Whills, and the Journals they keep


Star Wars poster draft, originally uploaded by Michael Heilemann.

THE date for Star Wars fans is, of course, May 25, 1977, when the very first film was released way back when; but I see via The Dude that there’s actually an earlier date: April 17, 1973, which is when Lord George, Duke of Lucas, sat down with legal pad and No. 2 pencil in hand to start cobbling together his first draft of The Star Wars.

For we obsessives who have delved into those early drafts (The Jedi Bendu Script Site is an invaluable resource), it’s fascinating to see which elements of Lucas’s first writings made it into the first films, and then to further see everything come full circle as some of those very early notions, set aside for the Original Trilogy, eventually turned up in the Prequel Trilogy (the planet Utapau, Darth Maul’s attack on Qui Gon in the Tatooine desert, and so on). It all started coming together way back in 1973.

(By the way, the image here is taken from a Flickr gallery of Ralph McQuarrie’s amazing conceptual art for the Star Wars films. His art was instrumental in selling the concept to the studios, and is well-worth checking out. Be sure to click through to the large version of this early poster concept, just to read the dummy credits at the bottom. Try to imagine Star Wars with songs sung by Andy Williams!)

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A bit o’ geek stuff

A few links of geek and pop culture import, starting with some items that caught my eye at AICN:

:: A movie version of Philip Reeve’s novel Larklight is in the works. Hopefully this project goes well, because the book is one of the most entertaining reads I’ve had in recent memory. I just hope they don’t get Hans Zimmer to write the music. Nothing against Zimmer, but this will really need a pompous, Elgarian sound.

:: Looking at NBC’s announced schedule for next season, I see that ER‘s next season will be its last. Longtime readers will know that I think this should have happened four or five years ago, when the show wasn’t a complete shell of its former self. The show started losing me with the awful killing of Dr. Romano, and then it came close to permanently losing me with the even more awful resolution of the Reece Benton custody battle, and then it finally lost me for good when it had its own Moldavian Wedding Massacre (see this post of mine for the reference there) and had a bunch of criminals shoot up the ER. Back in the day, though, wow, was that show good.

:: The film version of The Hobbit officially has a composer: Howard Shore, who is the only choice, really. The idea of a Middle Earth film without music by Shore is just plain wrong.

And to think, I thought for a fleeting moment back in 2005 that, with the conclusion of the Star Wars saga, geek culture would enter a Dark Age….

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My God, it’s full of stars

UPDATE: I’ll update this post with links to other blog posts on Clarke’s passing that strike my eye.

Arthur C. Clarke is dead.

This is really no surprise, as Clarke was very old, and though I haven’t read any of his new work since I was disappointed by 3001, I am saddened by his passing. Clarke was the first science fiction author whose work I really loved, going way back to when I was in high school and read 2001: A Space Odyssey. Clarke was just awfully good at capturing that good old “sense of wonder” without getting too wordy, in my view; he would simply describe things with none of the “You will be amazed by this!” subtext that I can often detect in other SF writers. That, his ability to keep the story moving, and the way he could relate the futuristic stuff to the concerns of contemporary readers was always impressive.

I don’t think I even own a copy of 2001 at the moment, so I can’t even quote my favorite Clarke passage. For those of you who own the book, you can look it up: it’s the part where David Bowman is settling in for the long lonely journey to Saturn (what remains of the journey, anyway) after HAL has killed Frank Poole and the hibernating crew members, and he tries to take his mind off his loneliness by listening to music; but over time he finds that the constant parade of human voices actually increases his loneliness rather than decreasing it, and his search for musical companionship finally leads him to the abstract counterpoint of Johann Sebastian Bach. I always thought that this passage represented a particularly keen bit of human insight for a science fiction author, given the stereotype of SF writers as being concerned with the Gosh WOW! stuff and less with the human concerns.

Clarke was a part of my reading landscape fairly early on; I remember reading Dolphin Island (although I don’t so much remember Dolphin Island itself), and a frankly wonderful true-life tale of discovering a sunken wreck in Indian Ocean Treasure. I’ve never had any desire to read the follow-ups, but I did admire Rendezvous with Rama greatly. And his short fiction was also amazing; “The Star” and “The Nine Billion Names of God” particularly haunt my imagination. I even remember some road trip or other with my family when I was six or seven years old; my sister was reading a book whose title stuck in my head even then as being pretty provocative and intriguing. The book? Childhood’s End.

