It maybe has a little bit less of a - it just doesn’t have a bunch of TV shows and movies that you’re servicing on top of it, the way I did with Doctor Strange. “I’m enjoying having the freedom on that to do something that’s not necessarily a sequel or anything. “I’m writing away,” Waldron told Variety in May. Like Waititi, the screenwriter shared that he was working on a script that felt “fresh and original.”
#Star wars eclipse yoda movie
Loki creator Michael Waldron, who also penned Doctor Strange in the Multiverse of Madness, recently revealed that he is hard at work writing the secret Star Wars movie that will be reportedly produced by Marvel Studios boss Kevin Feige. Kennedy also teased to Total Film that “there’s a lot of conversation around” creating a “whole new saga,” as the studio maps out what the next era of Star Wars films should look like.
That’s very much the space we’re concentrating on.” “ is what we talk a lot about in terms of where we’re going with our movies, and just how far out from that we’ll go. “We’re moving further beyond the existing sequels as we look to our movie space,” she told Empire. Kennedy has even teased that future films will go beyond the Sequel Trilogy era and into as-of-yet unseen points in the timeline.
40 years of Star Wars movies reached a conclusion in 2019, which means the galaxy far, far away should now be able to go anywhere it wants. Not from Lucas’ though - he famously hated this movie.īut now that the Skywalker Saga has come to a close on the big screen, meaning filmmakers no longer need to tie everything back to the specific 60-year period in which all three trilogies are set, it makes sense that Lucasfilm would be interested in pushing things forward, exploring new ideas and characters within the Star Wars universe in the same way that the end of Phase 3 has paved the way for Marvel Studios to dive into new corners of the MCU. That The Force Awakens kills off Han Solo and ends with a trench run inside a planet-destroying planet as a way to rhyme with the first installments of the other two trilogies makes perfect sense, from a certain point of view. Or why both The Phantom Menace and A New Hope lead to the death of a wise mentor and a climactic space battle. It’s why Anakin loses a hand in Attack of the Clones just like his son did in The Empire Strikes Back. After all, while it can’t be denied that the 1977 film was an innovative technical marvel that pushed the medium forward in big ways, it was also at its core an homage to the Flash Gordon and Buck Rogers serials Lucas watched as a kid in the 1950s, as well as the samurai films of Japanese auteur Akira Kurosawa.Īnd it was Lucas all the way back in 1999 who popularized the concept of “prequels” and suggested that story beats in Star Wars should rhyme. Some would argue that nostalgia is a vital part of the DNA of Star Wars. Abrams’ The Rise of Skywalker - which brings back Emperor Palpatine as the big bad for reasons, introduces a whole fleet of planet-destroying superweapons, features a big fight sequence on the remains of the Death Star, and closes with an homage to the iconic Tatooine twin suns sequence - is particularly guilty of this.ĭisney’s overreliance on aping Lucas’ work ad infinitum has left some cold to this new era of Star Wars, but it’s not completely Walt’s fault. Indeed, one of the complaints often lodged at Disney’s Sequel Trilogy was that it leaned too heavily on nostalgia, so focused on connecting back to George Lucas’ Original Trilogy and recreating the past that it ultimately failed to say anything unique of its own.
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