Originally Posted by BigRedChief:
We saw this arrogance in GOT season 8 too. We have a huge built in audience, going to make a huge pile of money guaranteed, why give our best effort? We don't have to get all the details of the story arc ironed out before filming.
Complete lack of respect for the fans and their passion for the story and the characters.
At least those GoT fuckers are paying the price for it. They're so toxic now I doubt if they could get a gig producing an infomercial.
I don't know how Jar Jar Abrams still gets work. I wouldn't let that cocksucker wash my car. [Reply]
Originally Posted by BigRedChief:
We saw this arrogance in GOT season 8 too. We have a huge built in audience, going to make a huge pile of money guaranteed, why give our best effort? We don't have to get all the details of the story arc ironed out before filming.
Complete lack of respect for the fans and their passion for the story and the characters.
Dude, it had absolutely nothing to do with arrogance and everything to do with spending 10 years of their lives on this series, which had become a never-ending journey, especially given that Martin decided that he needed decades to outline and complete the story.
AT&T's management was and has been compete and utter shit. They pressured those guys constantly because HBO was far, far behind in the Streaming Wars (and years later, still lag far behind Disney, Netflix, Amazon and are virtually tied with Hulu, which has 1/100th the original programming). They wouldn't allow them time off, because HBO had absolutely no other "Anchor" TV series and the grind just wore them down.
Running a show, even a small show, is like being a CEO of a company. There are constant challenges with personnel, salary disputes, delays, and of course, egos. When you're talking about a series with the scope of Game of Thrones, Wiess & Benioff were basically CEO's of a global corporation, with filming locations all over Europe, which comes with its own set of logistics, a team of accountants and finance people, not to mention the fact that they had to pull the story out of their asses because Martin failed to do his part, making it no surprise that the series ended up disappointing a large number of viewers.
Originally Posted by DaneMcCloud:
Ahh, well that makes some sense. It's just kind of weird how they found the plans for Hyperspace tracking moments before Vader's Destroyer immediately found the Tantive IV.
And the idea of a tracker is becoming an overused plot device in Star Wars. We can block advertising on the web and find viruses in our computers while our cars can almost drive themselves but people capable of creating starships that are faster than lightspeed can't detect a tracker on its hull?
Between those issues and Obi Wan's outright lies about R2D2, C3PO and Anakin really messed everything up, IMO. Then, add the fact that Owen Lars doesn't instantly recognize C3PO, when he was their droid for at least 10 years, which is extremely odd as well.
I'll be curious to see how many changes are made to the OT once Andor and the Obi Wan series air.
To your first question - when Jyn and Cassian are in the vault on Scarif and going through the files looking for "Stardust", she mentions hyperspace tracking as one of the files. That's playing it loose and fast, but I "think" it's enough to allow Vader to catch up with Leia above Tatooine.
As far as Solo - completely agree. KK and RJ not only fucked up THEIR movie (and the one JJ had to try and salvage), but also the Solo movie. How do you kill the Star Wars Golden Goose? Didn't think it was possible until those two showed up.
I sincerely hope they find a way to give us a Solo sequel or a series. Solo on rewatch is much, much better, and Alden really does do a fine job as a young Han. [Reply]
Yeah, nobody needed an explanation for why the Star Destroyer was there at the beginning of ANH in 1977.
If Rogue One introduced a pre-existing element into the story 40 years later, that's not a plot hole.
The director probably listened to the star wars radio drama anyway :-) (the drama is awesome, it actually covers Vader tracking Leia all the way from another planet first, then when the Devastator finally catches up to her the talk about there being a spy on board). [Reply]
The Stars of ‘Star Wars’ Join Forces: Pedro Pascal and Ewan McGregor Share Secrets Behind ‘The Mandalorian’ and ‘Halston’
Ewan McGregor: I just came directly from our set on the “Kenobi” series, and I’m working with so many of your crew from “The Mandalorian.” In fact, Deborah Chow is directing all of our series, and I know she directed episodes of your first season. I’m having such an amazing time down there with that incredible technology, and not being in front of too much green screen and blue screen.
Pedro Pascal: It’s unbelievable, isn’t it? You would think that you would have to really invent all of it in your mind, but more than any set I’ve ever been on, it’s there and meticulously created in the production design. It’s like being on an amusement park ride.
McGregor: I did the first three films in the late ’90s and into the 2000s, and by the time you did Episode 2 and 3, literally 90% of the scenes were just on green sets with green floors and green walls, or a blue set with blue sides and blue walls.
Pascal: It would be such a different experience with the same character that you were doing before — and then coming in and doing it with all this new technology.
McGregor: I like it. It’s like the beginning of Hollywood. It’s almost like when they had three-sided sets all in a row, and a bunch of guys with windup cameras, and you would just go from one stage to the other, one background to the other. Well, we’re doing sort of the same thing, except just the background changes instead of the stage. I’m excited about it because I feel like anything’s possible now. That you can invent stuff, interiors or exteriors that don’t exist in the real world, and put us into that environment. And also, you don’t have to fly ever. I mean, traveling has been great for the first 30 years of my career, but now I just want to stay at home. I just want to drive to work and drive home from work. I want a proper job. [Reply]
Originally Posted by Buehler445:
Hmm. First I’ve heard of it, other than the Martin stuff. And a lot of it makes sense. But by the same token, by season 5 when they went off book, they should have known what they were in for. And ultimately, they controlled the output so they have to wear a bunch of it.
Well, this isn't something that would be released or talked about by the showrunners in Variety or the Reporter or any other entertainment related website but it's fairly common knowledge in town.
It's also hurt HBO's rep. Unlike Netflix or Disney+, no established directors and/or showrunners are lining up to work with HBO/AT&T at this point in time.
No one wants "Management" looking over their shoulder every freaking minute of the day and they've pissed off so many people, including Christopher Nolan, that I have to wonder if they'll ever become a true streaming competitor to the likes of Netflix, Disney+, Amazon Prime, etc.
Those streamers are investing in great talent while AT&T/HBO are driving them away. [Reply]
Originally Posted by DaneMcCloud:
Well, this isn't something that would be released or talked about by the showrunners in Variety or the Reporter or any other entertainment related website but it's fairly common knowledge in town.
It's also hurt HBO's rep. Unlike Netflix or Disney+, no established directors and/or showrunners are lining up to work with HBO/AT&T at this point in time.
No one wants "Management" looking over their shoulder every freaking minute of the day and they've pissed off so many people, including Christopher Nolan, that I have to wonder if they'll ever become a true streaming competitor to the likes of Netflix, Disney+, Amazon Prime, etc.
Those streamers are investing in great talent while AT&T/HBO are driving them away.
Oh I don’t doubt it at all. And it’s a shame. More good production that hits the ground is better for me.
I think unltimately it hurt D&Ds rep too though, right? Are those guys even working these days? [Reply]
Originally Posted by Buehler445:
Oh I don’t doubt it at all. And it’s a shame. More good production that hits the ground is better for me.
I think unltimately it hurt D&Ds rep too though, right? Are those guys even working these days?
While the fans may be disappointed, it didn't hurt their rep in town. 10+ years is a long, long time to work on one project and one project only and those guys definitely needed some downtime before moving on to their next project.
They did sign a $250 million dollar deal with Netflix and they're working to adapt a screenplay at this point. With that said, $250 million is chump change these days, especially considering the budget for GoT was $150 million per season. [Reply]