I truly believe that Arthur C. Clarke is one of the more important figures of the 20th century, and I honor his life now.

(Here’s a good article on Clarke’s life.)

UPDATE I: Steven Den Beste: “Clarke didn’t write as much as the others, I think, and it’s also not really correct to say his stuff was more imaginative. But I think that there was a quality to his work that made it stand apart. His stories were, how to put this, further away than Heinlein and Asimov.”

Charlie Stross.

UPDATE II: SamuraiFrog: “Thank you, Arthur, for believing that we were worth the trouble and that we might, one day, snap out of this. Thank you for showing us it was full stars.”

Patrick Nielsen Hayden, who apparently was on NPR to discuss Clarke. I’ll look for an audio link later today.

Lou Anders.

Lots of good linkage (as usual) at SFSignal.

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The Big E

The USS Enterprise under construction in JJ Abrams’s upcoming Star Trek movie:

That’s a pretty cool image, even if shots of the Enterprise in drydock are getting a little passe, aren’t they? I mean, the various Enterprises are shown in drydock in eight of the existing movies already. If you look closely, you can make out the front of the warp nacelles, flanking the saucer section behind. Maybe it’s a trick of perspective, but those nacelles seem awfully close, don’t they? And big? I wonder what the actual Big E for the movie will look like. I suppose it’ll be like every iteration of the Big E: same basic shape but some different bells and whistles.

I’m still not wild about Abrams in charge of Trek, but then I’m not terribly wild about Trek anymore anyway. We’ll see.

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Recent Reading (KidLit edition)

In reading to The Daughter at night, we’ve recently started to read chapter books a bit at a time, each evening, as opposed to the single-volume storybooks that were the rule until then. This has opened up lots of new vistas for reading, and it’s really rejuvenated a time of night that had for a while felt more like a chore than a treasured portion of our daily routine. I’ve generally tried to choose books that are slightly above her reading level, so as to keep her challenged and exposed to new stuff, and I’ve tried to choose books that I’d like to read as well.

(UPDATE: A reader asks how old she is; The Daughter is eight, and she’s in third grade.)

Here are some of the books we’ve read:

:: Danny the Champion of the World by Roald Dahl. This is simply one of my favorite books of all time, be it for children or adults. This one is just sheer, total delight. This story of a young boy living alone with his mechanic father in rural England is full of charm, humor, and also some excitement when our hero, young Danny, learns his father’s deepest and darkest secret. It’s a wonderful “underdog blue-collar folks against the arrogant wealthy” type of tale, with one of the best endings I know. Why this book hasn’t been done into a proper movie, I can’t imagine. (Apparently it was filmed in Britain, but I’ve never seen it or even heard of that production until now — a TV film for the BBC, perhaps?)

:: James and the Giant Peach, also by Roald Dahl. This was new to me, actually; I love Dahl, but somehow I got through childhood without reading this one, although I did see the Tim Burton-produced movie several years ago, which turns out to have added quite a bit to the story. No matter; the main portion of the tale, in which James is liberated from the clutches of his vile Aunts when he comes into the possession of a giant peach, and the friends he makes inside that peach when he meets the insectoid denizens of the fruit, is the real meat of the story. This is classic Dahl, in which supernatural doings are presented simply as a normal part of the world, and in which our author thinks nothing of having the hero’s parents killed by a rhinoceros on page one.

:: Stormbreaker, by Anthony Horowitz. We bought this book at the book fair at the school’s Open House this year, mainly because it had a really cool cover. It’s actually a halfway decent book, the first in a series of spy thrillers featuring thirteen-year-old Alex Rider, who is recruited by MI6 after his caretaker uncle is murdered while investigating an enigmatic industrialist who is about to donate free computers to every school in Britain. It’s a pretty violent story, and there were times in the reading that I wondered if it would have been better left until she was older. She really enjoyed this one, however, finding the suspense sequences pretty spine-tingling. I imagine we’ll be tracking down the subsequent volumes in the future.

