Alors qu'on nous disait que tout allait bien, nous on y croyait naïvement, parce qu'on a besoin de rêver quelques fois et qu'on aime quand c'est simple. Sauf que non, c'était juste le bordel et nous, on a rien vu venir. Et on s'en veut un peu.
Après, il ne faudrait pas non plus dramatiser à outrance, qu'un film perde son réalisateur en cours de route, ce n'est pas la première fois que ça arrive et c'est même quelque chose de courant ces derniers temps. Et quand on pense à l'énorme enjeu financier que représente un blockbuster, on pourrait comprendre que le studio derrière souhaite s'entourer des personnes les plus adéquates et que dès que quelques doutes s'installent, il pense à les remplacer.
C'est le business qui veut ça, c'est la loi de la jungle et ce n'est pas prêt de s'arrêter. Et d'ailleurs, cela ne signifie pas non plus que le film sera au final un échec. Rappelons-nous de Rogue One et de toutes les tempêtes qu'il a dû traverser pour arriver à bon port et de l'énorme carton qu'il a réalisé au final dans les salles. Bref, ça ne veut rien dire. Mais quand cela devient une habitude, on peut par contre douter de la clairvoyance du studio au moment de l'embauche des metteurs en scène.
Et c'est d'autant plus vrai lorsque l'on parle de Phil Lord et Chris Miller, spécialistes de la comédie 2.0 un peu méta, engagés puis virés du film Han Soloau motif des sempiternelles différences artistiques. Remplacés au pied levé par Ron Howard, les deux metteurs en scène ne semblaient pas en phase avec la vision du studio même si aucune précision concernant cette affaire n'avait gagné les médias. Aujourd'hui, le magazine Entertainment Weekly pense avoir trouvé l'explication :
"Depuis qu'ils ont commencé à tourner le film en février, Lord et Miller ont tiré Han Solo davantage vers la comédie que le space opera. Lucasfilm et Kathleen Kennedy pensaient les avoir engagé pour qu'ils ajoutent un peu de comédie dans un film de space fantasy, alors que Lord et Miller pensaient qu'ils étaient là pour livrer une pure comédie."
Une incompréhension initiale qui n'a fait que creuser le fossé entre les deux partis avec les semaines, d'autant que cette différence d'approche a eu des conséquences sur le tournage. En effet, Lord et Miller encourageaient l'improvisation là où le studio exigeait un suivi scrupuleux du scénario et le résultat quotidien montrait qu'ils s'éloignaient régulièrement de ce qu'avait écrit Lawrence Kasdan.
Rappelés à l'ordre, les metteurs en scène n'ont cependant pas lâché le morceau, refusant de compromettre leur vision du film, ce qui a abouti à un clash. Kennedy a pris conscience que plusieurs scènes importantes n'étaient pas faites dans l'esprit qu'elle imaginait, que cela nécessiterait forcément de coûteux reshoots et qu'elle n'était pas prête à les financer dans ces conditions. Le divorce était donc prononcé. Lord et Miller ont donc été virés, la production mise en pause et Ron Howard engagé avec obligation d'arriver en Angleterre sous deux semaines pour refaire le film.
Bref, c'est un peu la même histoire que Rogue One qui recommence et on aimerait bien que cela ne devienne pas une habitude dès que l'on parle de Star Wars.
Avis Pimpf : ça craint pour l'ambiance, je n'aurais pas voulu voir un film comique pour cela il y a les parodies type la folle histoire de l'espace, même si un peu d'humour est présent dans l'univers Star Wars, cela ne constitue pas son seul élément.
Mark Hamill, l’insubordonné. L’interprète de Luke Skywalker, qui a signé pour une nouvelle trilogie de Star Wars, n’est pas très à l’aise avec le scénario. Dans une interview accordée cette semaine à Vanity Fair, il a ainsi résumé les faits : « Pour le dire vite, je suis en désaccord fondamental avec tous les choix faits pour mon personnage ». Une déclaration on ne peut plus claire mais le jedi reste pro : « mon travail exige que je prenne ce que vous avez créé (les scénaristes) et que je fasse de mon mieux pour réaliser votre vision ». Le réveil de la force n’est pas pour tout de suite…
The first trip to Skellig Michael was wondrous: an hour-long boat ride to a craggy, green island off the coast of Ireland’s County Kerry, and then a hike up hundreds of stone steps to a scenic cliff where, a thousand years earlier, medieval Christian monks had paced and prayed. This is where Mark Hamill reprised his role as Luke Skywalker for the first time since 1983, standing opposite Daisy Ridley, whose character, Rey, was the protagonist of The Force Awakens, J. J. Abrams’s resumption of George Lucas’s Star Wars movie saga. The opening sentence of the film’s scrolling-text “crawl,” a hallmark of the series, was “Luke Skywalker has vanished.” Atop Skellig Michael, at the picture’s very end, after an arduous journey by Rey, came the big payoff: a cloaked, solitary figure unhooding himself to reveal an older, bearded Luke, who wordlessly, inscrutably regarded the tremulous Rey as she presented to him the lightsaber he had lost (along with his right hand) in a long-ago duel with Darth Vader, his father turned adversary. It was movie magic: a scene that, though filmed in 2014 and presented in theaters in 2015, is already etched in cinematic history.
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The second trip to Skellig Michael? Maybe less of a thrill for an aging Jedi. Contrary to what one might have reasonably expected, that Abrams would have kept rolling in ’14, recording some dialogue between Luke and Rey in order to get a jump on the saga’s next installment—especially given that Skellig Michael is a UNESCO World Heritage Site, with access limited to the summer months, and only when the weather is cooperative—once Hamill and Ridley had nailed their epic staredown, that was a wrap. It fell to Abrams’s successor, Rian Johnson, the director of The Last Jedi, the eighth movie in the saga, which opens this December, to painstakingly re-stage the clifftop scene, with the two actors retaking their places more than a year later.
NEW HOPE Daisy Ridley’s Rey hones her lightsaber skills—and channels her inner Force.
Photograph by Annie Leibovitz.
