Podcast appearances and mentions of rey kylo

We missed last week and it feels like Capital Games changed EVERYTHING. We talk about the two new kits: Huyang and Rey (Dark Side Vision), as well as the QoL and UI changes to the game. Plus: to many, the new Era system and Episode economy feel weird and bad, but what’s the bigger picture? […] The post Galactic War Report – Episode 412: Rey (Kylo’s Version) appeared first on RADIO FREE TATOOINE.

How can Rey and Kylo Ren help us understand Jesus’ Parable of the Two Sons? I explain the Bible Readings for the 26th Sunday in Ordinary Time in the newest episode of the ‘Gospel for Geeks’ podcast.

Guess who the Reylo fan is. No really guess. Is it one of us. Is it neither of us. We really cannot tell. We can tell you that the sequels are sorely lacking in any Obi-Wan Kenobi or Anakin Skywalker. REY KENOBI TRUTHERS 4 LYFE (truthers because it is true, welcome to the initiation of your gaslighting). The sequels also needed Han and Luke and Leia together just ONCE, like AT ALL, but I DIGRESS. Let's all face it, because we have to: these movies had amazing potential. But they sucked. Don't ask us what the plot was. The only thing good about them (besides The Force Awakens, we started so strong, we could have had it ALLLLLLL) was the characters, and luckily that's what we talk about! So this week, we are sorting Rey, Kylo Ren, Finn and Poe 3 out of the 4 of whom are really great fantastic people and 1 who is so fucking unintentionally funny wow it's actually a good thing he died though because there was no coming back for him. SO. Join us and see where we sort them. Does Kylo live up to grandaddy Vader and prove himself to be the heir of Slytherin house? Spoiler alert: nope! It's so much funnier than that!!

Imagine with me, if you will, a different Return of the Jedi. The primary protagonist/antagonist conflict is not with Luke and Palpatine, it's with Luke and Vader. And yet they don't spend a heck of a lot of time onscreen together. It's only near the end of the second act and into the third that they finally confront each other. Can you imagine what it would have been like if they encountered each other multiple times throughout the movie? Like, for example, if he got word that Luke was back on Tatooine, and headed out there? Now, contrast that with The Rise of Skywalker. Again, Rey/Palpatine isn't the real conflict here, it's Rey/Kylo. And their issues get a lot more attention... Punch it! ***I'm listener supported! Join the community at http://Patreon.com/sw7x7 to get access to bonus episodes and other insider rewards.*** 

52 episodes in the can puts us at the one year anniversary! It’s been an amazing first year and the boys are just getting started. Lots of great news this week. Was the Rey/Kylo a romantic kiss?? Palatine a clone??? We finally get answers on that mystery. The listeners and the guys pick their favorite moments from the last year. Is your favorite in the list? This week on Who’s More OVER we look at two of the more significant feuds from the Star Wars universe. Obi Wan vs Maul VS Rey vs Kylo which one of these feuds is more OVER? Doc dips into the bargain bin again for TaTOYine and can’t believe what he finds. We pick page 52 on the Kama Sutra in honor of the anniversary! Thanks for a great year and join the team for another awesome 52 episodes! The VOC NATION RADIO NETWORK airs live and on-demand audio broadcasts 7 days / week via vocnation.com. VOC NATION features contributors such as Brady Hicks (Pro Wrestling Illustrated), "Voice of Choice" Bruce Wirt (WNJC Philadelphia), Stro Maestro (WCW), Wes Brisco (WWE and TNA Impact), Ken Resnick (WWE and AWA), Shelly Martinez (WWE and TNA Impact), Eli Drake (TNA Impact and NWA), and Kathie Fitz! Plus alums such as Chaz "Mosh" Warrington (WWE), Bobby Fish (WWE), Steve Corino (WWE and ECW), and Petey Williams (TNA Impact), as well as some of the hottest wrestlers, analysts, and broadcasters, reaching beyond their extensive wrestling knowledge to discuss sports, lifestyle, politics, and more! Consistently ranking in the top 1% for downloads (Podomatic) and 5% for live streaming (Stitcher), VOC NATION has been streamed by half a million unique visitors!

Four means more, and our fourth episode of GETL is packed to the brim!00:00 - Welcome to GETL's fourth episode!00:35 - Covid-19 now in South Africa.02:46 - What gamers can do to prevent the spread of Covid-19.06:00 - EA was attacked by Lizard Squad!09:50 - Archeological Discovery includes DNA! Jurassic Park in-coming!12:50 - Space smells, and NASA wants to replicate it!15:50 - Confirmed: Daddy Palpatine was a clone!18:40 - Rey & Kylo's kiss was... plutonic! WHAT?!19:37 - The Batman's Batmobile has been revealed!22:10 - All video games should have a "Busy Life" feature.25:18 - The most valuable video game franchises in the world!27:20 - How old are the Disney Princesses? We found out!31:00 - How much data does a normal South African family use?36:00 - Nicholas Cage is stupid rich!38:15 - What do the logos of iconic company's mean?40:40 - CNA is going out of business! BUY ALL THE TECH!42:16 - Thank you for listening! Have a great week.