:: Larklight by Philip Reeve is an amazingly fun book. We had a blast with this one, as we’d hoped, given that the book is subtitled “A Rousing Tale of Dauntless Pluck in the Farthest Reaches of Space”. It’s literally a steampunk space opera: a SF adventure that assumes that certain scientific theories of the nature of the universe long-since disproved in the real world are actually true. Hence, the book posits the existence of the aether, strange beings on every planet, spaceships that literally look like seafaring vessels in the sky. There are space pirates, malevolent aliens living in the ruins of Saturn, ancient races on Mars, a spacefaring British Empire, and a harrowing journey into Jupiter’s Great Red Spot. If you can accept the nature of the world Reeve has created here, Larklight is a rollicking blast of a story. We recommend it highly. Of all the books we’ve read lately, this is the one that earned the most heartfelt howls of protest from The Daughter when I told her that the page we were on was where we’d stop for the night.

Reading. I like it.

(Each of these books is good on the merits, so don’t eschew them if you don’t happen to have kids around.)

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What is SF?

A bunch of SF writers are asked to define SF; hilarity ensues.

My favorite two definitions that I recall are: “SF is whatever I point at when I say SF”, and “SF is when you push a button to make something impossible happen, while fantasy is when you wave your have to make something impossible happen.”

I think that Damon Knight said the former, but I don’t remember where I got the latter, so if anyone knows, feel free to give my memory a jog. Interestingly, that second definition still fails to classify Star Wars! Personally I consider Star Wars to be SF, although it’s so strongly shot through with fantastic tropes that maybe it’s best thought of as fantasy set in space instead of Middle Earth. But for some reason, that answer just doesn’t feel right to me.

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Stuff!

Some lazy linkage for a snowy Thursday evening:

:: Lynn Sislo hasn’t posted in several days. As she lives in Oklahoma, I assume that this is due to the ice storm they had in those parts. I hope she’s back online soon.

:: Do check out this wonderful article about visual injokes in Pixar’s movies. I love stuff like this.

:: I suppose I should start reading Terry Pratchett sometime soon. He has been diagnosed with Alzheimer’s.

:: When I become Supreme Ruler of Teh Universe, my first decree will be that all gas stations shall be one-way only, and that it will be illegal to swing your car into the opposite direction just because the one open pump is on the opposite side of your car as the gas cap. I am really tired of trying to figure out how to line up for a pump, when more often than not, the cars at the pumps will be facing me no matter which way I queue up.

:: Via Michael May I see that Joss Whedon’s not done with the Firefly universe, and will tell more stories there in the best medium for the job: comics. In fact, he’s apparently already done a comic of Firefly; I’ll have to track that down. It’s called Those Left Behind; the new one will be called Better Days. Cool. (Note to self: finish watching Firefly and then watch Serenity one of these days.)

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Fixing the Prequels – The Phantom Menace (part three)

part one
part two

Continuing our re-imagining of The Phantom Menace, we are now at the droid invasion of Naboo and the rescue of the Queen.

Before I begin, a couple of points that have occurred to me since I posted the first two installments of this series:

:: The words “Roger Roger!” should never be uttered by a battle droid or anybody else. First, “Roger” as a response to a command is way too Earth-reminiscent for a Star Wars movie. Second, “Roger Roger!” makes me think of the classic scene in Airplane!. You know the scene I mean. All we need is a droid named “Oveur” and we’re all set.

:: In comments to the last post, Jason makes the point that the Gungan’s use of a pidgin form of English doesn’t work; he’d just give them an alien tongue of their own and use subtitles, the way most alien species in Star Wars are handled. I suppose that’s a fair point, but for the most part, the pidgin thing never really bothers me (except in places where it gets too hard to understand), and if we subtitle the Gungans, we’d have to explain how everyone understands them or have protocol droids standing around to do translating or whatever.

OK, onto the movie. The droid army has landed in the forests of Naboo and are now advancing on Theed, the capital city. This whole sequence is pretty effective, I think, except that we don’t really get a sense of the population of Naboo. This is actually a more generic problem I’ve always had with TPM; there’s just not that much of a sense of the Naboo society. As the battle droids and their machines enter Theed (the capital city of Naboo), we should see the citizenry being rounded up and taken to the “camps” that the droids refer to. Now, this being Star Wars and all, this doesn’t have to be a Schindler’s List type of thing; it doesn’t need to feature brutal violence a la the liquidation of the Krakow ghetto. But there isn’t that much sense of a forced invasion in the finished movie. There should be some shots of battle droids rounding up normal people, forcing them out of their homes, little kids being forced apart from their friends and toys, and the like.