“When I read the script for Episode VIII, I went, ‘Oh my God, we’re going back?’ Because I said I was never going back,” Hamill told me when I sat down with him recently at his home in Malibu. He wondered, in vain, if they could drop him in by chopper this time, “which is so clueless of me, because there’s no landing pad, and it would mar the beauty of it all,” he said. Hamill is a youthful 65 but a sexagenarian nevertheless; whereas the fit young members of the crew were given 45 minutes to get up to the now iconic Rey-Luke meeting spot—carrying heavy equipment—Hamill was allotted an hour and a half, “and I had to stop every 10, 15 minutes to rest.”
None of this was offered up in the form of complaint. Hamill just happens to be a rambling, expansive talker—in his own way, as endearingly offbeat a character as his friend and on-screen twin sister, Carrie Fisher, who passed away suddenly and tragically last December. Like Fisher, Hamill was put on a diet-and-exercise regimen after he was reconscripted into the Star Wars franchise. (Harrison Ford was under less obligation, having retained his leading-man shape because he never stopped being a leading man.) Over a spartan snack plate of carrot sticks and hummus, the man behind Luke held forth at length on this subject.
Watch the video below for a behind-the-scenes look at Annie Leibovitz’s photo shoot with The Last Jedi cast and crew.
“You just cut out all the things you love,” he said. “Something as basic as bread and butter, which I used to start every meal with. Sugar. No more candy bars. No more stops at In-N-Out. It’s really just a general awareness, because in the old days I’d go, ‘Well, I’m not that hungry, but oh, here’s a box of Wheat Thins,’ and you don’t put the Wheat Thins in the same category as Lay’s potato chips, and yet I would sort of idly, absentmindedly eat these things while watching Turner Classic Movies, and ‘Oh, I ate the whole box!’ ”
Hamill had been dieting and training for 50 weeks before he learned, via the Episode VII script he finally received from Abrams, that he would not appear in the movie until its last scene, and in a nonspeaking part at that. On this, too, he has a lot of thoughts. Though he grants that the delayed-gratification reveal of Luke was a narrative masterstroke, he’d have done things differently if he’d had his druthers. Han Solo’s death scene, for example. Why couldn’t Luke have made his first appearance around then? In the finished film, the witnesses to Han’s death, at the hands of his own son, the brooding dark-side convert Kylo Ren (Adam Driver), are his longtime Wookiee co-pilot, Chewbacca, and the upstart Resistance fighters Rey and Finn (John Boyega).
DRIVER’S SEAT Daisy Ridley as Rey, at the helm of the Millennium Falcon, with Joonas Suotamo as co-pilot Chewbacca.
Photograph by Annie Leibovitz.
“Now, remember, one of the plots in the earlier films was the telepathic communication between my sister and me,” Hamill said. “So I thought, Carrie will sense that Han is in danger and try to contact me. And she won’t succeed, and, in frustration, she’ll go herself. Then we’re in the situation where all three of us are together, which is one of my favorite things in the original film, when we were on the Death Star. It’s just got a fun dynamic to it. So I thought it would have been more effective, and I still feel this way, though it’s just my opinion, that Leia would make it as far as she can, and, right when she is apprehended, maybe even facing death—Ba-boom! I come in and blow the guy away and the two of us go to where Han is facing off with his son, but we’re too late. The reason that’s important is that we witness his death, which carries enormous personal resonance into the next picture. As it is, Chewie’s there, and how much can you get out of [passable Chewbacca wail] ‘Nyaaarghhh!’ and two people who have known Han for, what, 20 minutes?”
Still, Hamill recognizes that the popular response to The Force Awakens—its stirring ending in particular—was overwhelmingly positive, his misgivings be damned. “As I said to J.J.,” he recalled, “I’ve never been more happy to be wrong.”
Besides, holding back Luke in VII means that Hamill gets a lot more screen time in VIII. And dialogue. This time, at last, Luke Skywalker talks.
FREEDOM FIGHTERS Carrie Fisher, Oscar Isaac, John Boyega, and Kelly Marie Tran as the rebels General Leia Organa, Poe Dameron, Finn, and Rose Tico, with droid BB-8.
Photograph by Annie Leibovitz.
II. A LONG WAY FROM TOSCHE STATION
Rian Johnson, a sandy-haired, baby-faced 43-year-old Californian heretofore best known among cinéastes for his time-bending 2012 science-fiction film, Looper, is not only the director of Episode VIII but also its sole credited screenwriter. (Episode VII was written by Abrams, Lawrence Kasdan, and Michael Arndt.) Earlier this spring, in a screening room in the Frank G. Wells Building at Walt Disney Studios, in Burbank, California, Johnson described to me the approach he took to writing The Last Jedi, the second film of the Rey-centered trilogy. “J.J. and Larry and Michael set everybody up in a really evocative way in VII and started them on a trajectory. I guess I saw it as the job of this middle chapter to challenge all of those characters—let’s see what happens if we knock the stool out from under them,” he said.
As it is, none of the main characters in The Force Awakens emerged from that picture in what can be described as a triumphal state. John Boyega’s Finn had been gravely wounded in a lightsaber duel with Kylo Ren. In a telephone interview from China, where he was filming Pacific Rim: Uprising, Boyega told me that, as teased in The Last Jedi’s first trailer, his character, Finn, begins the new movie in a “bacta suit,” a sort of regenerative immersion tank that, in the Star Wars galaxy, heals damaged tissue. Adam Driver, alluding both to Finn’s state and the scar seen on his own face in the trailer, told me, “I feel like almost everyone is in that rehabilitation state. You know, I don’t think that patricide is all that it’s cracked up to be. Maybe that’s where Kylo Ren is starting from. His external scar is probably as much an internal one.”
Johnson was surprised at how much leeway he was given to cook up the action.
But Johnson, in drawing up his screenplay, decided to raise the stakes further. “I started by writing the names of each of the characters,” he said, “and thinking, What’s the hardest thing they could be faced with?”