52 episodes in the can puts us at the one year anniversary! It’s been an amazing first year and the boys are just getting started. Lots of great news this week. Was the Rey/Kylo a romantic kiss?? Palatine a clone??? We finally get answers on that mystery. The listeners and the guys pick their favorite moments from the last year. Is your favorite in the list? This week on Who’s More OVER we look at two of the more significant feuds from the Star Wars universe. Obi Wan vs Maul VS Rey vs Kylo which one of these feuds is more OVER? Doc dips into the bargain bin again for TaTOYine and can’t believe what he finds. We pick page 52 on the Kama Sutra in honor of the anniversary! Thanks for a great year and join the team for another awesome 52 episodes! Check out our merch at www.newforceorder.com On Twitter @nfo_podcast  On Instagram @newforceorder New Force Order on Youtube    

In this week's episode, Nick and Wesley discuss where they'd like to see Star Wars go post-Skywalker saga. Should they take a breather? Continue with a Rey/Kylo plotline or introduce new characters? But before that the duo talks Bad Boys For Life, Dolittle, National Treasure 3, the Netflix Aaron Hernandez documentary and Hank Azaria no longer voicing Apu on The Simpsons. Nick has a trio of comics to keep an eye out for in this week's Comic Book Minute while we close the show with What's On Our Mind. Be sure to follow us on Twitter: @ChangeMyMindPOD, @Fry_Guy1 & @WesleySykes_!

In this week's episode, Nick and Wesley discuss where they'd like to see Star Wars go post-Skywalker saga. Should they take a breather? Continue with a Rey/Kylo plotline or introduce new characters? But before that the duo talks Bad Boys For Life, Dolittle, National Treasure 3, the Netflix Aaron Hernandez documentary and Hank Azaria no longer voicing Apu on The Simpsons. Nick has a trio of comics to keep an eye out for in this week's Comic Book Minute while we close the show with What's On Our Mind. Be sure to follow us on Twitter: @ChangeMyMindPOD, @Fry_Guy1 & @WesleySykes_!

Who's up for dishing about this enjoyable hot mess of a movie?? We love us some Rey/Kylo Ren hot Forcebook chatting, but the MacGuffins, the new weird lore, the non-sacrificial sacrifices, and the heartbreaking absence of a real Leia throughline make this a not-totally-satisfying ending to the Skywalker Saga. Does the Rey/Kylo stuff make up for all that? Y'know, it almost does, especially when Kylo is doing his Mr. Darcy impression. Or is it Noah Baumbach's "Marriage Story"? Jenny Nicholson's critique (from which Marissa stole more than one point) is here: https://youtu.be/GErIPKjwuDg

