‘Solo’ Writer Reveals Four Scenes Conceived by Phil Lord & Chris Miller That Made the Final Cut

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Since “Solo: A Star Wars Story” hit theaters in May, fans have wondered how much of the creative input of ousted directors Phil Lord and Chris Miller made it into Ron Howard’s final cut. According to co-writer Jon Kasdan, the answer is… quite a bit.

To mark the film’s digital release, Kasdan posted a list of fun facts on Twitter about its development and production, noting four scenes that Lord & Miller — who left the project midway through production due to creative differences and were replaced with Howard — added to the project.

Creative touches by the duo can be seen from the very beginning of the film, as they came up with the landspeeder chase through the Empire-dominated planet of Corellia. Not only did Kasdan agree that opening the movie with the chase would give it an exciting start, but it would also demonstrate how skilled Han Solo was as a pilot even from an early age.

Also Read: 5 Reasons Why ‘Solo: A Star Wars Story’ Crumbled at the Box Office

The meeting of Han and Chewbacca as seen in the film was also largely crafted by Lord & Miller, whom Kasdan credits for the part where Han convinces Chewie to help him by speaking his language in a broken accent.

Lord & Miller also worked with Kasdan to develop Lando’s droid companion L3, with Kasdan noting the polarizing nature of the character “in these extremely divisive and politically charged times.” Kasdan says L3 was born from Miller noting the anti-droid prejudice of the bartender at the Mos Eisley Cantina in the first “Star Wars” film, especially considering droids are the least violent race in the galaxy.

The two also dreamed up the detail to have Han and Qi’ra kiss in Lando’s cape closet onboard the Millennium Falcon, serving as a parallel to Han’s later relationship with Leia in “The Empire Strikes Back.”

Also Read: Does This ‘Solo’ Deleted Scene Give Us a New Glimpse at Lord and Miller’s Version?

“We liked the idea of seeing Han in a similar situation, with a similar type of banter, but a very different partner, one who maybe teaches him a thing or two,” wrote Kasdan. “The relationship between Han and Qi’ra was never intended to be concluded at the end of this movie. It’s a story I hope we get to tell more of someday ’cause I like their diverging paths.”

Of course, there is no guarantee that Kasdan will get that chance, as “Solo” was the biggest box office disappointment of this past summer. Grossing just $392.9 million globally against a production budget said to have ballooned to $250 million, it’s the lowest grossing film in the 41-year history of “Star Wars.”

But Kasdan is still holding out hope.

Also Read: Yes, That Was THAT Dead Villain in ‘Solo: A Star Wars Story’ – Here’s What it Means

“To be honest, I think the challenge has much more to do with the foreign box office than the U.S.,” Kasdan concluded. “Personally I think there are great ‘Star Wars’ movies to be made that don’t need to cost quite so much.”

“Hopefully, that will be the trend in the years to come […] Given the way Hollywood, and the culture at large, seem to run from anything labeled a disappointment, the odds seem like they’re against it happening anytime soon. But I suppose Han wouldn’t have it any other way.”

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Jonathan Kasdan confirms connection between Solo and Rogue One

Read on: The A.V. Club.

Yes, we realize they’re both Star Wars movies. That’s not the connection we’re talking about. As Slashfilm recently pointed out, Solo co-writer Jonathan Kasdan confirmed an intended direct link between the two films that was meant to add subtle detail …

‘Solo: A Star Wars Story’ Film Review: So-So Prequel Says Nothing New About Beloved Characters

Read on: TheWrapTheWrap.

In the same way that musical movies eventually become sing-alongs, I wouldn’t be surprised if the later theatrical run of “Solo: A Star Wars Story” included “Hey, I Recognize That!” screenings.

Audience members could be handed little hotel-desk bells that they could hit every time the movie lays out some bit of “Star Wars” lore. Han Solo meets Chewbacca for the first time? Ding! Discussion of the Kessel Run, complete with parsecs? Ding! Deep-cut reference to one of the Lando Calrissian novels? Ding ding ding!