There’s a brief shot of Queen Amidala standing at a window watching sadly as the droid armies enter her city. At this point, I’d add something like this:

Queen Amidala watches as the droid armies approach the palace. In the distance, her citizens are being rounded up and led away. A transport approaches, and Nute Gunray disembarks. Captain Panaka comes up to her from behind.

PANAKA: My Lady, we must take you into hiding.

AMIDALA: I will not go into hiding. My fate will be that of my people.

PANAKA: My Lady, please.

AMIDALA: Go, Captain. I will come when I am ready.

Panaka recognizes that he will not win this argument and leaves. Amidala turns to one of her handmaidens, who is standing nearby.

HANDMAIDEN: Your Majesty?

AMIDALA: We must do what we discussed before. We have very little time.

HANDMAIDEN: I will serve you well, My Lady.

And then we’d cut to the Bongo emerging from the water, in the middle of the river.

Seeing this the first time, we of course wouldn’t know what plan the Queen is hatching, but it would establish that there is a plan. Thus, in the third act of the film when the Queen reveals that she has been “hiding in plain sight” all along, using her handmaiden as a decoy, we’d already be prepared for it: the old idea of Anton Chekhov’s that the gun that is fired in the third act needs to be on the mantelpiece in the first act. Also, from a standpoint of character, we’d get a hint that maybe this young girl of a Queen isn’t quite as naïve and overmatched in the face of superior force than we’ve been already led to believe.

OK. The two Jedi and Jar Jar arrive in the middle of Theed and come ashore. In the original script there’s some stuff about their narrow escape as their sub is pulled over a waterfall (this was actually filmed and can be seen as a deleted scene on the TPM DVD). No, I wouldn’t restore this; it doesn’t really add much. I would add a small bit of dialogue after the Jedi have come ashore:

OBI WAN: We’re too late, Master. The droid army is already here.

QUI GON: We must still find the Queen, and if she is already a prisoner, we will free her and take her to Coruscant. (turns to Jar Jar) Go in peace, Gungan. Your debt to me is paid.

JAR JAR: But where will mesa go? Mesa does not know–

QUI GON: (waves hand) You will go someplace else.

JAR JAR: Mesa go someplace else.

Jar Jar wanders off; Qui Gon and Obi Wan run off in another direction.

QUI GON: In a large city like this, the largest streets will lead to the Palace. That is where we must go.

There’s a scene where the Queen and her entourage are escorted as prisoners out of the Palace; Nute Gunray says something like “In time the suffering of your people will compel you to sign the treaty.” All I’d change here would be to add something to Gunray’s line like, “You should have given us permission to use your trade routes when you had the chance. Now you will all pay a heavier price.” I’d only add that in order to give some small idea as to what the dispute here is, in the first place.

We would then see the Queen’s entourage being led away from the Palace, while they would be shadowed by Qui Gon and Obi Wan, who are waiting until they reach a perfect secluded place to spring their attack. Before they attack, I’d have them observe the approaching party using a pair of macrobinoculars, mainly because the view through macrobinoculars is one of those iconic visuals of the original trilogy. And I’d have an exchange like this:

OBI WAN: The Queen – she is a child!

QUI GON: She is young, but hardly a child. Judge her not by her age, young padawan…she is the same age you were when you accompanied me against the uprising on Ord Mandell.

OBI WAN: Yes, master.

Why do this? Well, it would disarm the whole “They elected a teenager to rule their whole planet!” thing a bit, and even better, it would predispose the audience to take Anakin Skywalker more seriously when we meet him later on.

When their attack on the droids finally comes, I’d have them jump down from the balcony as in the movie, with Qui Gon leaping forward to engage the battle droids on his side of the fight. Meanwhile, Obi Wan would do the same – and, referring back to his failure earlier (see previous post) to seal his lightsaber before going underwater, he’d try to ignite his saber only to see the blade flicker and fail. I’d have the action sequence progress then with Qui Gon doing his “tiptoe through the battle droids” thing, but with Obi Wan having to evade blaster fire and fight the droids without the benefit of his lightsaber. He’d use the Force to toss one droid into another, to dodge laser blasts, and the like. He’d have to think fast, of course, and get creative with the Force, and maybe he’d even be overmatched at first before he gets his bearings and figures things out until Qui Gon saves him:

OBI WAN: I am sorry, Master.

