‘Rogue One’ Editors Reveal Which Scenes Were From The Reshoots

(SPOILERS FOR ROGUE ONE AHEAD)

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Since the spring of last year, reports of extensive reshoots for Rogue One: A Star Wars Story loomed heavily over the production after Disney Executives were seemingly unsatisfied with the initial cut of the film delivered by Gareth Edwards. As a fan, I didn’t care exactly what was going to be reshot as long as you couldn’t tell and even though the reworking of the third act became apparent upon viewing the film as much of the action from the trailer was unfolding differently, I think we can all agree Lucasfilm made the right decisions to give us what I think is a borderline masterpiece as far as the third act goes.

But it wasn’t just the third act that was reworked. Leading up to the film’s release it was revealed that the character of Bodhi played by Riz Ahmed was a big part of the reshoots as Lucasfilm wanted to offer a bit more screentime to flesh out the Imperial defector. While speaking with Yahoo! UK, editors John Gilroy and Colin Goudie were asked about the reshoots and Gilroy revealed just exactly which scenes were added into the mix to flesh out not just Bodhi, by Cassian Andor played by Diego Luna as well:

“The story was reconceptualised to some degree, there were scenes that were added at the beginning and fleshed out. We wanted to make more of the other characters, like Cassian’s character and Bodhi’s character.

The scene with Cassian’s introduction with the spy, Bodhi traipsing through Jedha on his way to see Saw, these are things that were added. Also Jyn [Jyn Erso, the reluctant leader of the film, played by Felicity Jones], how we set her up and her escape from the transporter, that was all done to set up the story better.”

Funny enough, the beginning is where I think the film had its biggest flaws. While Cassian’s introduction was fantastic and worked perfectly — totally hooking me into his character — Bodhi’s introduction, on the other hand, was rushed and squeezed in between Cassian and adult Jyn’s introductions. We go from the trading outpost with Cassian to Jedha with Bodhi for a scene that clocks in at about one minute before jumping to Jyn’s rescue from the Imperial labor camp on Wobani. It’s just too much too fast. That and the biggest problem I think Rogue One has, which is most apparent with Bodhi, is that there far too much telling and not enough showing. We are told that Bodhi defected and that it was Galen who compelled him to do so. We are told about Jyn’s criminal past in her briefing from Mon Mothma after seeing her escape from imprisonment rather than showing what lead her to being in that cell in the first place. The adding of Jyn’s escape was extremely necessary, though. Had they jumped from young Jyn to her briefing at the Rebel base on Yavin 4 would have been even more jarring than the lack of the crawl.

My dreams that we would get to see some of that added exposition were dashed when Goudie was asked by Yahoo about the initial cut and how the length of that cut changed compared to the theatrical release:

“It was not much longer than the finished film. I think the first assembly was not far off actual release length. Maybe 10 minutes longer? I genuinely can’t remember because that was nearly a year ago now. There’s no mythical four hour cut, it doesn’t exist.”

While I’m not a fan of Warner Bros. releasing extended cuts of the DCEU films on blu-ray, I would eat up all the Star Wars I could get. I think Rogue One would actually benefit greatly from an extended cut. The film didn’t have much time to spend with the characters who I now love and it would be great to get to spend just a little more time with each and every one of them. Especially Cassian, that dude is rad.

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SOURCEYAHOO! UK

Gareth Edwards Talks the ‘Rogue One’ Reshoot Controversy

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Star Wars is no doubt the biggest franchise of all time. The Skywalker saga has managed to revolutionize the film industry three times, most recently with The Force Awakens after the film cracked the formula for the requel (a sequel that manages to revive a franchise). With the reach Star Wars has comes a higher level of scrutiny compared to other franchises such as Marvel and DC. Last year The Force Awakens received flack from a small, but very vocal amount of Star Wars fans for it’s superficial similarities to the original Star Wars.

This year, Lucasfilm was met with a high level of trepidation as the upcoming Rogue One: A Star Wars Story headed back into the studio in June for reshoots with rumored reports of Lucasfilm being dissatisfied with the overall tone of the film. Reports claimed executives felt the war film was too dark and lacked the levity the franchise is known for. Reshoots themselves are not a big deal, in fact, all blockbusters have them built into their schedule and budget in an effort to fine tune the film once it has begun to come together in the editing room. But one made Rogue One stand out more than others is that it was rumored to be reshooting up to 40% of the film, with another director Tony Gilroy helming the reshoots rather than Gareth Edwards.

With the film in its final marketing push, making the press rounds, the controversial reshoots were bound to come up. While speaking with the Los Angeles Times, Edwards offered his perspective on the hot topic:

“What happened was that I’d say a third of the movie or more has this embedded documentary style to it, and as a result we shot hours and hours and days and days of material. Normally when you put a film together it goes together like A-B-C-D-E and you move on. Whereas we had so many permutations, so many different ways it could be constructed, it took longer in the edit to find the exact version.

We’d always planned to do a pickup shoot but we needed a lot of time to figure out all this material and get the best out of it. So that pushed the entire schedule in a big way. Then Disney saw the film and reacted really well and they said, “Whatever you need, we’re going to support you.” Our visual-effects shot count went from 600 to nearly 1,700, so suddenly we could do absolutely anything we wanted. To design 1,000 visual effects shots should take a year, so it was all hands to the pump and we never came up for air really until about a week ago.”

Rogue One and The Force Awakens have had a tremendous amount of pressure put on them. Not only did The Force Awakens need to reintroduce the franchise to the world, generating value for the franchise for generations to come, but Rogue One is the first standalone feature spun off from the Skywalker saga. The film itself is the first ever experimental Star Wars film. Not only that but the reaction to Rogue One will determine the future of the franchise when the brain trust at Lucasfilm meets in January to outline the future of Star Wars beyond Episode IX.

We shouldn’t be criticizing Lucasfilm for the rumored amounts of reshoots for Rogue One. Instead, we should be praising them for just how much they care to deliver a quality product that Star Wars fans deserve while simultaneously satisfying general audiences. Rather than focus on the negatives, we should be commending Lucasfilm, the biggest brand in Hollywood there is, for taking a major chance to do something different in this risk averse landscape of Hollywood we have today.

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SOURCE: LA TIMES