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clonewarsarchives · 2 years

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BACK FROM THE DEPTHS! (#132, APR 2012)

Being bisected by a Jedi and plunging down a seemingly bottomless pit would ordinarily prove fatal but not for Darth Maul! Sam Witwer plays the long lost warrior in Star Wars: The Clone Wars’ epic season conclusion.

Star Wars Insider: Before you were cast, what was your opinion of Darth Maul?

Sam Witwer: The thing with Darth Maul is that we all want to know more about him. He shows up and creates this incredible impression—and then he’s gone! We’ve all been clamoring for him to return. The fun thing about these episodes of Star Wars: The Clone Wars is that we learn a little bit about what he’s been doing for the last 10 years and it’s not good. He’s been uncomfortable.

What did you think when you found out Darth Maul was returning, and that you would be playing the role?

Dave Filoni hinted that he might have something for me after the Mortis episodes [in which Witwer voiced the role of the Son—Ed], and so I was naturally curious. I assumed it was going to be some bounty hunter or something, which I would have been thrilled with. When he informed me that they needed an actor to play Darth Maul, I just had a geek-stroke and lost the power of speech! Dave not only said that he wanted me to play Darth Maul, but that he wanted to take it in sort of a “Gollum” direction. When I read the script I saw what he meant, but also saw that this might be an opportunity to take it in a “Colonel Kurtz” direction.

How did this influence the character?

We decided that he might be pitiful one moment and dangerous the next, creating this maelstrom of conflicting emotions and unpleasantness. We all have our opinions about who he is, and that creates expectations, so what do we do? We blow away all expectations and say he’s insane! It makes perfect sense. If you’re going to be dispatched in the way he was, there must be huge consequences for having him come back. He can’t just come back with mechanical legs and say, “I’m the same old Darth Maul that I ever was.” There was a major cost, and its consistent with the other things we see in the movies.

Palpatine says that the dark side of the Force leads to abilities that some would consider to be unnatural, and one of those things is cheating death. The Sith see death as defeat. The Jedi see it as the natural progression of things. The Sith don’t look at it that way; they want to control everything. You can’t gain any more power if you die, so one of the things that all the Sith do is try to preserve themselves at all cost.

For example Darth Vader is all about that. He gets burned and put in a suit, but that’s somehow preferable to death. In a way, Darth Maul has done something similar. He’s wallowed in these caves, eating garbage, living in these horrible conditions. Through all his grief and connection with the dark side of the Force, these spider legs made of garbage have grown out of him as manifestations of his pain.

How do you feel about the character now that you’ve played him?

He’s a fearful man. He feels that his rage and hatred have kept him alive, along with his fear of death. He has a twisted sense of humor and he’s far more dangerous than people realize. I looked at him as purely muscle: He was the ultimate hit man. But we learn that he’s also potentially a general. He’s tactically minded, strategically minded, very smart and politically savvy. He was raised by Palpatine—or so we’ve understood —so he’s good at things that you might not expect.

Let’s also not forget that Darth Maul perhaps was intended to participate in the Clone Wars. Maybe he was supposed to be General Grievous or even Count Dooku? There was a plan for him, a purpose for him and all of that was stripped away by Obi-Wan.

How has he changed?

In the first two episodes, we focus on the madness of what’s happened to him, how he’s been disabled for a decade, and lost a lot of what he was trained as. The way he speaks is muddled and he’s not the same person he once was.

In the next episode—after he is reunited with Savage and gets put back together a little bit—he still doesn’t quite know where his place is, but we do get that ultimate dark warrior that we were hoping to see back. We see pretty much exactly what we thought we were going to see: a very angry, very efficient warrior who wants nothing more than to fight Obi-Wan Kenobi.

As the story continues, he realizes that fighting and destroying Obi-Wan ultimately isn’t satisfying. He has many opportunities to kill Obi-Wan, but he keeps prolonging it and realizes that this has to last; he’s been dreaming about it for 10 years and can’t just kill Obi-Wan quickly! He starts developing plans and aspirations, but at the center of those aspirations is, ultimately, revenge against Kenobi.

What was it like to record these episodes with Clancy Brown (Savage Opress) and James Arnold Taylor (Obi-Wan)?

I love the way James plays Obi-Wan! No matter how much you beat that guy up, he’ll always have some snarky response; he’s like Indiana Jones!

I’ve been a big fan of Clancy since I was a kid, going back to Highlander and The Shawshank Redemption. I met him when I was doing the Mortis trilogy last season. He brought his son in because he wanted autographs from the people that were working on The Clone Wars, and I had no idea that Clancy was part of the show. I was recording the Mortis episodes and Clancy walks in and says, “Hey, you’re the apprentice from The Force Unleashed, will you sign an autograph for my kid?” It was weird—he should have been signing autographs for me not the other way around!