QUI GON: You did well using the Force, young Padawan. Just have more care in the future. The Force will guide you. Always trust it.

SIO BIBBLE: [this is the white-haired governor guy, one of the Queen’s main advisors] Who are you?

QUI GON: I am Qui Gon Jinn, and this is my apprentice, Obi Wan Kenobi. We are the Ambassadors, sent by the Chancellor to force a settlement.

HANDMAIDEN: (the same one as before) The Chancellor sent Jedi Knights as his ambassadors?

The Queen silences the handmaiden with a glance.

PANAKA: Your negotiations have failed, Ambassador.

QUI GON: Our negotiations never took place. The situation here is far more explosive than even the Chancellor predicted. Your Highness, we must take you to Coruscant and meet with Chancellor Valorum.

PANAKA: Leave Naboo? With the Queen gone, the Federation army will only tighten their grip on the system!

OBI WAN: There seems to be little we could do to prevent that, even if we stayed.

QUI GON: If the Federation takes you, they will destroy you.

SIO BIBBLE: They wouldn’t dare!

PANAKA: They need her to sign a treaty to make their occupation of Naboo legal. They can’t afford to kill her.

QUI GON: They have dared much already, sir. They have dared to blockade your system’s trade routes, and they have dared invade a fellow sovereign system of the Republic. Their actions are not those of a powerful Federation embroiled in a simple trade dispute with a small and peaceful system. There is no logic to what they have done here, unless something else is at work that we do not yet know. Your Majesty, my feelings tell me they will destroy you if you stay.

The Queen glances at her handmaiden, who nods.

HANDMAIDEN: We go where you go, Majesty.

AMIDALA: Then we will go to Coruscant and plead our case with the Senate.

Sio Bibble nods.

SIO BIBBLE: With you at his side, Senator Palpatine may be able to convince the Senate to help us.

QUI GON: Do you have a ship?

PANAKA: In the main hangar. This way.

He gestures to a passage that leads through a tunnel beneath a larger building. However, as they begin to move, two battle droids emerge from the shadow and level their blasters at the party.

BATTLE DROID: Freeze! Hands up, prisoners.

Qui Gon’s lightsaber is in his hand instantly, but even as he ignites the blade and moves forward, a giant stone flowerpot drops from a balcony above and crushes the battle droids. All eyes look up to the balcony to see a grinning Jar Jar, who has pushed the flowerpot from its ledge.

JAR JAR: Hello!

Jar Jar drops nimbly to the pavement.

JAR JAR: Mesa tried to find my way back to the forests, but mesa got lost…and then mesa heard fighting, and since wesa Gungans are warriors–

QUI GON: Well done, my friend. You may be a warrior yet, and I see now how hard it truly is for anyone to banish you.

Jar Jar grins.

QUI GON: Now, your ship, Captain?

PANAKA: Grab their weapons. This way.

His men take up the blasters of the dead battle droids; the currently weaponless Obi Wan grabs one too. Then they run off into the city.

I like how Lucas has one of the handmaidens speak up in his original scene, a bit out of place; this ends up making sense later on when we learn that she is the Queen after all. I’d emphasize that, just a little, by having it happen more than once. Also, note that there’s a reason now for Jar Jar to be tagging along, and he’s even proven his worth a little. (Also notice how he’s always getting cut off in mid-sentence.)

I also like how Lucas made the situation on Naboo rather confusing, putting the Jedi off their game a bit because of the seeming lack of a point behind what’s going on.

Now we’d cut to the hangar bay, where the Queen’s entourage would enter, led by the two Jedi:

PANAKA: We need to free those pilots.

OBI WAN: (brandishing blaster) I’ll take care of that.

Qui Gon approaches the battle droids guarding th ship’s entrance, while Obi Wan approaches the droids guarding the captive pilots.

QUI GON: I am an ambassador to the Supreme Chancellor of the Republic. These people are under my protection, and I am taking them to Coruscant.

BATTLE DROID: You are under arrest!

