A character trait/dynamic that I'm endlessly compelled by is someone dealing with (or, like, failing to) being the child of people who were too busy being good people to have the time and attention to be good parents. This can be anywhere from 'was a public defender who gave a shit working 60 hour weeks with basically no vacations' to 'left their family behind to join the revolution/war effort and is now a universally beloved martyr-hero who saved/remade the world with their final breath' on the groundedness spectrum. The important thing is a viscerally felt but confused and ugly mess of longing, resentment, and guilt about feeling the resentment.
#the idea that someone can simultaneously be a bad parent and a good person is one that seems to escape a LOT of people#I see far too many people who insist that if someone is a bad parent they're also a bad person#because being a bad parent MAKES them a bad person#“well they never should have had kids if they were going to be bad at it!” cool cool so I don't know if you know this but#not everyone is able to see how things will play out before they happen#also someone may be a GREAT parent for one kid but a mediocre one for another kid#because (and I know this is another pretty alien idea to a lot of tumblr) everyone is different#what one child needs is not necessarily the same as what another child needs#anyway#it's much more fun to explore this concept in fiction than in reality#when it happens IRL at least one real person gets screwed over; in fiction it's an interesting story to explore
So fucking true
I know people who are great as friends for example, but they shouldn't be parents.
i think the key difference between george lucas’s star wars and disney’s star wars is that lucas is a man with an ideology. someone with a point of view, and all that entails. which comes with ideas of revolution, anti-imperialism, challenging the status quo, cultural appropriation and racist stereotypes. complex and contradictory ideas because that’s how artists are: complex and complicated people. disney is not. disney is a corporation. a corporation can’t have ideology, because ideology defeats the purpose of profit. and when the only thing you do is to turn on the movie manufacturing machine before you sit down and plan what ideas are you trying to convey to the audience, then your results are going to be washed out corporate garbage. and because when you’re a giant corporation who only cares about selling to the widest audience possible, you can’t take sides. you can’t decide on an idea. because you want to sell your product to people who are on the entire political spectrum. which results in movies without ideology, without purpose, without soul.
I have been looking for this post for years after I came across it and it’s finally here and I need to reblog this because it is absolutely and entirely accurate.
#as I always say: lucas was making a samurai film and a ww2 flying ace film and a western film and adding laser swords#because he fundamentally LIKED samurai films and dambusters films and westerns and 40’s adventure serials#but disney are making a ‘star wars film’ and adding nothing because it already had laser swords and they have nothing else to say#xerox of a xerox baybeeeee (via harrietvane)
“I was on a strict diet during Episode VIII, and she was like, ‘Kid, get into that fridge and take some chocolate bars. I have many there.’ And I did,” he recalls. “I failed my diet because Carrie Fisher told me to. And it [felt] great.”
She was also part of the editing team for Martin Scorsese’s 1970s films “Taxi Driver,” “Alice Doesn’t Live Here Anymore” and “New York, New
Marcia Lucas was the editor on 1983’s "Return of the Jedi" and the pre-"Star Wars" George Lucas-directed films "THX 1138" and "American Graffiti."
She was also part of the editing team for director Martin Scorsese’s 1970s films "Taxi Driver," "Alice Doesn’t Live Here Anymore" and "New York, New York."
Marcia Lucas was often called the unsung hero of "Star Wars," the original film that after sequels, prequels and spinoffs has come to be known by its subtitle, "A New Hope."
She convinced husband George that he should have Obi-Wan Kenobi, played by Alec Guinness, in his light saber battle with Darth Vader and become a spirit guide to Mark Hamill’s Luke Skywalker.
And she had to make sense of the raw footage that could’ve been a mess in the wrong hands, including the climactic rebel attack on the Death Star.
[....]
"Her influence on film is indelible, but those who knew her best will remember the way she made life feel more vivid, more beautiful, more fun, and more full of love," a family statement said. "Her work was known for its emotional intelligence, rhythm, and humanity — a rare ability to find the truth of a scene and bring heart, momentum, and clarity to the screen."
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