Among the bigger changes: Finn was originally supposed to reveal during their initial meeting in the marketplace that he was a rogue Stormtrooper and that Rey didn’t have any idea who Luke Skywalker was. Much of the scenes that they filmed on location in Abu Dhabi, were reshot on a reconstructed set in Pinewood. He decided to tone down their contentious behavior. While Ford was recuperating, Abrams also reevaluated the dynamic between Rey and Finn, which the director felt wasn’t working. (Abrams also notes that the Rathtar scene was filmed shortly after Ford returned, “and he was running around on this uneven set faster I’ve ever run anywhere.”) But because his hair had grown in the intervening weeks, Abrams had to use CG to lengthen the actor’s hair in those scenes to match his post-accident coiffure. Several scenes had already been shot with Ford, including the “Chewie, we’re home” sequence. When the veteran actor suffered a broken leg in an on-set accident, principal photography shut down for nearly two months. Harrison Ford needed digital hair extensions. The puffy blue pastry known as “portion bread” was, per Abrams, an inflatable bladder, filled by a hidden tube. “It’s an idea that came during reshoots to have Poe be responsible for the death that causes Finn’s breakdown,” meaning Poe takes the fatal blaster shot that fells the trooper who marks FN-2187 with a bloody handprint. One common motif in the commentary is how much the film was shaped by reshoots and post-production changes, including a sequence that sets up the close connection of Finn (John Boyega) and Poe.
The trooper on the right who brings Poe Dameron to Kylo Ren during the opening Jakku invasion, is Oscar-winning Up composer Michael Giacchino - the guy who also wrote the music for Abrams’s Lost and is handling music chores on the upcoming Rogue One.Ībrams wanted to establish the Poe-Finn connection early on. Later on, Abrams seems to address critics who felt The Force Awakens was a retread by saying he intentionally called back settings like the Mos Eisley Cantina (Maz’s castle) and the Death Star (Starkiller Base) because they are “fundamental, prerequisite elements” of the Star Wars universe, as essential as saloons and dusty streets are to Westerns or castles are to fairy tales.Ībrams reveals that the starfighter belong to Oscar Isacc’s hero pilot in the opening scenes was a full-scale model constructed at England’s Pinewood Studios, “which was awesome for visitors, because they showed up and got to see an actual X-wing.Ībrams managed to sneak in cameos of several high-profile Star Wars fans, many obscured by latex (such as Simon Pegg as Unkar Plutt) and others in Stormtrooper armor. Related: Exploring the Epic ‘Star Wars’ Art of Ralph McQuarrie “We embraced wholeheartedly the brilliant iconography of Ralph McQuarrie, the concept artist who worked with George… The idea was to give people that feeling of instantly being back in Star Wars.” “We went backwards to go forwards,” says Abrams. Throughout the film, he points out callbacks and homages to Lucas’s oeuvre, beginning with the Lucasfilm logo, opening crawl, and initial shot of Kylo Ren’s Star Destroyer obscuring Jakku. Here are 27 things we just had to share, in chronological order.Ībrams considers the entire film a love letter to George Lucas and the original Star Wars, a.k.a. Yahoo Movies took an early copy of the set for a spin and spent hours poring over the bonus material, paying close attention to what the filmmaker had to say. The set is a marked improvement over the version released last spring, including all the previously released features with several new bells and whistles. The director’s moment-by-moment, detailed analysis is, despite his protestations, perhaps the biggest selling point of the four-disc Force Awakens 3D collector’s edition that’s hitting stores on Nov. And with that, he kicks off his commentary track for Star Wars: The Force Awakens. Abrams wants you know he hates doing commentary tracks.
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