AVC: Now you have the opportunity to both talk the talk and walk the walk with this show. Obviously, I don’t know if there’s going to be any queer characters, I can only hope. But you have put together a writers’ room. What were your guiding principles there? What you were looking for in a writer?
LH: First of all, I really wanted people that were different than me. I certainly didn’t want a room full people that were just agreeing with me vehemently. Not ideologically, but artistically—people that kind of had different writing styles or were interested in different things, all that kind of stuff. But there was a certain intention, in terms of putting together a room that I felt like were people that I hadn’t been in a room with before, if that makes sense. I don’t think I can go much further into that, but like, “Oh, I haven’t had this experience yet, and because I think it’s weird that I haven’t had this experience yet.”
Having worked in this industry for over a decade now and having been in a couple of writers’ rooms, I felt like the demographic breakdown of rooms, it’s not something you actively take into consideration. For example, on Russian Doll, we ended up having an all-female writers’ room, but I don’t know if that was really something that we said at the front: “We were only going to hire women.” I think when you have a dictate like that, you’re closing your mind to, again, people that are going to challenge your particular artistic POV. Mostly what I looked for were people that I felt could execute a great script, number one. And then in the job interview, just really talking to people who had different life experiences than I did, and had different connections to Star Wars than I did.
What I also learned about hiring my room is that everyone’s fandom was very different. No one had the same experience with Star Wars. There were people like myself that were like later-in-life [Dave] Filoni acolytes. I literally had one writer that was like, “I have never seen any of them. I’ve never seen any Star Wars media.” And she’s texting me before we started the room, she’s like, “Luke and Leia are brother and sister, what the…?” [Laughs.] And it was so great, because I would really love to know from someone who is not fully immersed in this fandom, what do you think about the pitch we just made? So while she did her due diligence and did a lot of background work and research, at the same time, she was somebody that we would kind of talk to and say, “Okay, so if we take all the kind of signifiers out of it, and this is Star Warsversion of X, what does it mean to you?” She would be able to give some feedback: “Well, I’m kind of wondering what’s going on with this character. And in this scene, I’m wondering why so-and-so isn’t saying this.”
So that was what I really wanted—an active conversation between my writers and myself, and not so much a room full of people that would kind of just automatically agree with what I say. Which is good sometimes; sometimes it’s nice to have everybody love my pitch. It’s not Star Wars, but I think a lot about [Jean-Luc] Picard, and the way that he would utilize his crew and say, “What do you guys think? Any suggestions? What should we do next?” And kind of hearing the debates and the sort of Socratic conversation that would result. I wanted to put the room together in that way. That also means hiring people that are not necessarily the die-hard, cutthroat fan that I am when it comes to Star Wars stuff. It is weird to be the person who’s going, “Well, in 325 BBY,” and everyone’s like, “What are you talking about?” “Hold on, I’ll send you a link.” Everyone’s like, “Should that be another person that’s doing that? Why is the showrunner doing that?” And I’m like, “Here’s a picture, this is what he looks like.”
To me, that kind of stuff is so fun, because I also played some Star Wars RPGs. And that’s my favorite version of Star Wars, the Star Wars where you get to make up your own Star Wars. So when people are like, what’s your favorite film? And what’s your favorite piece of media? I’m like, “I just really love the RPGs.” To me, that’s what Star Wars is, is being able to walk into a universe and start playing. If you can’t do that with the movie, television show, novel comic book, video game, then I’m not sure you’ve done what you need to do as a creator of Star Wars material.
Oh look, it’s a non fucking issue and MC wants shit to fit his narrative so he can cry about it some more.
That person is dumb, sure. But here's the reality: how many movies and TV shows have come out in the past 5 years that are based off an existing IP? Probably in the hundreds at this point. I guarantee that all of those writers rooms for every one of those shows or movies has writers there that have no previous consumption of that IP.
As long as they can write a good story, who cares?
Star Wars television has absolutely crushed it the past 3 years so they've earned some goodwill.
Look at Marvel. In the comics the inclusion and diversity era there for a little bit was absolute garbage and was universally panned. Phase 4 of the MCU seems to be focusing on similar things but its not hamfisted into the story like the comics and its been received much better so far because they are also giving us great stories
Wasn't he bi or some shit in the comics though? I cringe at all the pandering nonsense most of the time too but if it was already established or if its a blank slate new character who cares?
He's a shapeshifter. So he takes different forms to push his goals. I dont really consider it the same thing. And could also be done without the attention seeking articles.
New episode was tits. So good to see my man back in action and whooping some ass again. Also took me longer than I'd like to admit to realize his Droid was voiced by Seth Green lol
Disney officially changing the name of Slave One to "Bobba Fett's Ship" 😐😐😐
I really think that it's just the Lego marketing on this one. Dumb, but I doubt they'll change it in the movies/shows/expanded media... I already see the "it's just a fictional ship, who cares?" comments though. Disney shills gonna Disney shill.
