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Interview: ‘Star Wars: The Last Jedi’ director Rian Johnson

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Rian Johnson brought an independent filmmaking vision to the making of Star Wars: The Last Jedi.  “It’s the biggest independent film ever made,” says Johnson of The Last Jedi, the eighth episode in the Star Wars cinematic universe.  “I was able to take an independent approach with this film, not in terms of the scope of the project, obviously, but in terms of the freedom I was given during the writing process.  I wasn’t told what the story had to be when I was given this assignment.  Instead, I was given the script for The Force Awakens, and then I was able to watch dailies from The Force Awakens before I started writing, which was very helpful since The Last Jedi directly follows The Force Awakens.  I was given a lot of freedom.”

Johnson built his reputation in the world of independent cinema, earning strong critical reviews for the films Brick and The Brothers Bloom.  Genre audiences know Johnson best for 2012’s Looper, a mind-bending science-fiction thriller that represented a breakthrough for Johnson in terms of the attention he received from Hollywood’s power brokers.  One of those power brokers is Kathleen Kennedy, a longtime production associate of Steven Spielberg and the current president of Lucasfilm, who felt that Johnson’s sensibilities were well-suited to the Star Wars universe.  “I really didn’t think I had a chance,” says Johnson.  “During one of our meetings, she asked me if I would be interested in directing one of the new Star Wars films.”

DG: You were surprised when Kathleen Kennedy offered you the chance to direct and write The Last Jedi?

RJ: Yes.  I was shocked.  I didn’t think I was a serious contender.  I had no idea that I was on their list.  I’d had several meetings with Kathleen in recent years, and these meetings involved other projects, and on the day she offered me the job, I thought I was going to a meeting to talk to her about another project.  I guess I knew something was up when I walked into her office and she shut the door.  Then she asked me if I was interested in doing Star Wars, and I wasn’t prepared for that.  Of course, I was calm enough to immediately say yes.

DG: What did you bring to The Last Jedi that’s unique from other directors who might have been given this assignment?

RJ: Even after Looper, I’ve been regarded as an independent filmmaker, and I’ve always brought an independent mentality to all of my projects, including The Last Jedi.  I’ve always done my own films, worked independently, so I guess my biggest concern was that The Last Jedi would be a case of filmmaking-by-committee, which would have been understandable, given the production cost of a film like this but wouldn’t have been compatible with how I like to make films.  Thankfully, that wasn’t the case.  My biggest concern was that I didn’t make a bad Star Wars film, because I grew up watching the original Star Wars films, and I didn’t want to be known as the director who made the bad Star Wars film.

DG: How much creative freedom did you have during the writing process?

RJ: The Force Awakens was filming when I signed on for The Last Jedi, and because The Last Jedi begins directly after the end of The Force Awakens, I had to look at the script for The Force Awakens carefully, and I was watching dailies of The Force Awakens.  Once I understood The Force Awakens, I was given tremendous freedom in terms of figuring out how The Last Jedi would continue the story.  I wasn’t given an outline and told that I had to exist within any perimeters.  I moved to San Francisco so I could be near Lucasfilm, which I visited several times a week.  When I met with the executives at Lucasfilm, I gave them my ideas for how I would continue the story from The Force Awakens, and then we would talk about my ideas.  They were very encouraging and supportive, and they had lots of great ideas, because they know Star Wars better than anyone.  This went on for about two months, and then I started writing the script, and after a few months, I had a first draft script.

DG: How did you approach the characters from The Force Awakens?

RJ: I wanted every character in this film to have their own moment, to go on their own unique journey.  Luke and Rey embark on an incredible journey in this film, and Rey’s journey really provides the through-line for this film.  Finn has a major journey in this film also, a major character arc.

DG: Then there’s Luke and Leia.  How did Carrie Fisher’s untimely passing in December 2016 affect the finished film?

RJ: It didn’t affect the film at all, from a filmmaking standpoint that is.  Obviously, Carrie’s passing will add a tremendous amount of emotional subtext to the film, which is something that I, and the rest of the cast and crew, experienced when we watched a cut of the film for the first time.  Carrie’s performance in the film, which is touching and wonderful, was completed when she passed away, and we were in the editing process when we heard of her passing.  We didn’t change anything about her performance.

DG: What was it like working with her on what turned out to be her final screen performance?

RJ: First, she was an incredible resource, not just because of her history with Leia, and the series, but also because Carrie was a great writer, a successful screenwriter, in her own right.  We talked a lot about dialogue, and how her character would behave in this film, and there was improvisation, and all of the changes she made in the dialogue made those scenes better.  Carrie and Mark [Hamill] had, prior to Carrie’s death, lived with these characters for approximately forty years, and they were very protective of these characters and very aware of the emotional attachment that audiences had for them.  Carrie, for example, was very sensitive to how Leia should behave and what she represented to young women.

DG: Having been a Star Wars fan first, was it difficult to get beyond a sense of awe when you were making the film?

RJ: It was impossible for me not to consider the momentousness of what I was part of.  There were times when I was talking to Mark, and I’d stop and think, ‘This is Luke Skywalker.’  But for the most part, it turned into the same creative process that’s existed with all of my previous films.  I feel like we made the biggest independent film in the history of cinema, and when I say that, I’m referring to how intimate this experience felt for all of us.

 

 

 

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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