The fight would take place pretty much as in the film, but with Obi Wan using the blaster he’s commandeered instead of his lightsaber to dispatch the battle droids guarding the pilots. Ric Olie, the head pilot, would start warming up the ship’s engines as the others board. Then, as Qui Gon and Obi Wan stand at the bottom of the entry ramp, keeping an eye out for other battle droids, I’d add this exchange just before they board the ship themselves:

OBI WAN: No destroyer droids. This is going well.

QUI GON: Droids are slow to react to the unexpected. The blockade ships will be ready for us, though. Come.

They turn to board the ship, but just before doing so, Qui Gon turns back to his apprentice, takes the blaster from his hand, and tosses it aside.

QUI GON: When we’ve escaped into hyperspace, please fix your lightsaber. You’re a Jedi, not a Corellian.

OBI WAN: Yes master.

And then the ship would blast off into space.

In our next installment, we meet some really important folks: Darth Maul, R2-D2, and a kid named Anakin Skywalker who will have an important role to play in the entire Star Wars tale. Also, in the next installment we’ll fix the single worst scene in Star Wars history. Tune in!

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Tears in Rain

This is turning out to be quite the Holiday Season for Geek Music Stuff:

:: The Lord of the Rings Complete Recordings: The Return of the King is available as of tomorrow. Mine should arrive via UPS the day after tomorrow. I can’t wait to spend a big chunk of Thanksgiving Weekend journeying by music back to Minas Tirith, and through Mordor, and thence to the Grey Havens.

:: Intrada Records has issued the complete score to Alien, music by Jerry Goldsmith, on a two-disc set. I don’t know if I’ll pick this up or not; I’m not that big a Goldsmith fan, and I’m definitely not an Alien fan.

:: I probably will pick up the three-disc Blade Runner score release, though. I’m not the biggest fan of that film, but the music by Vangelis is wonderful stuff, and I look forward to hearing it in full. (I’ll probably also get the new version of the film on DVD, albeit not the superduper one that comes in a briefcase or something like that.)

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Fixing the Prequels – The Phantom Menace (part two)

part one

As we continue fixing The Phantom Menace, we have reached the point where Qui Gon and Obi Wan have escaped death on the Trade Federation ship and are sneaking down to the surface of Naboo. There’s a scene where Queen Amidala speaks to Nute Gunray, and this scene is followed by the Queen conferring with her highest counselors. I would change none of this. I like the mystery here as it’s unfolding: the Queen’s belief that the ambassadors have arrived and commanded the Federation to make settlement, while the Federation insists that the ambassadors have never arrived. Likewise, the scene in the Naboo throne room is well done, and I’d leave that alone completely. Where I’d start tweaking things is when we reconnected with the two Jedi.

Remember, Qui Gon and Obi Wan have stowed away on separate ships and plan to meet somehow on the planet surface. Nute Gunray warns his battle droid captain that the two Jedi are no longer aboard the ship in orbit, and that they are therefore almost certainly stowing away. This sets up a bit of sneaking around for the Jedi, but this sneaking around didn’t happen onscreen, which is a bit of a pity. In reality, the original script has things going slightly differently as was filmed. As the droid army ships land, we see Obi Wan pop his head out of a pond, look around, and then disappear again beneath the water. Then we’d cut to the Viceroy warning the droid captain that the two Jedi have escaped the orbiting ship and are therefore likely on the planet. And after that, we meet Jar Jar Binks.

Okay. Before getting to specifics, let’s discuss Jar Jar in general. Basically, Jar Jar is probably the single most hated facet of the prequel trilogy. While I never hated him – in fact, I rather like him – he’s got some serious execution problems. He gets a bit too much screen time, and he’s almost uniformly the goofy screwball for the entire time, not getting a moment where he can just stand there are quietly talk until late in the movie, by which time it’s too late. So that’s a place to begin with fixing Jar Jar.

It’s also interesting to note that Jar Jar isn’t just along for the ride; he has a definite character arc, mainly in TPM but also in the remaining PT. Jar Jar is the annoying kid who screws up a lot, but who has a lot of heart and ends up doing fairly well by himself and by his people. Where Lucas errs, then, is in not showing us early enough that Jar Jar has quite a bit of potential.