At the top of Johnson’s list: Luke Skywalker. When he was last glimpsed in Lucas’s original trilogy, at the end of 1983’s Return of the Jedi, Luke was basking in victory and familial warmth, reveling with Princess Leia Organa, Han Solo, and their rebel compatriots at a celebratory Ewok dance party. Turning away for a moment from the festivities, he saw smiling apparitions of his two departed Jedi mentors, Yoda and Obi-Wan Kenobi, along with his late father, Anakin Skywalker, restored to his unscarred, un-Vadered form after redeeming himself in death, sacrificing his own life to save his son’s and slay the evil Emperor Palpatine.
You’d have expected Luke to have shortly thereafter found a nice girl and settled into a contented existence on a tidy planet with good schools and dual sunsets, no more than a couple of parsecs from the Organa-Solos and their little boy, Ben. But no. Leia and Han’s romance didn’t last, and something heavy went down with twin bro. The result: the cloak, the hood, and monastic isolation of the damaged, Leonard-Cohen-at-Mount-Baldy variety.
NIGHT CREATURES Neal Scanlan (seated), creative supervisor of the Star Wars creature shop, and guests at the Canto Bight casino.
Photograph by Annie Leibovitz.
So what happened to Luke? What we know from The Force Awakens is that he had been running some sort of Jedi academy when “one boy, an apprentice, turned against him, destroyed it all.” These are the words that Han Solo, prior to his death scene, offers to Rey and Finn—the inference being that the boy was Han and Leia’s son, and Luke’s nephew, Ben, the future Kylo Ren. “People that knew him best,” Han says of Luke, “think he went looking for the first Jedi temple.”
That part of Luke’s legend, Johnson confirmed, is accurate. The site of Rey’s Force Awakens encounter with Luke is Ahch-To, the temple’s home planet, which bears a striking resemblance to southwestern coastal Ireland. Though their time on Skellig Michael was brief, the Last Jedi crew returned to the area for additional shooting on the Dingle Peninsula, a ragged spear of land that juts out into the North Atlantic. There, Johnson said, the set builders “duplicated the beehive-shaped huts where the monks lived on Skellig and made a kind of little Jedi village out of them.” Luke, it transpires, has been living in this village among an indigenous race of caretaker creatures whom Johnson is loath to describe in any more detail, except to say that they are “not Ewoks.”
That Luke is so changed a person presented Johnson with rich narrative opportunities. The Last Jedi is to a large extent about the relationship between Luke and Rey, but Johnson cautions against any “one-to-one correlation” between, say, Yoda’s tutelage of young Luke in The Empire Strikes Back and old Luke’s tutelage of Rey. “There’s a training element to it,” he said, “but it’s not exactly what you would expect.” This being the spoiler-averse world of Lucasfilm, the production company behind the Star Wars movies, that’s about as specific as the director is willing to get. (No, he won’t tell you if Luke is related to Rey, or, for that matter, what species the super-villain Supreme Leader Snoke happens to be, or which character the title The Last Jedi refers to.)
BEST-DRESSED Costume designer Michael Kaplan (seated), surrounded by some of his creations.
Photograph by Annie Leibovitz.
But Johnson was happy to talk about Hamill’s performance, which, he said, “shows a very different side of the Luke character.” In the original Star Wars trilogy, Luke was the de facto straight man, playing off Ford’s rascally Han and Fisher’s tart, poised Leia, not to mention the droid comedy tandem of C-3PO and R2-D2. Hamill? He was cast for his sincere mien and Bicentennial-era dreamboat looks—part Peter Cetera, part Osmond brother. He still catches grief, he noted, for one particularly clunky line reading in the first movie, when Luke responds to his Uncle Owen’s order to polish up their newly purchased droids by complaining, “But I was going into Tosche Station to pick up some power converters!” Though his approach to the line was, he swears, deliberate—“I distinctly remember thinking, I’ve got to make this as whiny and juvenile as I can,” he said—Hamill admitted that his greenness as an actor left him with “somewhere to go later, where I wouldn’t make those kinds of choices.”
In his years out of the spotlight, Hamill has flourished as a voice actor, most notably playing the Joker in a series of animated Batman TV shows, films, and video games. He performs the part with a demented brio and an arsenal of evil laughs ranging from Richard Widmark manic to Vincent Price broad—a far cry from the gee-whiz wholesomeness for which he is best remembered.
Oscar Isaac, at 38 the senior member of the core cast’s “new kids” (Driver is 33, and Ridley and Boyega are in their mid-20s), is old enough to remember as a child revering Luke Skywalker. “So to be there, and to watch Mark revisit Luke, particularly in these scenes we were shooting towards the end of the film, was bizarre and jaw-dropping,” he told me. “It’s like when you see an old band re-unite and go on the road, and they don’t quite hit those high notes anymore—though in this situation it’s completely the opposite. It’s the fulfillment of where your imagination would take you when you imagine where Luke would go, or what he’s become.”
Star Wars celebrates its 40th anniversary this week. Watch the video below to find out six things we wouldn’t have without the franchise.
III. SIGNIFICANT NEW FIGURES
On the Disney campus, I sat in on a postproduction meeting in which Johnson was reviewing some scenes from The Last Jedi. Teams from Industrial Light & Magic, Lucasfilm’s visual-effects division, were videoconferencing in from London, San Francisco, and Vancouver. On a big screen, Poe Dameron, Isaac’s heroic X-wing fighter pilot, was back in action, coaching a gunner named Paige, a new character played by a Vietnamese actress named Veronica Ngo. Another scene featured General Hux, the nefarious First Order commander played with spittle-flecked relish by Domhnall Gleeson.
Johnson loved what he was seeing but noted the presence of some “schmutz”—smudges around the edges—on the starcraft window that Hux was looking out of. “I don’t know, does the First Order not keep its windows clean?” he asked. “Did you guys play it that way before?”
