![]() ![]() ![]() ![]() Once again, editing proved to be Star Wars’ secret weapon – particularly, for this writer, in the sequences involving the Death Star and its destructive power. Making Rogue One may have been difficult, but it appears, at least from the outside, as though everyone involved pulled together to make the prequel work as well as it could. While reworking a movie so extensively right through post-production can be full of pitfalls, as something like Justice League proved, Rogue One remained remarkably coherent: a lean, downbeat story about the theft of the Death Star’s plans. Toys based on the likeness of Felicity Jones’ heroine Jyn Erso appeared in the shops with the name Sergeant Erso emblazoned on them – suggesting the character had a more overt military background than the abandoned insurgent introduced in the finished film. Evidence of how late these changes were in production can be seen in Rogue One’s trailers: numerous scenes in the promos were no longer present by the time the final cut appeared in cinemas. Nearly 40 years later, Star Wars prequel Rogue One went through a difficult production of its own: after the initial shoot headed up by director Gareth Edwards, writer-director Tony Gilroy was brought in to rewrite the script and oversee the reshoots. ![]()
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