When we first see Jar Jar, he’s among the creatures running wildly in fear away from the giant droid army transports that are literally plowing their way through the forests of Naboo. Qui Gon is among these creatures, and finds Jar Jar directly in his way. Jar Jar, panicking, grabs onto Qui Gon and falls down, dragging the Jedi master to the ground with him, where they lay still as the droid transport moves right over the top of them. How to make this better? Well, I’d show a dispirited, lonely Jar Jar wandering lonely through the woods, searching for food – maybe he’d find a worm and reject it for taste – when he’d suddenly note an animal running by…and then another…and another, until it’s a full-fledged stampede. Then he’d see Qui Gon coming.

After the droid transport passes, I’d revise the ensuing dialog a bit:

QUI GON: You almost got us killed! Are you brainless?

JAR JAR: I spake.

QUI GON: The ability to speak does not make you intelligent. Now get out of here!

JAR JAR: No! No…mesa stay with you. Mesa help. Mesa Gungan. Wesa warriors.

QUI GON: That won’t be necessary. Now go…

At this point, Obi Wan comes bursting out of some nearby vegetation, closely pursued by a battle droid on a floating attack vehicle. Qui Gon quickly dispatches the battle droid, and attention once again turns to Jar Jar. However, in the shooting script, there’s a bit that answers the question of why Obi Wan didn’t just destroy the battle droid himself. It seems that he got his lightsaber soaked and now the battery’s dead. I like this, and I’d keep it. Here’s the gist of what I’d do:

QUI GON: I see you’re wet…did you seal your lightsaber before going under?

OBI WAN: (sheepishly) I forgot, Master. I was near to being discovered, and —

QUI GON: Indeed.

He takes Obi Wan’s lightsaber and tries to ignite it; the blade fizzles and shorts out.

QUI GON: It’ll dry out in time, although it won’t work perfectly until you replace the crystal. Remember, Padawan, this weapon is your life.

OBI WAN: Yes, Master.

Reading through the shooting script, I find a lot of little touches that I really think would have enhanced the final product. I wish that George Lucas had been a bit more willing to indulge longer running times in the PT. Another benefit of including this bit would be to presage an exchange in the next film, and to further establish the teacher-student relationship between Qui Gon and Obi Wan.

Anyway, we move on to Jar Jar’s statement that the Jedi should go to the Gungan city, the hidden city. Here again I’d have Jar Jar point out that the Gungans are warriors. In fact, I’d drive this point home, the idea being that Jar Jar’s big problem is that he’s a failed warrior in a civilization of warriors. Other than that, I’ve always liked the entire bit with Jar Jar first saying that the Jedi should go to the Gungan City, then saying that he can’t take them there because he’s banished, and Qui Gon and Obi Wan manipulating Jar Jar’s fears to convince him to take them to the Gungan City after all: “Do you hear that? That is the sound of a thousand terrible things headed this way.” “And if they find us, they will smash us, crush us, and grind us into oblivion!” I like that exchange a great deal.

So we’re at the lake where Jar Jar points out that they are going underwater. Here again I’d have Jar Jar point out that the Gungans are warriors, maybe in noting that the Jedi shouldn’t expect a warm welcome – something like, “Gungans are warriors and no liking strangers, so don’t expecting a warm welcome.”

And as long as I’m going into detailed stuff about TPM, I frankly think that the first sight of the Gungan city, as they swim over an underwater cliff and see all those golden bubbles hanging there before them, is one of those beautiful sights that fill each of the Star Wars movies. That’s one of the visuals that makes me a Star Wars fan.

The scene with Qui Gon and Obi Wan requesting aid of the Gungan rulers doesn’t really work as well as it should. First of all, that facial tic of Boss Nass’s – the one where he suddenly shakes his head and wobbles his jowls back and forth – needs to go. I’m not really sure what that’s all about.

Second, the scene should play the differences between the Gungans and the Naboo up a little more, and again, accentuate the “warrior Gungans” thing a bit more:

OBI WAN: When the droids have taken control of the Naboo, they will come after you.

BOSS NASS: Wesa no think so. They not knowing wesa are here. And wesa warriors! We can fight them if they come.

OBI WAN: But you and the Naboo form a symbiont circle. What happens to one happens to the other. You must see this.

BOSS NASS: Dissen not true. Wesa no need the Naboo, wesa no care about the Naboo, and the Naboo no care about us. Yousa must leave now.

QUI GON: (waves his hand) Then speed us on our way….

