![]() ![]() And they thought, hey, if it’s a good story, the budget will be there, so let’s make it the best movie we can make it.ĬS: I think Star Wars is a part of everyone’s lives these days, but you guys’ especially. And you know, the discussion with Disney, it became clear that they were really open to the idea of going bigger with these movies. ![]() As we got into more detailed story development, you know, the canvas sort of kept expanding and more epic things kept popping up and going into the movie. ![]() I had kind of geared the story with that in mind of not as many locations or as many big, epic events. You know, Kathy had talked about these standalone stories being smaller and scrappier and potentially lower-budgeted pictures. In its original conception, it was a bit smaller film than this. John Knoll: Oh yeah, it definitely changed. About a week later, I got a call from Kiri Hart saying, “Well, we’ve been talking a lot about this, and we may want to do something with it.” And then it sort of snowballed from there.ĬS: Did it change much from your original pitch? ![]() So she humored me and listened to the pitch. You really should go make an appointment and pitch it.” I actually think it says something really wonderful about the atmosphere at Lucasfilm, that Kathy was open to such a thing. One of my friends, having heard that went, “Oh man, you need to pitch this to Kathy. But I got such good reactions and each telling got a little bit more elaborate until I had this fairly long, sort of 20 to 25-minute version of it. I had been chatting with friends of mine about this slate of new films and in particular, we were all intrigued by this idea of standalone stories that would be set in the Star Wars universe, but that weren’t necessarily a part of the Skywalker saga through line. But yeah, it had developed over the last bunch of weeks before the pitch meeting. John Knoll: (Laughs) Yeah, Kathy was very good to humor me and listening to this pitch. Could you take me back to then and just tell me what that was like? Read on for an overview of some of the challenges the VFX ran into making Rogue One and learn about a hidden surprise in the film that no one has found yet!Ĭheck back soon for interviews with Rogue One Sound Editors Chris Scarabosio and Matthew Wood and another with editor John Gilroy.ĬS: John, I know the story that was told at Celebration two years ago is that Rogue One was originally your idea that you pitched to Kathleen Kennedy. Rogue One marks his first foray into a galaxy far, far away. Corbould, meanwhile, has two Academy Awards to his name for his work on Gladiator and Gravity. He’s a particularly important player for Rogue One, however, as the film started from his idea! John Knoll shares an Academy Award with Hal Hickel for their work on Pirates of the Caribbean: Dead Man’s Chest. Knoll, CCO of Industrial Light & Magic (and co-creator of Adobe Photoshop!), has been a major player in the Star Wars galaxy since the Special Editions in the late 1990s. Today, we’re speaking with the VFX trio of John Knoll, Hal Hickel and Neil Corbould. While we previously brought you conversations with director Gareth Edwards and the film’s cast, we’re now jumping behind the scenes for conversations with some of the talented people who helped bring the first Star Wars Story to the big screen. Rapidly approaching a billion dollar take at the worldwide box office, Walt Disney Pictures and Lucasfilm have another major hit with Rogue One: A Star Wars Story. Hal Hickel, John Knoll and Neil Corbould talk Rogue One and reveal a hidden surprise you might have missed! ![]()
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