He raised the question more deferentially than critically (and Ben Morris, the movie’s London-based VFX supervisor, said it would be no problem to de-schmutzify the pane). Until The Last Jedi, Johnson had never overseen a picture with a budget above $30 million. But the director betrayed no sign of being overwhelmed. He is a gifted filmmaker whose previous movies, especially Brick (his 2005 debut) and Looper, are visually distinctive and intricately plotted, the assured work of a cinema-drunk U.S.C. film-school grad who, in preparation for Episode VIII, steeped himself in World War II movies like Henry King’s Twelve O’Clock High and “funky 60s samurai stuff” like Kihachi Okamoto’s Kill! and Hideo Gosha’s Three Outlaw Samurai.
OFF DUTY Anthony Daniels as C-3PO, with droids R2-D2 and BB-8 and the Droid Department’s Brian Herring, Dave Chapman, Matthew Denton, Lee Towersey, and Joshua Lee.
Photograph by Annie Leibovitz.
The anointment of Johnson as Episode VIII’s overseer is emblematic of the direction in which Kathleen Kennedy has taken Lucasfilm since she assumed the presidency of the company, in 2012, the same year that George Lucas, who had personally recruited her to take his place, sold the company to Disney. Though she reached out to Abrams, a proven wrangler of blockbuster series (Mission: Impossible, Star Trek), to initiate the current Star Wars trilogy, Kennedy has since picked filmmakers whose résumés are less important than whether or not she is a fan of their work.
Kennedy cut her teeth as a Steven Spielberg protégée—in the early 80s, when she was not yet out of her 20s, he entrusted her with producing E.T.—and now she, too, is keen on giving relative unknowns their big chance. Johnson was someone she’d had her eye on for years, she told me, admiring “how deliberate he is in his storytelling and the way he moves the camera.” The final film of the trilogy, due in 2019 and for the moment assigned the simple working title Episode IX, will be directed by Colin Trevorrow, who did not yet have the big-budget feature Jurassic World under his belt when he crossed Kennedy’s radar; he came to her attention via his first feature, the 2012 indie comedy Safety Not Guaranteed, and a recommendation from her friend Brad Bird, the Pixar auteur.
OFF DUTY Carrie Fisher (General Leia Organa), writer-director Rian Johnson, Mark Hamill (Luke Skywalker), and producer Kathleen Kennedy with Fisher’s dog, Gary, and Hamill’s daughter’s dog, Millie.
Photograph by Annie Leibovitz.
Part of what makes Lucasfilm’s new system work is that Kennedy has set up a formidable support structure for her filmmakers. Upon her arrival, she put together a story department at Lucasfilm’s San Francisco headquarters, overseen by Kiri Hart, a development executive and former screenwriter she has long worked with. The story group, which numbers 11 people, maintains the narrative continuity and integrity of all the Star Wars properties that exist across various platforms: animation, video games, novels, comic books, and, most important, movies. “The whole team reads each draft of the screenplay as it evolves,” Hart explained to me, “and we try, as much as we can, to smooth out anything that isn’t connecting.”
What the story group does not do, Hart said, is impose plot-point mandates on the filmmakers. Johnson told me he was surprised at how much leeway he was given to cook up the action of Episode VIII from scratch. “The pre-set was Episode VII, and that was kind of it,” he said. If anything, Johnson wanted more give-and-take with the Lucasfilm team, so he moved up to San Francisco for about six weeks during his writing process, taking an office two doors down from Hart’s and meeting with the full group twice a week.
Among Johnson’s inventions for The Last Jedi are three significant new figures: a “shady character” of unclear allegiances, played by Benicio Del Toro, who goes unnamed in the film but is called DJ by the filmmakers (“You’ll see—there’s a reason why we call him DJ,” Johnson said); a prominent officer in the Resistance named Vice Admiral Holdo, played by Laura Dern; and a maintenance worker for the Resistance named Rose Tico, who is played by a young actress named Kelly Marie Tran (and who is the sister of Paige, the character I witnessed in the scene with Poe Dameron). Tran’s is the largest new part, and her plotline involves a mission behind enemy lines with Boyega’s Finn, the stormtrooper turned Resistance warrior.
MEMORIES Fisher, who died in December, with daughter Billie Lourd (Lieutenant Kaydel Connix).
Photograph by Annie Leibovitz.
Rose and Finn’s adventure takes them to, among other places, another Johnson innovation: a glittering casino city called Canto Bight, “a Star Wars Monte Carlo–type environment, a little James Bond–ish, a little To Catch a Thief,” the director said. “It was an interesting challenge, portraying luxury and wealth in this universe.” So much of the Star Wars aesthetic is rooted in sandy desolation and scrapyard blight; it appealed to Johnson to carve out a corner of the galaxy that is the complete opposite. “I was thinking, O.K., let’s go ultra-glamour. Let’s create a playground, basically, for rich assholes,” he said.
Canto Bight is also where viewers will get their multi-species fix of gnarled aliens and other grotesque creatures, a comic-relief staple of Star Wars movies since Luke Skywalker first met Han Solo amid the cankerous and snouty inhabitants of the Mos Eisley cantina. The Last Jedi is dark enough as it is, so Johnson has made a point of infusing the movie with levity. “I didn’t want this to be a dirge, a heavy-osity movie,” he said. “So one thing I’ve tried really hard to do is keep the humor in there, to maintain the feeling, amid all the heavy operatic moments, that you’re on a fun ride.”
MEMORIES Fisher and Hamill, with whom she first worked four decades ago.
Photograph by Annie Leibovitz.
IV. SISTER CARRIE
Daisy Ridley has her own tale to tell of Skellig Michael. Part of the reason she looks so convincingly weary at the conclusion of Episode VII is, she said, “that I had just vomited. I had adrenal exhaustion, and I was very, very sick.”
The second time up the cliff, she was in good health and pleased to be re-united with Hamill. But the overall making of Episode VIII proved more psychologically fraught. “When I was doing Episode VII, I was kind of being washed along in a torrent of excitement and unexpectedness,” she said. “When we came around to do the next one, it was a bit more scary, because I knew the expectations, and I understood more what Star Wars means to people. It felt like more of a responsibility.”
The conflation of real-life and character narratives is not lost on Hamill.