Dave Filoni was talking about some sort of story point and how it would relate to The Force Unleashed and Clancy starts piping in about “Well, in The Force Unleashed, this happened…” He really knows his stuff! He’s a tremendously well-respected actor and here he is talking to Dave about “my” video game!

When we were recording, I was so nervous. I think I’ve settled into it now, but in that first session I felt like the pressure was on. Dave and Clancy were cracking jokes, and I think someone mentioned to me about loosening up and I said, “If I mess this up, millions of fans are going to be mad. at me!” Dave Filoni’s like, “Welcome to my world, pal. Now read the lines!”

You’ve embodied the dark side before, as the Emperor, Starkiller, and the Son. How is each role different for you?

Those roles are extraordinarily different. When we were developing the character of Starkiller, we thought of him as an interpretation of Darth Maul in part. We created this little geek formula where Starkiller was two parts Han Solo, one part Luke Skywalker, one part Indiana Jones, and one part Darth Maul. Any time that Starkiller was talking to Darth Vader, Darth Maul became the inspiration—I thought he should behave more like Darth Maul did in the film. When Starkiller addresses Lord Vader, he sort of assumes that Sith-like posture and voice. Palpatine has the manipulative edge and a wonderful sense of humor, at least when things are going his way.

Since he’d been trained by Palpatine as his protege, he would’ve taken a lot from that guy. So we borrowed heavily from Palpatine for Darth Maul and I think he’s a much more dangerous character when you realize how smart he is.

The Son was an arrogant character. I felt Darth Maul had to be extremely arrogant; that starts causing trouble for him later, but you don’t necessarily see that at first. It’s cool because there’s a little bit of connection to the Mortis episodes that the fans will pick up on.

I read a scene in the script where Darth Maul is ranting and raving. I was doing my research, and as soon as I read that Darth Maul was muttering to himself, I found myself wondering, “Well what is he muttering about? What has he told himself in order to keep himself alive?” Part of it is remembering his training, so I started bringing pieces of the Sith Code into the mutterings. There is a thought that the Sith had this code that’s a mockery of the Jedi Code. It’s things like “Peace is a lie” and “There is only power in strength” and all this great stuff. As I was reading that there was this moment where it said something about “Through victory my chains are broken.” Immediately I thought, Yeah, the chains....

When I was recording the speech that the Son delivers to Ahsoka before he turns her to the dark side — “The chains are the easy part; it’s what goes on in here that’s hard”—I was adlibbing and threw that line in. I love how they feature it; there’s this moment when Maul is getting disjointed bits of the Sith Code out, trying to remember his training and then he gets to this point where he recites this line about the chains. It makes his insanity specific in that way.

There are things that he talks about that you’ll have to turn up the audio and listen to very carefully.

BROTHERLY LOVE?

Sam Witwer: “It’s sad to see how hard Darth Maul works just to get back at Obi-Wan; it’s kind of tragic, especially when you take into account Savage and where he sits with all this. Savage is not necessarily a bad guy, or at least didn’t start out that way. We can imply from Savage’s back-story that Maul had a similar story. We explore that a little bit, too. I think the relationship between Maul and Savage is very interesting as Maul will eventually look upon Savage as his apprentice.”

FIRST IMPRESSIONS

Sam Witwer: “I went to a sneak preview of Episode I the day before it opened, After the movie, we noticed that there was a line at a nearby theater for some guy named Ray Park, So we went and met Ray Park. He was a total sweetheart to us and this was just before the film was going to open that night, out there in Skokie, Illinois!

“My first impression of Darth Maul was at once, this brutal, dangerous, terrifying warrior and Ray Park who was just the nicest, coolest guy you could ever meet. I think between those two experiences—seeing the movie and meeting Ray—that this character really has a special place in my heart.

“The next time I met Ray was years later. I wasn’t even an actor when I saw first saw Episode I. I met Ray and I tried to explain to him, ‘You know, Ray, this is gonna sound weird, but in a video game, I sort of fight you!’ I tried to explain the whole Force Unleashed connection, but I don’t know if he understood what I was saying because I was geeking out! Then a week later, we were both signing at a convention and I’m like, ‘OK, you see now? I’m sort of a Star Wars character, too!’ He’s a wonderful guy.”

AM AMERICAN SITH?

Sam Witwer: “I know that Darth Maul has an English accent in The Phantom Menace, but we didn’t worry about that because he’s been eating garbage for 10 years and that’s going to slightly change the way you talk! But don’t worry. We made sure there were moments when he sounds like his old self.”

REUNITED WITH VADER AND FRIENDS!

