Friday, March 22, 2019

Friday's Headlines | Star Wars News

Friday fun story!

Fans knew heading into Rogue One: A Star Wars Story that the events of the narrative took place before Star Wars: A New Hope, yet that doesn't mean everyone knew how fatal of a journey our heroes were embarking on. Some viewers held out hope that having never learned about the characters after the events of the movie merely meant these characters went into hiding, as opposed to all being killed. Chris Weitz, who worked on the script after Gary Whitta, recently revealed that the ending wasn't always quite as devastating, with one original idea ending on a much more hopeful note.

“The version prior to [my involvement] didn’t have everyone die. As a matter of fact, it ended with a wedding,” Weitz shared with the CultPopture podcast. “I think it was on the presumption that Disney wouldn’t allow characters to die with such abandon.”

This ending likely originated from very early concepts for the film, as Whitta himself pointed out to that he was shocked Disney embraced the idea of all of the characters dying.

“I never believed that they would let us kill off all the characters in the film,” Whitta shared in 2017. “That was our original instinct. The very first meeting with [director] Gareth [Edwards] I remember saying, ‘I kind of feel like they all need to die, but there's no way Lucas ... There's no way Disney'll let us do that. We can't kill everybody. It's a Disney movie.’ And yet, they were fully supportive of it, and it's actually one of the coolest things about the film.”

Weitz, however, agreed with the practicality of killing the characters as a way to explain their absence from the rest of the saga. The writer noted, "I felt it was necessary because nobody ever mentions them or sees them again. But also because we’ve done this whole sort of theme about sacrifice that it was appropriate that all of our main characters die.”

Many debates have emerged about Rogue One and how the final product differed from earlier incarnations. Editor Tony Gilroy helmed reshoots on the film, leading to some drastic differences between what audiences saw and original plans.