Fortunately for Ridley, she had become acquainted with a woman who knew a thing or two about such issues. There was no human being on earth better equipped to shepherd Ridley through what she was experiencing, as both the star of a movie franchise and a feminist model to young girls, than Carrie Fisher. “Carrie lived her life the way she wanted to, never apologizing for anything, which is something I’m still learning,” Ridley said. “ ‘Embarrassed’ is the wrong word, but there were times through it all when I felt like I was … shrinking. And she told me never to shrink away from it—that it should be enjoyed.”
This is a common refrain among the new generation of Star Wars actors: that Fisher was the one who taught them how to deal. Boyega recalled that when there was a backlash against his appearance in the first Force Awakens teaser trailer, released in November 2014—the sight of a black man in stormtrooper armor drew ire from racists and doctrinaire Star Wars traditionalists—Fisher counseled him not to take it to heart. “I remember—and forgive me, I’m going to drop the f-bomb, but that’s just Carrie—she said, ‘Ah, boohoo, who fuckin’ cares? You just do you,’ ” he said. “Words like that give you strength. I bore witness in a million ways to her sharing her wisdom with Daisy too.”
ROOKIES Laura Dern, as Vice Admiral Amilyn Holdo, a newcomer to the saga.
Photograph by Annie Leibovitz.
Fisher had a bigger role to play in The Last Jedi—General Leia Organa logs significantly more screen time in Episode VIII than she did in VII. Isaac, who filmed several scenes with Fisher, said that, like Hamill, she delivered a rich performance, giving her all as an actor, rather than treating Leia’s part as an exercise in feel-good sentimentalism. “We did this scene where Carrie has to slap me,” he said. “I think we did 27 takes in all, and Carrie leaned into it every time, man. She loved hitting me. Rian found such a wonderful way of working with her, and I think she really relished it.”
For his part, Johnson quickly formed a deep bond with Fisher as a fellow writer, spending long hours with her at the eccentric compound she shared with her mother, Debbie Reynolds, in the Coldwater Canyon section of Beverly Hills. “After I had a draft, I would sit down with her when I was working on re-writing,” he said. “Sitting with her on her bed, in her insane bedroom with all this crazy modern art around us, TCM on the TV, a constant stream of Coca-Cola, and Gary the dog slobbering at her feet.” (For visuals on this characteristic state of affairs chez Fisher, I highly recommend Alexis Bloom and Fisher Stevens’s HBO documentary, Bright Lights: Starring Carrie Fisher and Debbie Reynolds.)
Fisher completed her part in Episode VIII late last summer, when principal photography on the film wrapped. “She was having a blast,” said Kennedy. “The minute she finished, she grabbed me and said, ‘I’d better be at the forefront of IX!’ Because Harrison was front and center on VII, and Mark is front and center on VIII. She thought IX would be her movie. And it would have been.”
ROOKIES Benicio Del Toro, as the shifty “DJ,” a newcomer to the saga.
Photograph by Annie Leibovitz.
When I was conducting the interviews for this story, the Star Wars family was still mourning Fisher’s unexpected death, which occurred on December 27, 2016, four days after she suffered a heart attack on a flight home to Los Angeles from London, and just a day before Reynolds suffered a fatal stroke. (The Star Wars “family” includes family in the literal sense: Fisher’s daughter, the actress Billie Lourd, appears as a Resistance lieutenant in both The Force Awakens and The Last Jedi.) Fisher had celebrated her 60th birthday just two months earlier.
“Out of everyone, Carrie was the one I really became friends with and expected to have in my life for years and years,” said Johnson. “I last saw her in November, at the birthday party that she threw at her house. In a way, it was the perfect final, encapsulating image of Carrie—receiving all her friends in the bedroom, with Debbie holding court in the living room.”
Fisher’s death doesn’t change anything about The Last Jedi except make it more poignant: the film farewell of both the actress and the character. But it does change Episode IX, for which, as Fisher hoped, a central role for Leia had been planned. Kennedy, Trevorrow, and the Lucasfilm team have been compelled to swing from grieving into pragmatic mode, working out how to reconceive the next film in the saga, which is scheduled to start shooting in January.
One option that is not on the table is to reanimate Fisher’s Leia via C.G.I., as was briefly done in Rogue One, last year’s stand-alone, non-trilogy Star Wars film, created when she was alive. More extensively in that film, Grand Moff Tarkin, a character played by the late Peter Cushing in the first Star Wars movie, was brought back to life using C.G.I. jiggery-pokery and motion-capture technology that involved the use of an actor who physically resembles Cushing. Plus, Lucasfilm had the Cushing family’s consent. However, said Kennedy, “we don’t have any intention of beginning a trend of re-creating actors who are gone.”
SPAWN Adam Driver, in character as Kylo Ren, Han Solo’s son and slayer, wields a crossguard lightsaber.
Photograph by Annie Leibovitz.
V. A DISTURBANCE IN THE FORCE
Mark Hamill, for all of his agreeable loquaciousness, winced when I brought up Fisher’s death.
“I can’t say that phrase, what you just said: Carrie’s name and then the d-word,” he said. “Because I think of her in the present tense. Maybe it’s a form of denial, but she’s so vibrant in my mind, and so vital a part of the family, that I can’t imagine it without her. It’s just so untimely, and I’m so angry.”
Their 40-year relationship truly was sibling-like, Hamill said, rife with affection and squabbles, though their earliest time together mirrored, to some degree, Luke and Leia’s uncertain early dynamic in the movies. In The Empire Strikes Back, the film before the film in which they learn that they are twins, Leia plants a big smackeroo squarely on Luke’s lips—not far off, Hamill said, from their reality as young co-stars. Working on the first Star Wars movie, “we were really attracted to each other. We got to the point where we were having our make-out sessions—and then we pulled back,” Hamill said. “A great way to cool any amorous feelings is laughter, and Carrie had this sort of Auntie Mame desire to find humor in everything. We also realized that, if we did this, everything would fundamentally change. It’s the When Harry Met Sally plot—can we still be friends after intimacy? Wisely, we avoided that.” (Hamill has been married to his wife, Marilou, since 1978.)
