{"id":25585,"date":"2015-05-11T02:30:13","date_gmt":"2015-05-10T23:30:13","guid":{"rendered":"https:\/\/ngradio.gr\/?p=25585"},"modified":"2015-05-11T02:30:13","modified_gmt":"2015-05-10T23:30:13","slug":"vanity-fairs-star-wars-issue-six-takeaways-about-the-force-awakens","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/vanity-fairs-star-wars-issue-six-takeaways-about-the-force-awakens\/","title":{"rendered":"Vanity Fair’s Star Wars issue: six takeaways about The Force Awakens"},"content":{"rendered":"

JJ Abrams\u2019 Star Wars: The Force Awakens is only seven months away from cinemas, and despite the film-maker\u2019s reputation for holding his cards close to his chest, details are beginning to emerge. Thanks to the magic of the internet (and the magazine\u2019s own leaks) we\u2019d learned from the new issue of Vanity Fair thatLupita Nyongo\u2019o plays a CGI pirate, Adam Driver is weird, lightsaber-wielding villain Kylo Ren, and JJ Abrams is seriously considering killing off Jar Jar Binks (by way of a sly \u201cEaster egg\u201d). But the full digital edition of the magazine\u2019s Star Wars issue has now gone online, and we\u2019ve been sifting through the space detritus like a band of scavenging Jawas for further titbits. Here\u2019s what we found.<\/p>\n

George Lucas wanted the new trilogy to focus on teenage characters<\/strong><\/p>\n

\"Mandatory<\/a>
Mandatory Credit: Photo by Everett Collection\/REX (4378224k)
George Lucas
‘Strange Magic’ film screening, New York, America – 17 Jan 2015<\/figcaption><\/figure>\n

We already knew that the Star Wars creator had his own ideas sketched out for Episodes VII, VIII and IX, which were delivered to Disney prior to the studio\u2019s $4.05bn purchase of all rights to the long-running space saga in October 2012. But Vanity Fair reveals exactly why the new creative team decided to jettison Lucas\u2019s plans. Abrams and Lucasfilm tell the magazine that the original storylines would have focused on characters in their teenaged years. And the new creative brain trust in charge of developing future Star Wars films decided this wasn\u2019t going to wash, given that nine-year-old Anakin Skywalker and 14-year-old Queen Amidala proved about as popular as a dinner date with Jabba the Hutt, in 1999\u2019s The Phantom Menace.<\/p>\n

Original screenwriter Michael Arndt left after failing to deliver so much as a draft of the script<\/strong><\/p>\n

\"Screenwriter<\/p>\n

\u2018Moment of despair\u2019 \u2026 Michael Arndt. Photograph: Vince Bucci\/Getty Images<\/p>\n

 <\/p>\n

When the screenwriter of Toy Story 3 and Little Miss Sunshine was hired by Disney in 2012<\/a>, the reaction from fans was generally positive. Here was the guy who famously dissected the classic denouement of 1977\u2019s Star Wars, revealing how Lucas skilfully resolved the story\u2019s internal, external and philosophical arcs immediately after a \u201cmoment of despair\u201d, therefore delivering an \u201cinsanely great ending\u201d (in Luke\u2019s destruction of the Death Star) and leaving the audience in a euphoric state. But by January 2013, when Abrams came on board to direct, the film-maker tells Vanity Fair there was \u201ca ton of ideas and outlines, a lot of cards on the wall, a lot of writing on whiteboards\u201d, but no screenplay.<\/p>\n

The final script was rewritten by Abrams and Lawrence Kasdan from page one<\/strong><\/p>\n