With J.J. Abrams back behind the camera for Star Wars: The Rise of Skywalker, details on the final installment of the Skywalker saga are scarce. We still don’t have many details about the movie beyond the first teaser trailer and the recent influx of details from the extensive Vanity Fair cover story. But now we know that the film has taken J.J. Abrams out of his comfort zone a little bit by doing something he’s not accustomed to on the film’s set.
Star Wars: The Rise of Skywalker editor Maryann Brandon recently revealed that she was cutting part of the movie on set while it was still being shot. This is something Abrams has never done before, but this time it was almost required due to the post-production time crunch caused by the film’s shooting schedule. Read More »
Star Wars: The Force Awakens is a generally straightforward film, riding high on charm and energy while recycling plot elements from previous films to give you a nostalgic high. It’s the cinematic equivalent of being gently lowered into a warm bath. It’s pleasant. It’s relaxing. It’s exactly what you want after a long dry spell.
Except for one scene. When Daisy Ridley’s Rey first touches the lightsaber that belonged to Luke Skywalker and his father before him, she is sucked into a surreal flashback full of quick cuts, tiny details, and vocal cameos from long-dead Star Wars characters. It has become one of the most dissected scenes of the entire saga, with fans going through the video and audio with a fine-tooth comb. Everything that can be found in the footage has been found. Except for, you know, the stuff that was cut out.
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The big questions coming out of Star Wars: The Force Awakens are who Rey’s parents are and where she comes from. Daisy Ridley‘s character even quips that its “a big mystery” early on in the film, and there are certainly a lot of theories going around to who it might be. One piece of evidence that many fans seem to be holding on to comes from John Williams‘ score from the film. We’ve posted about this in the past, but fans have analyzed Rey’s theme (the best song from the new movie) and have drawn some conclusions from that piece of music.
But did John Williams even know who Rey’s parents were when he wrote that piece or orchestration? If not, surely Oscar-nominated editor Maryann Brandon must have been told when she was helping J.J. Abrams shape the flow of the story in the editing room, right? The answer may surprise you — find out after the jump.
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