Comments
AVC: Now you have the opportunity to both talk the talk and walk the walk with this show. Obviously, I don’t know if there’s going to be any queer characters, I can only hope. But you have put together a writers’ room. What were your guiding principles there? What you were looking for in a writer?
LH: First of all, I really wanted people that were different than me. I certainly didn’t want a room full people that were just agreeing with me vehemently. Not ideologically, but artistically—people that kind of had different writing styles or were interested in different things, all that kind of stuff. But there was a certain intention, in terms of putting together a room that I felt like were people that I hadn’t been in a room with before, if that makes sense. I don’t think I can go much further into that, but like, “Oh, I haven’t had this experience yet, and because I think it’s weird that I haven’t had this experience yet.”
Having worked in this industry for over a decade now and having been in a couple of writers’ rooms, I felt like the demographic breakdown of rooms, it’s not something you actively take into consideration. For example, on Russian Doll, we ended up having an all-female writers’ room, but I don’t know if that was really something that we said at the front: “We were only going to hire women.” I think when you have a dictate like that, you’re closing your mind to, again, people that are going to challenge your particular artistic POV. Mostly what I looked for were people that I felt could execute a great script, number one. And then in the job interview, just really talking to people who had different life experiences than I did, and had different connections to Star Wars than I did.
What I also learned about hiring my room is that everyone’s fandom was very different. No one had the same experience with Star Wars. There were people like myself that were like later-in-life [Dave] Filoni acolytes. I literally had one writer that was like, “I have never seen any of them. I’ve never seen any Star Wars media.” And she’s texting me before we started the room, she’s like, “Luke and Leia are brother and sister, what the…?” [Laughs.] And it was so great, because I would really love to know from someone who is not fully immersed in this fandom, what do you think about the pitch we just made? So while she did her due diligence and did a lot of background work and research, at the same time, she was somebody that we would kind of talk to and say, “Okay, so if we take all the kind of signifiers out of it, and this is Star Warsversion of X, what does it mean to you?” She would be able to give some feedback: “Well, I’m kind of wondering what’s going on with this character. And in this scene, I’m wondering why so-and-so isn’t saying this.”
So that was what I really wanted—an active conversation between my writers and myself, and not so much a room full of people that would kind of just automatically agree with what I say. Which is good sometimes; sometimes it’s nice to have everybody love my pitch. It’s not Star Wars, but I think a lot about [Jean-Luc] Picard, and the way that he would utilize his crew and say, “What do you guys think? Any suggestions? What should we do next?” And kind of hearing the debates and the sort of Socratic conversation that would result. I wanted to put the room together in that way. That also means hiring people that are not necessarily the die-hard, cutthroat fan that I am when it comes to Star Wars stuff. It is weird to be the person who’s going, “Well, in 325 BBY,” and everyone’s like, “What are you talking about?” “Hold on, I’ll send you a link.” Everyone’s like, “Should that be another person that’s doing that? Why is the showrunner doing that?” And I’m like, “Here’s a picture, this is what he looks like.”
To me, that kind of stuff is so fun, because I also played some Star Wars RPGs. And that’s my favorite version of Star Wars, the Star Wars where you get to make up your own Star Wars. So when people are like, what’s your favorite film? And what’s your favorite piece of media? I’m like, “I just really love the RPGs.” To me, that’s what Star Wars is, is being able to walk into a universe and start playing. If you can’t do that with the movie, television show, novel comic book, video game, then I’m not sure you’ve done what you need to do as a creator of Star Wars material.
Oh look, it’s a non fucking issue and MC wants shit to fit his narrative so he can cry about it some more.
As long as they can write a good story, who cares?
Look at Marvel. In the comics the inclusion and diversity era there for a little bit was absolute garbage and was universally panned. Phase 4 of the MCU seems to be focusing on similar things but its not hamfisted into the story like the comics and its been received much better so far because they are also giving us great stories
*Kang the Conquerer era Marvel
*X-Men era Marvel
*West Coast Avengers era Marvel
*Blade and motherfuckin Moon Knight era Marvel
Your loss
https://www.gamesradar.com/boba-fetts-star-wars-ship-has-seemingly-been-renamed-by-disney/
not really good marketing to try and sell a “slave ship” to kids .
Studio Trigger is involved!
LET'S GOOOOO!!!
https://www.gamesradar.com/star-wars-visions-gets-a-teaser-trailer-and-is-confirmed-to-be-non-canon/?fbclid=IwAR0Dy--p7tLyb5xwYrPy-ol_DZ9TcdfSKeSSeOnLOooMmBzHpzcVXfHNfM4