Recorded live in front of a "studio audience" at the National Association of Broadcaster's convention, editor Bob Ducsay (The Mummy, Looper, Knives Out) discusses his work on director Rian Johnson's entry into the Skywalker saga, Episode VIII - The Last Jedi. Bob details the pre-viz process from the 'Battle on Crait' scene, as well as how post-viz was a powerful weapon in his editorial arsenal. Bob also walks the audience through the "Snoke's Throne Room" scene and describes how an editor utilizes "suspense" versus "surprise". He also describes working with the pre-existing template of the Star Wars universe and modifying it both visually and sonically to create something new and different within the trilogy. Bob's work on his new film, Knives Out, has been nominated for a 2020 ACE Eddie Award in the category of Best Edited Feature Film (Comedy). To hear all the latest interviews with the biggest names in TV and Film Post Production, subscribe to The Rough Cut. Get your own Avid Media Composer and use the same editing tools that bring the Star Wars movies to the big screen! Leave us a message at (781) 334-8369‬ with suggestions or questions.  If I use it in a podcast, I'll send you something cool!   TRANSCRIPT>> Matt Feury Okay, ladies and gentlemen, please welcome to the stage editor Bob Ducsay. Bob Ducsay Matt! Nice to be here with you. Matt Feury Okay, so that was a little intense. Reflections? Thoughts? What do you remember most about cutting that sequence there? Bob Ducsay It looks exhausting to do. Matt Feury It felt exhausting. Bob Ducsay I know. But interestingly enough, this particular sequence had challenges that you wouldn't necessarily guess because a lot of the great complexities of the sequence were worked out in prep and in early post production. In this particular case, in early post production. This sequence was pre-visualized, which is sort of a low resolution cartoon that's made of the sequence. But what happens in a sequence like that is you have this template that you start with, but then you start to make all of the changes in the sequence as the photography comes in, and this sequence was no different in that way. And one of the big challenges of a sequence like this is because it's so visual effects intensive. In my editorial job, I'm heavily involved with the visual effects, and mapping all that out, and how all of those things interact, and all of the timings, even though some of those things will have been worked out, you know, as a template and a starting point in the pre-vis, there's an enormous amount more work that has to happen. So this sequence is really a lot about the complexity of the visual effects. But you get all of these extra things when you're shooting. And so the sequence changes and evolves over time. And another thing about the sequence is, this isn't the whole Battle of Crait. This isn't just a clip from it. But even what's in the final movie was considerably shorter than what was originally envisioned and photograph but, you know, in the total run of the movie, we found that it was a little bit long, so we compressed it. So those are the sort of challenges that a sequence like this has. Matt Feury You mentioned the animatic part of it. I found that really interesting, the pre-prep, because I remember a lot of the talk about the original Star Wars back in 1977, George Lucas would cut together shots of aerial dogfights from old World War Two movies, as a point of reference, and this is very similar to that, where you're literally putting together a sequence that represents what you're finally going to do, and then laying over the new shots on top of that. Bob Ducsay Well, to some degree, yes. And I mean, that's amazing what they did back in, you know, 1976, when they were making the movie. Because they didn't have the ability, they didn't have these tools that we have now. So, it's a fantastic way of envisioning and it's something that we kind of refer to as rip-o-matics. And we still do those sort of things because even in this film, there are times when you want something that just represents something that you think you need, and if we can go to another movie that we know has something like that, it could be another Star Wars movie, but it could be something completely different depending on the idea. And we'll source that and put it that in as a temporary thing that might only represent what the camera is supposed to do. It might represent the rough length of the thing. But it's something to allow us to envision what we're looking for and what we need from the visual effects guys, and then ultimately what happens in post production on these movies is that you have a post-viz department. And what that is, is there's a series of animators that are around that you can literally walk down the hall and you could say, I need a shot where the Falcon dodges this TIE Fighter moving left to right, and does this sort of thing. And they will build that shot. And then that shot becomes a template for for ILM to do the visual effect. So it's a very iterative process, but it's an unbelievable tool that allows us to represent things that don't exist. Matt Feury So I find that, as I do these interviews, I forget until the very end to ask about the overall process and people go, "Why didn't you ask them what they shot and what the editing room setup was like"? So, could you just walk us through a brief synopsis of the editorial process from the handoff from production into post and over to the other viz and sound departments? Bob Ducsay Sure. Well, the the movie was photographed principally in the United Kingdom, outside of London, at Pinewood Studios. And at Pinewood, FotoKem, which was one of our vendors, the lab vendor, they built a digital lab there, including scanning. So all the scanning was in house and just for our operation. The movie was photographed I'd say somewhere around 70%, maybe 75% on 35 millimeter scope film. And then the rest of it was a combination of Alexa digital Alexa 65 digital and some small amount of IMAX. So the film would come in, they'd scan everything at 4K, they would build DNX 115 files for us to use in editorial but then they would generate all the other various needs for people, including pulling material for ILM, because we're turning visual effects over while we're shooting. And so there was a whole infrastructure put together for this particular film that was specific to this film. Matt Feury Early on in your career you did films like The Mummy, The Mummy Returns. And those were groundbreaking in terms of the visual effects stuff done there. There were treatments that you used in those films that became points of reference for years after that, with the particle effects that you did. Here in Star Wars, you already have this sort of, it feels like a template about the visual world there. Did you find that constraining that you had to sort of conform to this way of doing things, or did you take the existing elements and tweak them and take them in different directions? Bob Ducsay Well, when you talk about some things in the movie,. I mean, it is true, you know, a Tie Fighter looks like a Tie Fighter, an X wing looks like an X wing. And so there are some things that a really strong template exists for, but then there's many, many things that are specific to this film that are designed from the ground up. I mean, if you think of the sequence with Snoke, who Andy Serkis plays in motion capture, and he's a digital character. So that's all very, very specific to this film, and there's there's a lot of things that are like that. And then even in like this sequence, you know, the the skim speeders, which are the vehicles that you saw in this clip, one of the things that Ryan Johnson the director wanted was he had a very, very specific, I'm going to call it "art direction" notion of what that material should look like, and what the colors should be. And this went into prep on the movie. In as much as there are actually physical effects of those explosions. So a lot of the ideas behind that started to be worked out in prep on the movie and physical effects that were going off in the movie. And the actual physical production led to a portion of the design work for the visual effects. However, all of that still continued to evolve in the post production process. So that, just as an example, is an idea that hasn't been explored in any other movies and maybe some of the technical aspects of executing that were the same as some that have been used before. But for this particular film, there was a tremendous amount of focus on how that sequence, from a visual effects standpoint and even from an editing standpoint, is art directed. Matt Feury How about sonically? Because, if you think about the Star Wars world, it's the sounds more than anything; the lightsabers, the blasters, the sound of an X wing and a Tie Fighter, that are so