Ridley says, “Carrie lived her life the way she wanted to, never apologizing.”
Working together on the new trilogy gave Hamill and Fisher a chance to rekindle their benignly rancorous brother-sister dynamic. Both were staying in London, commuting distance from Pinewood Studios, where most of the non-location scenes of Star Wars movies are filmed. They held a competition to see who could get to a million Twitter followers first. (Hamill won; “I told Carrie, ‘Part of your problem is you write in these impenetrable emojis.’ Her tweets looked like rebus puzzles.”)
And, being the ages they were, they discussed mortality. “We got to talking about one of our favorite scenes in The Adventures of Tom Sawyer, which is when Tom and Huck go to their own funeral, and they’re up in the balcony, hearing their own eulogies,” Hamill said. “So then I said, ‘Look, if I go first, just promise me you’ll heckle my funeral.’ And she went, ‘Absolutely, if you’ll do the same for me.’ ”
THE DARK SIDE First Order leaders General Hux, Kylo Ren, and Captain Phasma, played by Domhnall Gleeson, Adam Driver, and Gwendoline Christie.
Photograph by Annie Leibovitz.
The constant conflation of the Star Wars cast’s real-life and character narratives is not lost on Hamill, who inadvertently caused a kerfuffle last year during an appearance at the Oxford Union Society, when he described Daisy Ridley as “roughly my daughter’s age, and that’s how I relate to her.” As he knows from experience, sometimes the conflation is quite valid. Losing Fisher really has been like losing a sister.
Which speaks to the emotional resonance that has powered the saga from the start. “When you look at the stories themselves, they’re about personal tragedies and losses and triumphs,” Hamill said. “It’s all part and parcel of the same thing.”
Can’t wait for The Last Jedi? Revisit Rey’s mysterious introduction in a behind-the-scenes look at The Force Awakens.
The Force has two sides. It is not a malevolent or a benevolent thing. It has a bad side to it, involving hate and fear, and it has a good side, involving love, charity, fairness and hope. — George Lucas
"There's no place for personal triumph in a film like this," says Harrison Ford dryly, referring to his return to the screen as mercenary adventurer Han Solo in Star Wars' monumental sequel, The Empire Strikes Back. Although Ford shares star billing, he is painfully aware that he and the other featured performers are mere pawns in a projected nine-part series of sci-fi films, cartoonlike components with little more dimension than the hapless androids C-3PO and R2D2.
Star Wars, the creation of writer-director-producer George Lucas, is the largest-grossing film of all time — over $400 million at last count — and Empire, directed by Irvin Kershner, looks to be its nearest box-office rival. Yet the cast of this spectacular saga seems almost lost in an interplanetary shuffle.
"The star is the movie," says Mark Hamill, a.k.a. Luke Skywalker, and his cohorts sadly concur. Indeed, Harrison Ford has learned so little about his own character that he cannot explain why Solo is being pursued by bounty hunters throughout Empire.
"There's no, er, I don't know why that is." He shrugs, red-faced. "I can imagine, but basically, I just work here, you know what I mean? In fact, I didn't get the script to the second picture until three weeks before we started shooting. [Some of the actors in Empire were given only partial scripts to ensure the secrecy of plot twists.] I haven't gotten the script for the third one, The Revenge of the Jedi.
"One of George's real strengths," adds Ford, "is not giving you all the information you need, yet at the same time not denying you anything essential. You have a feeling that you want to know more at all times.
"I have heard frequently," he continues, "that there is a certain kind of disappointment with the ending of the second film. I've heard people say, 'There's no end to this film' or 'I can't wait to find out what happens.' But they will, and that's exactly the effect intended by the ending."
To feed the seemingly insatiable appetite for news about Star Wars, Twentieth Century-Fox and Lucasfilm (George's production company) have mounted a promotional onslaught whose scope resembles a rock & roll world tour. Over the last few weeks, the films' stars have been hustled from Los Angeles to New York to Washington to London to Japan and then on to Australia to sit for literally hundreds of newspaper, radio and television interviews. The effort is further supported by a multimillion-dollar ad campaign and a glut of aggressive merchandising schemes that include everything from a soundtrack album to a proposed Yoda doll, the gnomelike Jedi master.
The films' principals were not often together on the set — especially during the shooting of Empire — and the same goes for their promo tours. While they get along well with one another, there's little sense of a shared experience. And as for the actual creation of the film fantasy, vivid anecdotes are rare; Carrie Fisher, who plays Princess Leia, admits that the actors had to "pretend a lot.
"On the set, I would have to say, 'Don't blow up my planet, please!' and all I'm doing is looking at a board with an X on it, held by an assistant director who couldn't wait for the tea break.
"There are certain things you can bring to a movie that have substitutions in your life," she adds. "Well, you can't do that in this type of film. I had never seen hyperspace till I saw the finished films, so I could never imagine how they would do it. You just make what Kierkegaard called the 'great leap of faith.'"
"I felt curiously detached watching Empire," says Hamill. "I sound like my therapist, but you do start taking these things to heart, thinking, 'Yes, you are a terrible actor, and it was only the special effects that made it all memorable.'"
It is perhaps a sign of the times that the biggest entertainment phenomenon in history is also a wondrous cliffhanger that is as mesmerizing as it is manipulative. At this rate, we will have to wait until sometime around the year 2000 to see the final episode of Lucas' cinematic fairy tale, while the actors, who were paid sizable salaries (and, in the case of Star Wars, a reported bonus cut of Lucas' own profits), may never derive any great satisfaction from the most celebrated roles of their careers.
The man getting the most personal gratification from this project must be Lucas himself, who, after miraculously surviving a car crash at the age of eighteen, decided, "I should do something positive with my life because I was spared for a reason. Maybe I was here for Star Wars."*
None of the actors are apologetic about their part in this unfolding drama, but one gets the feeling that they would relish a greater comprehension of, and control over, the science-fiction serial that has assumed such power over their lives and careers. (Ford, Hamill, Fisher, Billy Dee Williams and most of the other costars are signed for The Revenge of the Jedi.)
