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“I have a thought about putting Jar Jar Binks’s bones in the desert there,” he said.Ībrams laughed, too, but insisted, “I’m serious!” He pointed out that the shot zips by in a second, if that.
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The Force Awakens may yet turn out to be lousy, but moviegoers-and Disney shareholders-should be heartened that it is being made in an appropriately imaginative and playful spirit. I think it’s fair to say that Abrams and his team were having fun, and fun, if you are a fan of Star Wars, if Lucas’s original films fired your childhood imagination and fueled your childhood play, is exactly what you’d hope anyone working on a Star Wars movie would be having. “That’s genius!” There was only one effect he felt wasn’t really working-two separate shots, a close-up of an actor’s hand and a longer shot of his head and shoulders, which had been linked by a clever postproduction camera move that looked flawless to my untrained eyes-but even here he was effusive in his praise for the technical achievement, telling the London-based visual artist, “It was amazing you did this at all,” and then virtually apologized for rejecting it. But his broader notes tended toward comments such as “That’s fucking awesome!” and character’s physical frame, asking for “a strong trapezoidal muscle.” Dissecting a chase scene, he questioned the height of an animated droid’s bounce in response to a nonvirtual explosion, worried the effect made the character look “a little bit light.” He asked that the arc of a spaceship’s flight be more “parabolic,” upping the scene’s vertigo quotient. His enthusiasm and appreciation were infectious-not that he didn’t have notes.
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The director-whose credits include the TV shows Alias and Lost, which he created, and the last two Star Trek films-liked what he was seeing as the group ran through various shots, sequences, and concept art. It was a session you might think would be tense, even fraught, given the stakes on this film, the first Star Wars movie in 10 years and the first ever without creator and fanboy lightning rod George Lucas, who three years ago sold his production company, Lucasfilm Ltd., along with all rights to Star Wars, to the Walt Disney Company-which means the new movie has an added burden of needing to relaunch the franchise in robust enough fashion to justify Lucasfilm’s $4-billion-and-change sticker cost.īut if Abrams and his team were feeling any pressure, they were wearing it lightly. The group was teleconferencing with Industrial Light & Magic, the San Francisco–based effects company, as well as a second unit in London, with the artists and technicians represented on-screen by their works in progress and on the sound system by their disembodied voices. Abrams was reviewing special-effects shots for his next film-known colloquially as “the hotly anticipated new Star Wars movie” and more formally as Star Wars: The Force Awakens. Abrams, a boyish 48, with wiry hair and black-framed nerd glasses, was seated in a small, plush screening room with a dozen or so associates, including visual-effects supervisor Roger Guyett and Abrams’s longtime producing partner Bryan Burk. One afternoon in March, at the offices of his Bad Robot production company, located in a nondescript two-story building on what passes for an industrial stretch of Santa Monica, the director J.