well established. But I noticed in watching the Crait battle, there's almost a new set of sounds that were really more organic, the sort of the thudding of the guns, they sounded more like organic guns and things like that. When you're cutting, do you just go back to Ben Burtt's original sound effects library because you can and you start incorporating that where and when you please? Bob Ducsay Well, I mean, it's a whole slew of things to be precise, because just anecdotally, the first week we were in and we started cutting the movie, my assistant does a lot of the sound effects tracking for me, and, I'd walk in in the morning and I would hear sounds that I'd heard my entire life and I wanted to know why somebody was putting Star Wars sounds in our movie. And so these are such iconic important sounds that a lot of things, some of them even go back to the original Ben Burtt designs. But then there are other things you know, we had an incredible sound team up at Skywalker. They invented many, many things that hadn't been used and some things were modified from some of the original Ben Burtt sounds. And it's interesting that you pointed out the the sort of thumping of the impacts hitting the ground because I love that sound effect. And it's something that we worked really very hard on. And what that is, is that we never really got what we wanted. And then during the dub, one of the sound effects editors who's sitting there while we're mixing the movie, tried some drum hits. And that's actually what those things are. So they're the furthest thing from explosions, but they have the right sort of emotional sense that you want from it. And this is something that we're always striving for while we're cutting the movie, both with the cutting of the movie, the telling of the story, the sound effects, the visual effects; you're always trying to evoke a strong emotion from the audience and, in that particular case, something quite unusual was used. Matt Feury You mentioned Snoke and we actually do have a scene from the lightsaber battle in the scene with Snoke and Rey and Kylo. Let's talk a little bit about that scene and the challenges you faced working on that particular scene. Bob Ducsay Well, I just I really love this scene, because, you know, the the heart of the movie to me is the "Luke, Rey Kylo" triangle, and the Rey/Kylo part of it really takes some twists and turns in this moment in this section of the film. And one of the things that was difficult about doing this movie is that we never got to screen the film for an audience, because you just don't do it because there's too many things that can't get out there. We cut the movie on the Walt Disney lot in Burbank and they built a small theater for us that seated 14 people. So the most, the biggest number of people that ever saw the movie was 14. So you don't really get the kind of reaction, you have to really kind of hope that it's working. And we had great confidence, for us, that this was awesome. And it was gonna work. But we never had any type of verification from an audience until the premiere, which happened just a few weeks before the movie was released. And for the first time, we showed the movie in front of 2500 people and the audience went nuts for the sequence and all those things that you're excited about. People were really reacting to the way that we had hoped. But you on films of this size, that isn't normally the case. You normally get to take them out and show them to somebody to understand things that the audience doesn't get or things that don't work. So that was a particular challenge and many of the things in the movie, but in this scene in particular,was something that we had really hoped would work, and thankfully it did. But I think one of the most interesting things about the sequence is, from an editorial standpoint, is that you're working with a motion capture character. And in this particular case, Andy Serkis played this character and gave a tremendous performance of which in the sequence nearly all of what you see is Andy's performance. There's a shot where Snoke looks down at the lightsaber and he looks over to Rey and Kylo. That's a keyframe shot because we didn't have that specific shot in the movie, or in the in the mocap when the movie was photographed. But besides that, most of it's, you know, nearly all Andy stuff. But the difficulty is that because you can take things from different takes, and you can, even within a shot within a close up, you can be switching takes, it adds a tremendous amount of overhead for the editor, because there are so many options as to what you can do. And I think that that's a particular complexity here. And another thing about motion capture is because ultimately, I mean, nearly all those shots are completely digital shots, including the background, what you see in the original photography, the camera doesn't have to be there. So now you could start talking about, "Well, I want the camera to do this. and I wanted to come around there". So, the director in conjunction with me, we're figuring those things out. So it adds an extra layer of complexity when things are not really there that are ultimately there in the final movie. Matt Feury To call this a big movie is the understatement of the year. But what kind of pressure does that put on you as an editor, in terms of time and in terms of expectations? Did you approach it the same way you'd approach a film like Looper or a film like The Mummy? Bob Ducsay Well, I think the main thing that you have to do, no matter what the film is, you have to try to do the best that you can to tell a great story and to do everything that you can to make the characters work absolutely the best they possibly can and to be true to themselves. So in that way, this movie is like every other film, because those are your goals and those have to be your goals no matter the budget, no matter what the resources. In this particular film, I would say the biggest pressure was simply the expectations of the film. Because people were very excited about the film, as they are on all Star Wars films, and you don't want to screw it up. So that's something that you think about every day, and all the people in my cutting room and the director and the producer, everyone loves Star Wars so much that we felt a particular responsibility to do our very best and to make [a great film]. So I would say that's the biggest pressure because you talk about schedule and all that, I mean, we had a tremendously long schedule on the film, I was on the film 19 months, and we finished three months before the movie came out. So it's at the long end of things and that's extremely helpful and also it's a little bit like driving a Maserati with a lot of gas. Because we could do so many things with it. And we had the resources to accomplish those things. So if you have an idea that might be complicated or might require some shooting, and everyone thinks it's a good idea, you have the ability to do that. Whereas in a movie like Looper, for example, we had the photography and we did everything that we could with the film, and it turned out great, of course, and some might say that having less resources may be helpful sometimes, and I would agree with that. But you didn't have the opportunity if you had a great idea that would require shooting something that you could do. And with these sorts of films, you have that ability and I think, you know, as an editor, it's liberating creatively to be able to have those resources. Unknown Speaker The notion of a trilogy in Star Wars is nothing new. We've gone through two of them already. In each case with George Lucas at the helm. Here again, we have a trilogy and there's a handoff between stories, but there are different production teams doing them. Literally, in the case of Last Jedi, you pick up right where Force Awakens leaves off. What sort of handoff from production teams ,what sort of conversations took place to get from A to B, so to speak? Bob Ducsay Well, there was a very loose, I mean, Ryan has talked about this a lot. There's a very loose connection between each of the films. There is one that exists, of course, because Ryan based his script on the episode seven script and JJ Abrams, who's making the the next film and who made the first in this trilogy, had this movie in existence as he wrote the next movie, and there are some very broad connections or things that are figured out in advance, but the majority of it is exactly as you as you mentioned, it is a baton handoff between between the movies. But if you think about it, some of that's not completely different than the first trilogy because there are certainly many things in Empire that happened that weren't necessarily completely thought out in Episode Four. So I don't think it's completely different than that. Matt Feury In terms of the post production setup, you know, you have