"The Force is what you perceive it to be," Lucas notes, "and it is always changing."
I was nineteen, chosen at random, and told to lose weight, which at the time was a problem," says pretty, petite Carrie Fisher, 23, curled up in an overstuffed chair in her New York apartment. "This time around, for Empire, I was told to gain weight. The only film I'd done before Star Wars was Shampoo. But they decided to go with me anyway, a strong girl with a low voice and self-righteous nature." Sardonic would be a better word. Fisher's flippant outlook on life may be the result of a childhood spent enduring mother Debbie Reynolds' two celebrated divorces ("She's a Texas chain-saw survivor; she's real great") and the gossip-magazine prattle that plagued father Eddie Fisher ("He's a little shellshocked from thirteen years of doing speed, but he's real friendly"). Her quick-witted style, heavily influenced by the blasé-just-before-the-gallows banter of Saturday Night Live alumnus Michael O'Donoghue (who's a close chum), contains traces of Joan Rivers, Bette Midler and a dollop of Dorothy Parker.
"I liked whenever Harrison and I yelled at each other," she giggles, recalling her favorite scenes from both films. "And whenever Darth Vader came in, a lot of the scenes were funny, because he was physically depicted by David Prowse, this muscle man from Cornwall or Devon. [Vader's eerie, wheezing voice was dubbed in by James Earl Jones.] And 'cause he had this Devon farmer's accent, we used to call him Darth Farmer!
"In the first film," Fisher adds, "I had to wear that white dress and I couldn't wear a bra. Everything was bouncing around, so I had to wear gaffer's tape for three months to keep my breasts down. A new crew member used to come up every day and get to rip it off—only kidding!
"Lucas always had to remind me to 'Stand up! Be a princess!' And I would act like a Jewish princess and lean forward, slouching, chewing gum."
...
MAY THE 4TH BE WITH YOU : D'OÙ VIENT LE STAR WARS DAY ?
STAR WARS - Chaque 4 mai, les fans de "La Guerre des Etoiles" ont leur journée. Déguisements, défilés, manifestations, rassemblement : les Jedi de tous âges, les Dark Vador ou Stormtroopers témoignent de leur passion, de manière plus ou moins loufoque. Et pourtant, l’origine de ce jour est plutôt inattendue…
Melinda DAVAN-SOULAS
Rare sont ceux qui savent ce que de nombreux apprentis Jedi doivent à Margaret Thatcher. C’est pourtant grâce à la Dame de Fer que les fans de Star Wars célèbrent chaque année le 4 mai sous la bannière "May the 4th Be With You" (Que le 4 mai soit avec toi/vous). Un clin d’œil à la célèbre phrase du film, "May the Force Be With You" (Que la Force soit avec toi, en français) dont la prononciation est identique.
Il faut remonter à 1979 et la victoire de l’emblématique femme politique britannique aux législatives pour trouver trace de ce slogan détourné. Cette année-là, pour célébrer la victoire et l’accession pour la première fois d’une femme au poste de Premier ministre, le parti conservateur achète une demi-page de publicité dans le London Evening News. Y est placardé le message : "May The 4th Be With Wou, Maggie. Congratulations" (Que le 4 mai/la Force soit avec toi, Maggie. Félicitations).
#StarWarsDay
Durant les années 1980 et 1990, les fans de la saga ont donc commencé à choisir ce jour symbolique pour célébrer leur amour à travers de petits rassemblements et conventions. Il aura fallu attendre l'arrivée d'internet pour que le mouvement prenne une véritable ampleur, les internautes se passionnant pour ce détournement humoristique. Ils se l’approprient définitivement et en font un "Star Wars Day", Twitter lui confère un hashtag #Starwarsday empli chaque année de photos, vidéos et autres mèmes.
Partout dans le monde, on voit alors des Stormtroopers (les fameux soldats blancs de l’Empire), des Dark Vador, la princesse Leia ou encore Luke Skywalker, Han Solo et Chewbacca apparaître dans toutes les capitales du monde. Le rachat de LucasFilm par Disney en 2013 offre la licence Star Wars au géant américain du divertissement qui s’engouffre à son tour dans l’évènement. Le 4 mai devient officiellement le Star Wars Day, poussé par la société de la célèbre souris.
Dark Vador au chevet des enfants malades
Cette année encore, de nombreuses animations seront organisées. Les comptes officiels de la franchise Star Wars sur Twitter (@starwars #MayThe4thBeWithYou) et Facebook (facebook.com/starwars) mettront en avant les cosplayers les plus dingues, ces personnes qui se déguisent comme leurs héros préférés, les manifestations qui se tiennent un peu partout dans le monde, les combats au sabre laser et toutes les célébrations des fans.
Pour les 40 ans de Star Wars, Disney a également mise en place un programme de solidarité auprès des enfants malades de plusieurs hôpitaux pédiatriques français. Robert-Debré (Paris) accueillera ainsi une colonie de Stormtroopers accompagnant Dark Vador dès le mercredi 3 mai. Au programme également des enfants (et de leurs parents !) : projection du film Star Wars : Le Réveil de la Force, ateliers créatifs avec les bénévoles de l’opération Disney VoluntEars et distribution de cadeaux-souvenirs. Les CHU de Caen, Lille et Marseille-Nord poursuivront l’opération le 4 mai.
Si vous avez dans votre entourage des fans de Star Wars, LCI a dressé une liste de quelques cadeaux inattendussusceptibles de leur faire plaisir pour ce 4 mai.