“I had a lot of Star Wars toys when I was a kid, but alas, they were either given away or thrown away—or so I thought! My mother recently found my Darth Vader Collector’s Case with tons of my old figures. I was stunned. I really thought all that stuff was gone.”

RED MENACE!

George Lucas described Darth Maul as “a figure from your worst nightmare,” leading designer lain McCaig to offer Lucas a design based on a nightmare of his, which although rejected, would later inspire the Nightsisters from Star Wars: The Clone Wars.

McCaig’s eventual illustration used his own face adorned with markings blending a “flayed flesh face,” face-painting of African tribes and Rorschach experimentation (spilling ink onto paper, folding it in half and opening it to produce a pattern—Ed)

Darth Maul’s head originally had feathers, which were interpreted by the design team as horns.

THE FUTURE...

Sam Witwer: “Darth Maul will be around for a while in the show. The story takes some really interesting turns, but the psychology of the character is very, very well thought out. It’s deep stuff! He’s not just a moustache-twirling villain; there’s a lot more going on there—there’s pain and there’s suffering. I don’t know how the audience is going to react, but I actually feel sorry for the guy. It’ll be interesting if the audience does as well by the time we’re done.

WITWER’S WORLD

Sam Witwer was born in 1977, making him the same age as the Star Wars saga! He has appeared in individual episodes of numerous television shows as well as minor recurring characters in shows such as Battlestar Galactica, Davis Bloome AKA Doomsday in Smallville, CSI: Crime Scene Investigation, and Dexter. He also played the main protagonist, Galen Marek/Starkiller, in the Star Wars: The Force Unleashed video game and its sequel. He can currently be seen in the US/Canadian remake of BBC’s supernatural drama series Being Human.

On the big screen, he has appeared in Crank, The Mist, and Gamer.

His talents also extend to music, as he fronts his own band: The Crashtones! Check them out at www. samwitwer. com

#Sam Witwer #Darth Maul #the Son #cast #insider #i132 #the clone wars

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troyfisher4 · 1 year

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HP 15-DA0012DX HT03XL Laptop Battery 11.4V 3600mAh 41.04Wh

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onlineproductsdeals · 2 years

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HT03XL L11119-855 Battery Compatible with Pavilion Laptop 14-CE 14-CF 14-DF 15-CS 15-DA 15-DB 15-DW TPN-I130/I131/I132 L11421-422 HSTNN-LB8M 17-AR050WM 920046-121 421 541 HSTNN-IB7Y

Price: (as of – Details) To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. Model Name: HT03XL Rechargeable Battery; Battery Type: Li-ion; Voltage: 11.55V; Capacity:3470mAh; Cells:…

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egros01 · 2 years

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Batterie originale HP L11119-855 HT03XL HSTNN-DB8R 11.4V 3600mAh

Description du produit

Batterie originale HP L11119-855 HT03XL HSTNN-DB8R 15.4V 3454mAh,53.2Wh pour ordinateur portable HP ENVY 13-AH0011TX, ENVY 13-AH1005TX séries est 100% neuf et emballée bien. Si vous achetez cette HP L11119-855 HT03XL HSTNN-DB8R batterie originale ici, on vous donne une garantie de 12 mois et Satisfait remboursé 30 jours. Notre batterie HP L11119-855 HT03XL HSTNN-DB8R est 100% neuf et exclusivement assemblé avec des composants de premier choix afin de répondre aux normes CE,RoHS.

Caractéristiques techniques de cette HP L11119-855 HT03XL HSTNN-DB8R batterie

Type: batterie d'origine Li-ion rechargeable

Tension: 11.4V

Capacité: 3600mAh,41.04Wh

Cellules de batterie: 3-cellules

Couleur: Noir

Garantie: 12 mois

Cette batterie est aussi compatible avec les modèles suivants

Hp HSTNN-DB8R

Hp HSTNN-DB8S

Hp HSTNN-IB80

Hp HSTNN-IB8O

Hp HSTNN-LB8L

Hp HSTNN-LB8M

Hp HSTNN-UB7J

Hp HT03041XL

Hp HT03XL

Hp L11119-855

Hp L11421-1C1

Hp L11421-1C2

Hp L11421-2C1

Hp L11421-2C2

Hp L11421-2C3

Hp L11421-2D1

Hp L11421-2D2

Hp L11421-421

Hp L11421-422

Hp L11421-423

Hp L11421-542

Hp L11421-544

Hp L11421-545

Hp TPN-C136

Hp TPN-I130

Hp TPN-I131

Hp TPN-I132

Hp TPN-I133

Hp TPN-I134

Hp TPN-Q207

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Hp TPN-Q209

Hp TPN-Q210

Les batteries s'adaptent au modèles des ordinateurs portables suivants

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internutter · 2 years

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Challenge #03420-I132: Of Course it's Healthy

The world was dead, badly irradiated, it would be a long time for it to heal. The few survivors were in emergency hospital facilities, and the CEO's, now former CEO's, of this badly sickened world, were imprisoned, but also having to take treatment due to pretty severe radiation poisoning. -- Anon Guest

"You can't do this to me, I know my rights," CEO Martlebury Fauntleroy Jenkyns tried to struggle against the Mediks. "This so-called treatment is making me worse! Radiation sickness is fake news! Coughing up blood is perfectly normal..." he finally ran out of breath and collapsed in the bed.