And so on. When we get to Qui Gon’s intercession on Jar Jar’s behalf, I’d again alter the dialogue slightly:

QUI GON: What’s to become of Jar Jar Binks?

BOSS NASS: Hesa been banished three times, and hesa come back each time! So hesa to be punished.

I especially like here the benevolent smile Boss Nass gives when he indicates that Jar Jar is to be “punished”, followed by Jar Jar’s swallow of fear. The rest of this scene plays out all right, and then we’re into the whole transit through “the planet core”.

Now, I know that they’re not really going through the planet’s core. And I have no problem with that, OK? So no complaining about that. The entire underwater sequence of TPM has actually always been one of my favorite parts of the movie, and the only changes I would make would be mostly cosmetic. Jar Jar, for example, talks too much through the whole sequence.

There’s a line in the script that isn’t heard in the movie; Obi Wan asks of Qui Gon something like, “Master, why do you keep dragging these pathetic life forms with us?” I don’t know why that line got cut, since its echoing line later on the movie (on Tatooine) is still present. I suspect that it makes Obi Wan too much of an egoist jerk, but I’d rather that line have stayed. As they pilot the sub away from the Gungan City, something like this:

JAR JAR: Through the Core? In a bongo? Dis is nutsen.

OBI WAN: Why do we always end up with some pathetic life form tagging along with us?

QUI GON: All life is bound by the living Force, young Padawan, and even the strongest Jedi needs allies.

JAR JAR: Where we going?

QUI GON: You’re navigating, aren’t you?

JAR JAR: I no go through the Core in just a bongo! We get crunched dere!

QUI GON: Well then, the Force will guide us.

The sub steers into a deep hole, followed by a giant fish.

OBI WAN: Why were you banished, Jar Jar?

JAR JAR: Dis a longo tale but small part be…mesa clumsy.

OBI WAN: You were banished because you were clumsy?

Jar Jar looks sadder and sadder.

JAR JAR: Mesa never be Gungan warrior now.

In the actual script (and the film), Jar Jar goes on to describe some of the clumsy things he’s done. The problem is that it’s hard to understand what he’s talking about in the first place (what’s a “heyblibber”?), and it only serves to fill up some time while the big fish looms behind them. I think it works better if it’s just left at Jar Jar being clumsy, something we already know, and the unexplained nature of his banishment serves to better underscore his disappointment in himself (enhancing his character arc) and the manner in which he’s not representative of most Gungans.

Anyway, now the big fish attacks. I’d like to have seen this drawn out slightly before the even bigger fish attacks the big fish, freeing the sub. That said, Qui Gon’s sage observation that “There’s always a bigger fish” is a good line.

There’s a brief scene next on the bridge of the Trade Federation ship, where Nute Gunray reports to Darth Sidious that the invasion is going well. But he omits any mention of the Jedi who escaped, and when his second-in-command points this out, Gunray replies, “No need to report that to him until we have something to report.” I like this scene, and wouldn’t change anything about it.

Back to the sub, where they’re cruising along through the water when they lose power. I’d add an observation here as to the cause – “The smaller fish did some damage before the bigger fish got him, Master” – and then let it play out as in the movie. I like Jar Jar’s shrill panic, especially when the get the lights back on and find that they’re right in front of some other beastie. In fact, I’d have milked that a bit, and had Jar Jar’s shrieking go on a few seconds more before Qui Gon conks him out with the Jedi Nerve Pinch. (Well, that’s basically what it is, right?) However, instead of having Obi Wan say “You overdid it” – was Qui Gon not supposed to conk Jar Jar out? — I’d have Obi Wan simply say, with great relief, “Thank you!” For freakishly obsessive Star Wars fans, this would echo a similar moment between Han Solo, Princess Leia, and an incessantly-talking C-3PO in The Empire Strikes Back.

After they’d escape the second beastie to another bigger fish, I’d like to hear something like this:

QUI GON: We’re getting closer to the Naboo City. I can feel it in the Force.

OBI WAN: Good. I don’t know how many more bigger fish are going to save us, down here.

JAR JAR: (moaning from his sleep) Are wesa dere yet?

So there we have it: a beginning to the redemption of Jar Jar Binks. Next time, we’ll look at the invasion of Naboo, the rescue of the Queen, and the beginnings of Padme’s subterfuge.

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