a runner Hailey Kilgore who gets hit by a car, but stays around to help her friend E’myri Crutchfield. The newest episode stars Robert Forster as a grandfather who gains super powers from an old toy ring.
Edward Kitsis and Adam Horowitz serve as showrunners on the new Amazing Stories. Their previous credits include creating and running Once Upon a Time and writing and producing for Lost. Kitsis and Horowitz spoke with /Film by phone this week about Amazing Stories and a little bit about their Beauty and the Beast prequel series for Disney+. New episodes of Amazing Stories premiere Fridays on Apple TV+.
Was there ever a question of using the original Amazing Stories theme song?
Horowitz: No. John Williams’ theme was so iconic. From day one, it was a must have for us and everybody involved knew that there really was no way we could do this without it.
How did you come up with new animation for it?
Kitsis: We hired a title company and basically we, really almost right away, I think we spent a year going over development with them. You just look at different images and animation and just kind of gradually came about over the last year.
Horowitz: It was a collaborative effort. They did incredible work. They worked with us and with Amblin and Steven had input in it all. It was a long process to try to get it to the place where it is now and got more specific as we started to shoot the episodes and get images to put into it.
Kitsis: The company’s name is Elastic. They’re phenomenal. They’ve done so many titles that you’ve seen.
Horowitz: If you look in the title sequence as you watch the episodes, you see images from the various episodes are incorporated in the title sequence.
What was the decision to go full hour versus the ½ hour of most of the original Amazing Stories?
Horowitz: I think it was less about a conscious decision about the episodes should be an hour or a half hour than as we discussed the kind of stories we wanted to tell, a length sort of revealed itself to us which is this 45 to 50 minute length which felt about right for the size of the stories we were telling. It really was about letting the stories dictate the length rather than try to dictate an arbitrary timeframe for it.
Can the stories be any edgier on streaming than they were on...