your Avid system, but how many others are "cooking"? How many assistants do you have working? And do you tie in visual effects directly and sound directly? Or is it just, you deliver a package to them, Bob Ducsay There were a total of 10 systems on an ISIS, plus two more software-only systems that we're done for doing turnovers and generating QuickTimes. So that's a dozen systems. One of them was in our theater, because everything that we made it was, you know, you could run DCP's in there, but really what we ran in there all the time was directly out of an Avid that was in the theater. And, you know, the project, of course, is shared among everyone on the team, and then as far as the visual effects are concerned, ILM, who was the vendor on the movie and did nearly all the visual effects in the film, they essentially had the same movie. So the way that we worked with them was we just sent bins back and forth, because they had all the media for the film so, it wored really well. I mean, essentially, you're just sending these small files back and forth from the bins to collaborate. Matt Feury So you're on location at Pinewood. Most of the editorial I'm assuming down there is about dailies and putting together basic scene structure, and then you bring it back to LA to do the finished editing or is the whole thing done up... Bob Ducsay So the shooting schedule is long on the movie. It was like 120 days, and that's a little bit over six months of shooting. And then I got back to LA and Ryan came in two weeks after we got back to LA and we started to watch the movie. Now, the way that he and I work is the movie was on nine reels. It was a long movie, and he came in day one, and we went through reel one and we did a pass through a reel one. And we worked our way through the whole movie. And once we made it to the end of the film, we put the whole film, well the film was together of course, but we went and ran it in the theater for the first time. And so that was, that was pretty much the procedure for us. That isn't necessarily the case on every feature film because usually what happens is, you know, roughly two weeks after you're done shooting, everybody comes down, the director comes in, the producer comes in, maybe the producer comes in and we all sit down and we watch the film, but in this case Ryan wanted to take a reel by reel pass which he and I did on Looper and I think that works really well. Matt Feury So there are multiple storylines always going on in this film. You know, one of the things you did, you sort of broke away from the A" story and you have the casino planet stuff. Are you bouncing back and forth between things or do you literally just do a hard wall like, "Okay, now we're going to work for the next so many weeks and months on this storyline". Bob Ducsay Well, look, I mean, it's a little bit of both because what happens is you screen the movie, and every time you screen the movie you go, "Oh, jeez, that doesn't work. It worked before but it doesn't work now. What happened"? So you'll go and you'll concentrate on things that are problematic. But generally speaking, the way that we work and the way I personally prefer to work, and this is how Ryan works, is we screened the movie, and then we go back to reel one, and we work our way through the movie. And we did this process, I would say, it would take us about two weeks to turn the movie around. So every two weeks we would sit down and we'd watch the movie. And you know, we did our best within our small group to try to keep people fresh, because we really couldn't show the movie to anybody except our group. And occasionally, you know, there were a lot of filmmakers who came in to see the film as we're working but that was basically the process, and every two weeks we go watch the movie again. Matt Feury The original editor's cut...how long was that first cut that you did? Bob Ducsay The very first cut of the movie was three hours and ten minutes. And the finished film, the actual run of the film without credits is I think two hours and twenty-one minutes. So what is that? That's fifty minutes of material. I mean, a certain amount of that is fat. I mean, I try to get to where we want to go immediately. So a little bit of it is just, "well, you really don't need that", but a lot of it's actual sequences and scenes and the blu-ray's got a lot of deleted material. It's over thirty minutes worth of material. And of course, there's other stuff that we didn't include on that. So, you know, it's a good amount of material that's cut out of the film. Matt Feury Yeah, I think one of the things that, when the blu-ray first came out, there was a lot of talk about the, you know, Finn vs. Captain Phasma scene. How different that was {from the theatrical cut]. What was the decision, and you probably have to set it up for everybody, the difference between what was in the movie and what was cut out, what was your decision making process in terms of like, "No, we don't need to see her, you know, the stormtroopers around realize that she was a traitor" and all that? Bob Ducsay Well, if you're familiar with the film, what we're talking about is, there was a there was an encounter between Finn and Phasma on the top of an elevator, he basically calls her out to what she did in Episode Seven, basically kind of being weak. And she kills a couple of stormtroopers. And the he kills her in a different way. And it was pretty good, actually. But the thing is, when you got to this sequence, you felt that it was way too long, like, way too long. And so that was the biggest cut we made in the scene, although we did a lot of other compression in it, to try to get the time down. And in fact, we actually considered cutting the whole sequence. You know, literally not having any of that in the film. And ultimately, everybody that we were showing the movie to including the studio really liked the sequence. And we didn't think it was enough of a problem to take the scene out. But that is an interesting area, and that has specifically to do with pace. Many, many things that came out of the movie came out because of pace. Matt Feury So you went right from Last Jedi into Rampage. How much of a break did you have between the two because it seems like after a campaign like this, whether it was an easy cut, or it was a challenging film, you'd want a little bit of a break and some down time. Bob Ducsay Well, I knew the director on Rampage and I knew the picture editor that started it because I didn't actually start the film. I came on right after they finished the director's cut. And, so I came on to help, which they absolutely needed help because their schedule...we just got done talking about nineteen months to make this unbelievably complicated movie here...on that movie (Rampage), they were, from the time they started photography to the time that it's in the theaters is less than a year and it has an enormous amount of creature effects in it which are extremely complicated and time consuming, etc. So that film had a very, very compressed schedule and Jim May who was the principal editor on the movie, he'd done an incredible job getting the movie in the shape that it was in, but there was just too much work to do for one person. Matt Feury You know, from a career standpoint as an editor, looking at your body of work...heavy in science fiction. From The Mummy, The Mummy Returns and Looper and Jedi and Rampage. Do you feel like that's the lane you want to stay in and continue building in that genre? Or do you get to this point and go, "You know what, I'd like to do a romantic comedy or some sort of smaller indie drama"? Bob Ducsay It's a complicated question, because the thing is, the kind of movies I got to do are the kind of movies that I loved growing up. And I can't believe that I got to do this. And, you know, this movie in particular, I was a huge Star Wars fan. And to be able to live this dream was, I mean, I honestly, I still can't believe I got to do this film. So I love these sorts of films. But I find that I go to a lot of movies that are not these sorts of films. And so my interests are extremely wide. And I mean, to me, the most important thing is, is it a good story with good characters, and those are the things that interest me the most, but you know, I feel a little bit like Michael in The Godfather Three, every time I think I'm out, they pulled me back in. And so because I do these sorts of films, people want you to do these sorts of films and so it becomes a little bit of a, you know, a self fulfilling prophecy. But that's okay though. I'm not complaining. I love it. Matt Feury Well, I'm glad you got to live that dream. I'm glad you got to do that film that you always wanted to do, being a Star Wars fan, and I'm thrilled that you we're able to be here with us today. And I'd like everybody to help me in thanking Mr. Ducsay for being here today.

