Modern family: Addition

Back story : Star wars (6)

In order to make star wars more
better, more grand, more acceptable and more beloved; I made some changes in script to avoid pitfalls and inconsistency. Eg-

Consistent Storytelling: In my previous life; a common critique of the sequel trilogy was the lack of a cohesive and pre-planned story arc. With different directors and writers handling each film, there were inconsistencies in character arcs and plot developments. I felt that a more unified vision and better collaboration between creative team of Lucas and me will result in a more satisfying narrative. So I made necessary attempts to address the problem.

Character Development and Arcs: Similarly, While Star Wars had introduced memorable and beloved characters, there were instances where I felt that certain characters could have been given more depth and development. For example, Finn's backstory as a former stormtrooper was intriguing but not fully explored, leaving some viewers wanting more. Poe Dameron's character arc also received mixed reactions, with audience feeling that his potential as a charismatic leader was not fully realized. So I made necessary & adequate changes to address it as well.

Treatment of Legacy Characters: Similarly, The handling of legacy characters, such as Luke Skywalker, Princess Leia, and Han Solo, was a point of contention for me. In the sequel trilogy, not only me but some fans also felt that these characters were not given the proper respect or closure that their iconic status warranted. There were differing opinions on how their storylines were portrayed and their overall impact on the narrative. I was ready to address these irregularities in this life.

Balance of Fan Service: Similarly; Star Wars had a rich history and a passionate fan base, but some fans felt that the sequel trilogy relied too heavily on nostalgia and fan service. While callbacks and references to the original trilogy was enjoyable, there were instances where it felt excessive and overshadowed the creation of new and original storytelling. So I has this in my mind from the very start to smoothen this unlevelness.

Handling of Expanded Universe Material: Similarly, The Star Wars Expanded Universe consisted of numerous books, comics, and other media that expanded upon the Star Wars lore. When Disney acquired Lucasfilm in my previous life, they declared the Expanded Universe as non- canon, which disappointed quite a few fans who were invested in those stories. While Disney had since created new canon material, some fans wished for a better integration or acknowledgment of the Expanded Universe material in the new films. And since in this life; I have Comic production under my control; I have to make sure this doesn't happen anytime.

Also in my previous life; a prominent writer for New Journal and Guide called Star Wars "one of the most racist movies ever produced", with "the force of evil ... dressed in all black and [having] the voice of a black man". In order to address this contention; I have decided to give strict and specific direction to not be painted in this light.

Similarly; In a 1979 appearance on The Tonight Show Starring Johnny Carson, scientist Carl Sagan called it "extremely unlikely" that the beings of another galaxy would look human, further stating his criticism of the ubiquitous whiteness of the humans seen in the film. He also cited the fact that Chewbacca does not receive a medal at the end as "anti- Wookiee discrimination"; this issue became contentious among fans in my previous life; so I have decided to avoid this pitfall so as to not have any strains on my scientific thinking and temperament.

-------

I sat with George and his team to conceptualize the initial spacecraft models; to create the preliminary conceptual storyboard sketches of early scripts; and to visualize the characters, costumes, props, and scenery. After I finished pre-production paintings of certain scenes from Lucas's early screenplay drafts; I compared it with the previous life's information and Okayed it.

Star Wars has no points of reference to Earth time or space, with which we are familiar, and it is not about the future but some galactic past or some extra-temporal present, it is a decidedly inhabited and used place where the hardware is taken for granted.

Since this film is ambitious project for not only me but also for Lucas; We decided to create fresh prop prototypes and sets (based on my paintings) that has never been realized before in science fiction films. We commissioned production designers John Barry and Roger Christian, who had worked on the sets of the film Lucky Lady (1975) where Lucas has first met them, to work on the production sets.

We had a conversation with them on what we would like the film to appear like, and they should create the desired sets as close to as commissioned. I emphasized strongly that I don't want anything [in Star Wars] to stand out, I wanted it [to look] all real and used.

Then Lucas described a "used future" concept to the production designers in which all devices, ships, and buildings to do with Tatooine or the Rebels looked aged and dirty, as opposed to the sleeker designs of the Empire. We wanted the spaceships to look "cobbled together, as opposed to a sleek mono- shape." I emphasized that I want it to look like it's shot on location on your average everyday Death Star or Mos Eisley Spaceport or local cantina. Lucas believed that "what is required for true credibility is a used future", opposing the interpretation of "future in most futurist movies" that "always looks new and clean and shiny."

The designers started working with the Lucas. For four to five months, in a studio in Kensal Rise, England (same as originally to save the cost), they attempted to plan the creation of the props and sets as I have sanctioned the money after some time. As crew could afford to dress the sets unlike what conspired originally in my previous life but in order to limit the cost I directed my team to press them to use unconventional methods and materials to achieve the desired look wherever they could without affecting the quality.

So under my team's pressure they used scrap in making the dressings without affecting desired appearance. Barry, Christian, and their team began designing the props and sets at Elstree Studios.

In all of these sets, the Millennium Falcon set was the most difficult to build. Lucas wanted the interior of the Falcon to look like that of a submarine. So they found scrap airplane metal "that no one wanted in those days and bought them. Then they began their creation process by breaking down jet engines into scrap pieces, giving them the chance to "stick it in the sets in specific ways." It took them several weeks to finish the chess set (which I described as "the most encrusted set") in the hold of the Falcon. The garbage compactor set was also pretty hard, because they knew they had actors in there and the walls had to come in, and they had to be in dirty water and so they had to get stuff that would be light enough so it wouldn't hurt them but also not bobbing around. A total of 30 sets consisting of planets, starships, caves, control rooms, cantinas, and the Death Star corridors were created; all of the nine soundstages at Elstree were used to accommodate them. The massive rebel hangar set was housed at a second sound stage at Shepperton Studios; the stage was the largest in Europe at the time.