“Solo” is less a movie than it’s that page in Highlights Magazine that makes you feel good for finding the chair and the bicycle in the hidden picture. As an intergalactic adventure, it’s mostly adequate, with some very successful elements, but if you stripped the “Star Wars” names and places and put it into the world as a free-standing sci-fi-action movie, it’s doubtful that it would spawn much excitement, let alone sequels.

Watch Video: Final ‘Solo: A Star Wars Story’ Trailer Lands With a Bang: ‘Assume Everyone Will Betray You’

Yes, the film has had a somewhat tortured production history, with original directors Phil Lord and Chris Miller getting shown the escape pod before Ron Howard came in and did a majority do-over. But the shortcomings of “Solo” are the shortcomings of most prequels: at least as far back as “Jim Henson’s Muppet Babies,” these tales have been the ultimate brand of fan service, showing us established characters meeting for the first time and offering mini origin stories for outfits, vehicles and catch-phrases. (I’m shocked “Solo” didn’t squeeze in a movie-star entrance for Han’s vest.)

Screenwriters Jonathan Kasdan and Lawrence Kasdan clearly relish the opportunity to write dialogue for swashbuckling renegades, but they’re also stuck doing a lot of retrofitting that goes nowhere. We don’t learn much about Han Solo’s background that fleshes out or deepens his character, but we sure do learn who gave him his last name.

When we meet young Han (Alden Ehrenreich), he’s one of many thieving orphans being exploited by the reptilian, Fagin-like Lady Proxima (voiced by Linda Hunt). Han and his sweetheart Qi’ra (Emilia Clarke) have a plan to run off together, but they’re separated at the airport, where he makes it through the gate and she doesn’t. Vowing to get a ship so that he can come back for her, Han volunteers for the Imperial armed forces.

Watch Video: Watch ‘Star Wars’ Mashed Up With ‘Arrested Development’ Narrated by ‘Solo’ Director Ron Howard

Three years later, he’s been kicked out of pilot training and stuck in the mud in one of the Empire’s many ongoing wars. But he sees a way out by hooking up with a team of thieves led by Beckett (Woody Harrelson) and Val (Thandie Newton). Ditching the army to join their crew, Han sets off on a series of adventures that will reunite him with Qi’ra – now in the thrall of mobster Dryden Vos (Paul Bettany) – and introduce him to a helpful Wookiee named Chewbacca (Joonas Suotamo) and a rakish gambler named Lando Calrissian (Donald Glover).

What works best in “Solo” are the performances, from droids voiced by Jon Favreau and Phoebe Waller-Bridge (“Fleabag”) to the utterly charismatic Ehrenreich and Glover. Ehrenreich proved his old-school star quality with his daffy and charming performance in “Hail, Caesar!” and here he pulls off the daunting task of stepping in for Harrison Ford, masking the character’s commitment to seemingly lost causes with devil-may-care insouciance.

Watch Video: Harrison Ford Crashes Alden Ehrenreich’s Interview: ‘Get Out of My Life!’

The “Star Wars” movies always criminally underutilized Billy Dee Williams as Lando, but Glover sweeps this film off its feet as often as he can, swanning through it like the Cary Grant of Outer Space. These two are more than “Solo” deserves, since the action is routine when it’s not genuinely baffling, while the plotting is pure “go to the place and get the thing” filler.

This might also be the least epic “Star Wars” movie to date: The big set pieces either last too long (a heist on a suspended railroad) or lack narrative logic (the legendary Kessel Run), and the muted color scheme sucks the fun out of the proceedings. (Cinematographer Bradford Young’s palette pops only for Lando’s outfits and to visually convey the new-car-smell of the Millennium Falcon’s maiden voyage.)

“Solo” tells us nothing about these characters that we didn’t already learn from Episodes IV-VII — although hearing their names said aloud so frequently does raise the question of whether someone named “Han” should be Chinese and “Calrissian,” Armenian. While the movie ends in a way that’s clearly designed to prompt further sequels, we don’t get that prequel X factor that makes us interested in a character arc whose outcome we already know. “Better Call Saul” knows how to do this; “Solo” doesn’t.



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