On the season finale of The Tone Zone, Anthony, Caitlyn Kimbell, and Emily Adams cover 2019's biggest film: Star Wars: The Rise of Skywalker. They didn't like it. Tune in to hear how the pacing is flawed, Rey & Kylo's conclusion, and why Babu Frik is innocent!

*SPOILER WARNING* We tap into the most anticipated movie of 2019, Analyze the whole Skywalker Saga, & Talk about the future of Star Wars for Disney. Alot of hot takes, alot of opinions. What's your take? Let us know via our Instagram @soundflickpod

42 years in the making. The Skywalker Saga is over... or is it... Do we really believe Disney and Lucas Films are through with this chunk of the Star Wars Universe. Seeing many of the loose ends being tied up in the much awaited conclusion of the Rey/Kylo trilogy is so satisfying, BUT yet there is room left to keep exploring many of the remaining characters. We have our good friend and regular on the show come and give his thoughts on the franchise and what he loved and hated about this "final" installment. Come take a break from your day and give your thoughts about "Rise of Skywalker" Thank you to all those who support this show through our Tee Public store! It's not just tees by the way! You can get Mugs, Stickers, Pillows and much more! https://www.teepublic.com/stores/the-podcast-that-time-forgot?ref_id=5873 and if you want a free audiobook of your choice on us go to www.audibletrial.com/podtimeforgot Also you can write to us and tell us how dumb and wrong we are about everything at podtimeforgot@gmail.com or as always you can find us on Twitter and Instagram @namaste_27 @codysthompson @thejayroh We are dying to hear from you!!!