Gary Whitta, le scénariste de Rogue One : A Star Wars Story, a accordé une interview à ComingSoon dans laquelle il explique que les futurs films Star Wars n'auront pas pour personnages principaux les icônes de la franchise. Quand nos confères lui demandent s'il y aura un jour un long-métrage Star Wars sans Vador, Yoda, Boba Fett ou les Stormtroopers, il répond : "Je crois qu'on a déjà fait 90 % du chemin avec Rogue. Oui, il y a Leia, l'Étoile de la mort et Vador, parce que ce sont des éléments de cette histoire et qu'ils doivent être présents. Impossible de raconter cette histoire sans ces personnages. Mais 90 % de cette histoire est composée de nouveaux personnages, de nouvelles planètes et de nouveaux lieux inédits. C'est un film Star Wars sans Jedi ! On ne voit pas un sabre laser avant que Vader sorte le sien à la fin (…) L'ADN du film est très différent de tous les autres Star Wars".
Et Gary Whitta d'ajouter : "Le prochain spin-off est Han Solo, qui est un personnage familier, mais au fur et à mesure vous allez voir… Une des choses qu'on veut vraiment faire à Lucasfilm, c'est de créer un univers et de ne pas se reposer sur les vieilles légendes. On a Rey, Finn et Kylo Ren, déjà une nouvelle génération de personnages. Peu importe le genre de films Star Wars qu'ils feront dans 10 ou 20 ans, je ne crois pas qu'ils vont utiliser l'héritage de la franchise comme par le passé (…) Il faut raconter de nouvelles histoires".
Préparez-vous donc à dire adieu à Luke Skywalker, Dark Vador et les autres dans un avenir proche. Rogue One : A Star Wars Story, nommé à l'Oscar des Meilleurs effets visuels, sera disponible en DVD et Blu-ray le 21 avril prochain.
Avis Pimpf : c'est bien la qu'on voit l'effet Disney, ce sera de plus en plus sans moi je ne me reconnais de moins moins dans leur "nouvel univers " je ne me suis pas éclaté avec Rogue One... si ce n'est pour les clins d'oeil à la trilogie classique... bref... une autre page se tourne...
Le mystère est clos ! Lucasfilm vient d'annoncer que la série d'animation Star Wars Rebels va avoir droit à une quatrième saison qui débutera cet automne sur Disney XD.
Cette annonce vient officiellement, quoique très tardivement, clore les rumeurs sur la véritable existence d'une saison additionnelle pour la série.
Des détails supplémentaires, et très probablement une première bande-annonce, seront au programme de la Star Wars Celebration, la grande convention Star Wars annuelle, qui se tiendra à la mi-avril en Floride.
La saison 3 de Rebels, actuellement en cours de diffusion, s’achèvera le 25 mars aux États-Unis, puis dans les semaines suivantes en France. Elle aura notamment fait parler d'elle pour avoir réintroduit le Grand Amiral Thrawn dans le nouveau canon Star Wars, et pour s'être rapidement connectée à Rogue One par le biais d'un épisode centré sur Saw Gerrera.
THÉORIE - Selon le réalisateur J.J. Abrams, Mark Hamill, qui incarne Luke Skywalker devrait avoir un rôle tellement fort dans "Star Wars 8", qu'il pourrait gagner un Oscar. De quoi donner des indices sur son rôle.
Oui, Chewbacca sera bien un basketteur pour les prochains Star Wars : à quand la Draft du poilu ? C'est Joonas Suotamo qui prend le relais.
Personnage mythique de la saga Star Wars, Chewbacca était interprété depuis des années par Peter Mayhew. Sauf qu’après avoir partagé le rôle de la bête poilue lors du dernier opus, l’acteur britannique va officiellement laisser sa place à un copain du monde de la balle orange.
Victoire pour les basketteurs et fans de galaxies très très éloignées. Pour le Réveil de la Force qui était sorti il y a un peu plus d’un an, on avait eu confirmation que le rôle de Chewbacca avait été géré par deux acteurs. Un très connu puisque Mayhew accompagnait Han Solo depuis 1977 et Un nouvel espoir, un nettement moins puisque Joonas Suotamo était appelé en renfort. Il faut dire qu’à 70 ans lors du tournage (72 désormais), Mayhew ne pouvait plus effectuer les mêmes cascades habituelles, ses genoux lui posant notamment de sérieux soucis. Il fallait donc trouver quelqu’un proposant un gabarit exceptionnel – Mayhew fait 2m21 – et qui soit capable de reprendre parfaitement le rôle pour les épisodes à venir. C’est donc chose faite en Suotamo, puisque le basketteur a confirmé sur son compte Twitter qu’il serait désormais Chewbacca à 100%, info cimentée par une récente photo du casting du spin-off sur Han Solo. Une passation poilue du pouvoir qui touche forcément l’acteur.
“Cette opportunité est incroyable. Je suis profondément reconnaissant de participer à Star Wars, une saga que j’aime depuis mon enfance. Je tiens à remercier ma famille, mes amis, mes entraîneurs et partenaires de basket, les équipes et acteurs des films, les gens de chez Lucasfilm et Disney, les super-fans de cet univers spectaculaire et tout particulièrement Peter Mayhew.”
Mais qui est ce Jonas Suotamo ? Rassurez-vous, on ne parle pas d’un futur premier choix de Draft qui se fait chier tout au long de l’année et veut donc tabasser du Stormtrooper entre deux entraînements. Ce Finlandais de 2m10 et âgé de 30 ans a fait ses gammes à Penn State, où il n’a malheureusement pas pu exploser à cause de soucis au pied. Passé dans l’ombre universitaire, il a tout de même cartonné avec son équipe nationale dans la catégorie des moins de 20 ans et avait mené son pays à une médaille de bronze lors des Championnats d’Europe Juniors. Le potentiel était bien là lorsqu’il évoluait dans la Big Ten, mais entre ses pépins physiques et son manque de compréhension du jeu, il se focalisait davantage sur ses études et sa passion pour la musique comme pour le cinéma. On peut dire que son choix fût assez juste aujourd’hui, puisqu’il sera dans les prochaines grosses productions de Lucasfilm et Disney, en nous envoyant peut-être un ou deux hooks en arrière-plan.
Vous pourrez désormais le dire à vos potes, en vous installant au cinéma lors de la séance de Les Derniers Jedi (à partir du 15 décembre 2017) : y’a bien un copain de la balle orange dans Star Wars.
