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<blockquote data-quote="The Serge" data-source="post: 2097950" data-attributes="member: 4049"><p>I think I made it pretty clear that Lucas' incompetence comes with his ability to execute as a writer (dialogue and story, not plot/premise), director, and in his capacity to understand human motivation/drama and translate it on the big screen. He has revealed incredible know how in marketing and in moving the technical side of film making to the next level. I think he (and others) have made the mistake of ignoring that his success as a film maker has had little to do with his story telling abilities and more to do with the management/peripheral side of the industry.</p><p></p><p></p><p><em>Batman and Robin</em> did well financially, but you would be hard pressed to find many people who liked that film. Financial success does not necessarily translate into competence or overall success. In Lucas' case, as I've said before, he created a great foundation upon which he built a successful (forgive the term) empire. His strengths lie in management and in story conceptualization/foundation. His weaknesses like in execution. His <em>is</em> incompetent when it comes to the important story-driven elements of these films.</p><p></p><p></p><p>Not only do I disagree with it, I think it's an insult (not a personal one... I know you're not trying to be rude) to adults <em>and</em> children. Just because something may well be targetted to younger audiences does not immediately relegate it to being simplistic or having little of value to older audiences. A quality family experience will have enough simplistic elements that convey universal themes and morals (Western, if you want to be picky). </p><p></p><p><em>A New Hope</em> is an example of this. In this film, Lucas was forced to concentrate on story because he wasn't going to get all of the great effects he envisioned. As part of this, he tapped (consciously or no) into archetypes that transcend most cultures. Thus, on the one hand we do have the simplistic shoot-em-up action and fun that will draw children in addition to universal themes like the desire to define one's self, the search for one's heritage and meaning, defense against oppression, etc. <em>The Empire Strikes Back</em> takes these themes and intensifies them and is argumentatively both more sophisticated in its set up while also being far more visually stimulating. </p><p></p><p>Lucas fails to accomplish the feat of these two films in each subsequent sequels/prequels. While the fx have improved and the stories became more complex (there's a lot of great story to be had in these prequels), Lucas instead focuses on pushing the standard of film technology (I remember the big to-do with the fact that AotC was completely digital... the first of its kind I believe) and on the marketing side (CGI, Jar-Jar, the pod racing, the aliens... All of these feed into the marketing side far more than into the story side). As a result, the stories, the direction, the characterization, and the great plot suffered. This is sheer incompetence that stopped these sequels from being the great, holistic experiences they could and should have been to the entertaining, yet largely empty lemons they are.</p></blockquote><p></p>
[QUOTE="The Serge, post: 2097950, member: 4049"] I think I made it pretty clear that Lucas' incompetence comes with his ability to execute as a writer (dialogue and story, not plot/premise), director, and in his capacity to understand human motivation/drama and translate it on the big screen. He has revealed incredible know how in marketing and in moving the technical side of film making to the next level. I think he (and others) have made the mistake of ignoring that his success as a film maker has had little to do with his story telling abilities and more to do with the management/peripheral side of the industry. [i]Batman and Robin[/i] did well financially, but you would be hard pressed to find many people who liked that film. Financial success does not necessarily translate into competence or overall success. In Lucas' case, as I've said before, he created a great foundation upon which he built a successful (forgive the term) empire. His strengths lie in management and in story conceptualization/foundation. His weaknesses like in execution. His [i]is[/i] incompetent when it comes to the important story-driven elements of these films. Not only do I disagree with it, I think it's an insult (not a personal one... I know you're not trying to be rude) to adults [i]and[/i] children. Just because something may well be targetted to younger audiences does not immediately relegate it to being simplistic or having little of value to older audiences. A quality family experience will have enough simplistic elements that convey universal themes and morals (Western, if you want to be picky). [i]A New Hope[/i] is an example of this. In this film, Lucas was forced to concentrate on story because he wasn't going to get all of the great effects he envisioned. As part of this, he tapped (consciously or no) into archetypes that transcend most cultures. Thus, on the one hand we do have the simplistic shoot-em-up action and fun that will draw children in addition to universal themes like the desire to define one's self, the search for one's heritage and meaning, defense against oppression, etc. [i]The Empire Strikes Back[/i] takes these themes and intensifies them and is argumentatively both more sophisticated in its set up while also being far more visually stimulating. Lucas fails to accomplish the feat of these two films in each subsequent sequels/prequels. While the fx have improved and the stories became more complex (there's a lot of great story to be had in these prequels), Lucas instead focuses on pushing the standard of film technology (I remember the big to-do with the fact that AotC was completely digital... the first of its kind I believe) and on the marketing side (CGI, Jar-Jar, the pod racing, the aliens... All of these feed into the marketing side far more than into the story side). As a result, the stories, the direction, the characterization, and the great plot suffered. This is sheer incompetence that stopped these sequels from being the great, holistic experiences they could and should have been to the entertaining, yet largely empty lemons they are. [/QUOTE]
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