In this episode of Jakku Broadcast, Daniela and Melissa are joined by Matt (@BlindmanBaldwin) to discuss the final trailer for The Rise of Skywalker. We talk about leaks, so if that's not your cup of tea, be warned. Other things discussed include: Finn and the force, Rey/Kylo, Padmé/Anakin, Palpatine's comeback, and more! You can find us on Twitter @jakkubroadcast, e-mail us at jakkubroadcast@gmail.com, or on our website at jakkubroadcast.wordpress.com

It’s been a wonderful, long journey at sublight speed through each “Age Of” comic series but we have finally reached the end. It ends on a high note as Age of Resistance proved to tell a lot of compelling stories that fill us in on important character traits and motivations as their journeys come to an end in The Rise of Skywalker. We discuss Finn’s anomalous behavior for a stormtrooper, as well as Poe’s surprising seeds of joining the Resistance. Plus, these comics weave in the embodiment of the Resistance, the loving, fiery heart of General Leia Organa, and how she passes it on to Rose and Rey. Finally, we get to see Kylo Ren unleash the power of the Dark Side and take on a familiar indestructible beast. It’s all so great and though we still loved Age of Republic a little more, we still have a lot of great things to say about these Age of Resistance comics.

Dark Side Rey - - What does this mean for Rey? Kylo? and The Rise of Skywalker? We discuss our thoughts on the glimpse of Dark Rey we saw in the D23 teaser trailer for The Rise of Skywalker. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Today on Jedi Council, the panel breaks down Daisy Ridley’s comments confirming Episode 9 includes both a definite answer to Rey’s parentage and an “epic” fight between Rey & Kylo, plus why she thinks it was acceptable to dislike The Last Jedi. Also discussed: Dave Bautista being rumored for a Darth Bane series, Mark Hamill’s other character in TLJ, Riz Ahmed’s reason for misssing Celebration, and possible Episode 9 spoilers in the new book, Thrawn: Treason. Jedi Council’s Kristian Harloff and Ken Napzok welcomes back geek pundit and host Kim Horcher to talk about the biggest news in the Star Wars universe and beyond. You can watch #jedicouncil every Thursday. #StarWars #TheRiseofSkywalker Follow Kristian: https://twitter.com/KristianHarloff Follow Ken: https://twitter.com/KenNapzok Follow Kim: https://twitter.com/kimscorcher

So there's something I need to clarify amidst all the information and possibility presented around the "awakening," and we'll set the record straight about Rey, Kylo, and Snoke's involvement in it on today's show. Punch it! ***I'm listener supported! Join the community at http://Patreon.com/sw7x7 to get access to bonus episodes and other insider rewards.*** 

Rey and Kylo are seemingly total opposites...until the events of The Last Jedi. Through the Force and circumstance, these two foes connect in a way they never expected. Turns out - they have a lot in common. This week we are joined by Caitlin and Charlotte of the Skytalkers Podcasts to discuss "Reylo" and how it might relate to our own worlds broken politics.  Get in touch with everyone on the show! Leave us a review on iTunes and tell us what you think of the show! Subscribe and connect with us on Twitter: @Stephen_Kent89 | @SwaraSalih1 | @SkytalkersPod Please share our show with a friend, review us on iTunes and shoot us some feedback. We grow in quality every time someone reaches out to tell us what they liked. We want to hear from you! You can send us your thoughts on the show and topics at BeltwayBanthas@gmail.com.     Get full access to Geeky Stoics at www.geekystoics.com/subscribe

Rey and Kylo are seemingly total opposites...until the events of The Last Jedi. Through the Force and circumstance, these two foes connect in a way they never expected. Turns out - they have a lot in common. This week we are joined by Caitlin and Charlotte of the Skytalkers Podcasts to discuss "Reylo" and how it might relate to our own worlds broken politics.  Get in touch with everyone on the show! Leave us a review on iTunes and tell us what you think of the show! Subscribe and connect with us on Twitter: @Stephen_Kent89 | @SwaraSalih1 | @SkytalkersPod Please share our show with a friend, review us on iTunes and shoot us some feedback. We grow in quality every time someone reaches out to tell us what they liked. We want to hear from you! You can send us your thoughts on the show and topics at BeltwayBanthas@gmail.com.    

SEGMENT: Are you kidding me? NEWS: The Last Jedi - Box office - ‎9 empire awards nominations.. No sag awards Han Solo - Official Synopsis - - reaction to sneak peak in Munich Rebels - - more episode names and descriptions ------------- mid-season 4 trailer ----------------   Other - Reed Morano met with Kathleen Kennedy Scruffy listener emails! Dave asks about Rey on the Falcon and the Rey/Kylo force connection Kev asks about Rey's swimming abilities Jason asks about Rebels Rusty asks about 2018 box office and who we would want to direct a Star Wars movie   Email us at:scruffypodcasters@gmail.comIf you like us, feel free to leave a 5 star review on iTunes!If you like the intro/outro music check out the Fogcutters:http://www.thefogcutters.com/Artwork by Chrystine Muncherian:https://www.behance.net/cmuncherianFollow us on Twitter!Scruffy Looking Podcasters: @ScruffyPodcastEd: @ScruffyEdB James: @hebert207Kev: @kpg1974    

How many times have you seen The Last Jedi? Hope it's at least once because here is our spoilerific The Last Jedi Review Roundtable recorded immediately after seeing STAR WARS: THE LAST JEDI on 12/14 - 6pm Fan Event at TCL Chinese Theater IMAX! Thanks to our LiningUp.net crew for joining us: Paul McQue (Fantha Tracks), Chris Alexander (Star Wars Origami), Obi-Shawn Crosby (Good Morning Tatooine/Rebel Legion), David Skale and Matt Baird. The fate of Luke, Rey & Kylo, Rey & Poe, Luke & Leia - so much to explore! We also speak with Dan McDonald, general manager/art director at the new Pop-up Star Wars Darkside bar inside the Chinese Theaters on Hollywood Blvd. Thank you to Darkside Bar for sponsoring this episode! WHERE WE WILL BE (IN REAL LIFE) 12/30/17: The Last Jedi screening at Jordan's Furniture IMAX near Boston, MA. Details Here SUPPORT THE SHOW Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE. CONTACT US Instagram: http://instagram.com/skywalkingpod Twitter: https://twitter.com/SkywalkingPod Facebook: https://www.facebook.com/skywalkingthroughneverland Send emails to share@skywalkingthroughneverland.com and follow us on Facebook. If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review! Never Land on Alderaan!

How many times have you seen The Last Jedi? Hope it’s at least once because here is our spoilerific The Last Jedi Review Roundtable recorded immediately after seeing STAR WARS: THE LAST JEDI on 12/14 - 6pm Fan Event at TCL Chinese Theater IMAX! Thanks to our LiningUp.net crew for joining us: Paul McQue (Fantha Tracks), Chris Alexander (Star Wars Origami), Obi-Shawn Crosby (Good Morning Tatooine/Rebel Legion), David Skale and Matt Baird. The fate of Luke, Rey & Kylo, Rey & Poe, Luke & Leia - so much to explore! We also speak with Dan McDonald, general manager/art director at the new Pop-up Star Wars Darkside bar inside the Chinese Theaters on Hollywood Blvd. Thank you to Darkside Bar for sponsoring this episode! WHERE WE WILL BE (IN REAL LIFE) 12/30/17: The Last Jedi screening at Jordan's Furniture IMAX near Boston, MA. Details Here SUPPORT THE SHOW Skywalking Through Neverland T-Shirts at TeePublic! Check them out HERE. CONTACT US Instagram: http://instagram.com/skywalkingpod Twitter: https://twitter.com/SkywalkingPod Facebook: https://www.facebook.com/skywalkingthroughneverland Send emails to share@skywalkingthroughneverland.com and follow us on Facebook. If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review! Never Land on Alderaan!

In this episode, we discuss The New York Times' recent interview with Rian Johnson. In the interview he states that in The Last Jedi "Rey and Kylo are almost two halves of our protagonist." What does he mean??? What is Luke Skywalker's attitude toward the Jedi? What has Luke been in search of on Ahch-To? We delve deep into this fascinating interview.  We also discuss the recent comics and answer a listener's email question about Rey's vision in The Force Awakens. We would be honored if you would join us for this packed episode.  Contact us! Twitter: @idiotsarraypod Facebook: Idiot's Array Podcast Email: idiotsarraypodcast@gmail.com www.makingstarwars.net

Star Wars Conversations: Where two heroic scruffy looking nerf herders discuss a galaxy far, far away using the magic of the Internet. Please subscribe to our channel and share. Featured in this weeks episode: We discuss new costumes for Rey & Kylo, space eyebrows, the possibility of a Bobba Fett and obi wan movie and we review Lost Stars by Claudia Grey Social media stuff: #StarWarsConvo Youtube Channel: tinyurl.com/StarWarsYT ITunes Podcast: tinyurl.com/StarWarsPod Facebook Page: tinyurl.com/StarWarsCFB Instagram:@StarWarsConvo Twitter:@StarWarsConvo Soundcloud: tinyurl.com/StarWarsSC RSS Feed: tinyurl.com/StarWarsCRSS Taylor Network Podcasts: tinyurl.com/TaylorNet Email: ForcedConvo@gmail.com And contact us @EagleEye1933 and @CaptainColin You can find other great podcasts on the network as well as comic and entertainment news by jumping on twitter and following @taylornetwork