In a moment, the aforementioned coughing would begin.

The Mediks worked as quickly as they could. Adding medicines to his bloodstream. Furnishing him with nanite suites that would repair what they could of his body. It would not be easy to save his life, but they would try.

[Check the source for the rest of the story]

#instant story #just add prompt #greater deregulation #medical intervention #blood

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cmweller · 2 years

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Challenge #03420-I132: Of Course it's Healthy

In a moment, the aforementioned coughing would begin.

[Check the source for the rest of the story]

#instant story #just add prompt #amalgam universe #greater deregulation #snake oil

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drugastraian · 3 years

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Limba romana clasa 10 – manuale scolare | Librariadelfin.ro

https://www.librariadelfin.ro/carti/limba-si-literatura-romana-clasa-10–i132

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clonewarsarchives · 2 years

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Bounty hunter gallery from 4.17 The Box (Insider #132)

#season 4 #417 #insider #i132 #magazine ref #alien #bounty hunters #the clone wars

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robinsoncenter · 5 years

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SPR 2019, space in B H 420, Philosophical Problems in Bioethics

Bioethics & Humanities has space in the following spring 2019 course:

B H 420, Philosophical Problems in Bioethics (I&S) [sln#10940] 3 cr, I132 HSB, Th 3:30-5:20 Introduces the philosophical concepts and controversies that underlie contemporary bioethical debates. Explores issues using the literature of bioethics and philosophy, contemporary film, works of fiction, and conversations with health professionals. Students learn philosophical methods of analysis and argument, and debate different sides of ethical issues. Instructor: Jecker

#B H #bioethics #courses #spring2019

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trung10989-blog · 7 years

Link

Thời tiết oi nóng vào mùa hè khiến cho rất nhiều người ngần ngại trong việc lựa chọn trùm ghế cưới hỏi đẹp, vì cho rằng áo bao ghế trong mùa hè là không cần thiết, thậm chí còn không c�� lợi cho sức khỏe, tốn kém chi phí... Tuy nhiên, đó đã là quan niệm lỗi thời, bởi rất đơn giản, sản phẩm hoàn toàn không có chức năng tỏa nhiệt, nên không thể khiến cho không gian thêm oi bước nay nóng nực. Không chỉ vậy, nếu khéo lựa chọn, những chiếc áo bọc ghế sẽ không chỉ giúp làm tôn lên vẻ đẹp cho cả căn phòng mà còn góp phần cải thiện cho không khí , xua tan đi cái nóng ngày hè. Do thời tiết mùa hè nóng bức, nên khi lựa chọn áo váy ghế cho mùa hè, bạn cần chú ý tới các yếu tố: Làm từ chất liệu, màu sắc và kích thước của áo phủ ghế.

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egros01 · 2 years

Text

Batterie originale HP L11119-855 HT03XL HSTNN-DB8R 11.4V 3600mAh

Description du produit

Caractéristiques techniques de cette HP L11119-855 HT03XL HSTNN-DB8R batterie

Type: batterie d'origine Li-ion rechargeable

Tension: 11.4V

Capacité: 3600mAh,41.04Wh

Cellules de batterie: 3-cellules

Couleur: Noir

Garantie: 12 mois

Cette batterie est aussi compatible avec les modèles suivants

HSTNN-DB8R

HSTNN-DB8S

HSTNN-IB80

HSTNN-IB8O

HSTNN-LB8L

HSTNN-LB8M

HSTNN-UB7J

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HT03XL

L11119-855

L11421-1C1

L11421-1C2

L11421-2C1

L11421-2C2

L11421-2C3

L11421-2D1

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L11421-421

L11421-422

L11421-423

L11421-542

L11421-544

L11421-545

TPN-C136

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TPN-I131

TPN-I132

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Les batteries s'adaptent au modèles des ordinateurs portables suivants

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r558944 · 7 years

Link

【送料無料】南部鉄器　curoco IH対応深型鍋　『クロコ・キャセロール20（深型）』　　岩鋳日本製　96502

価格：￥11880

店舗名：キッチンウエアーSanki

#2017/04/05

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clonewarsarchives · 2 years

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NOTES FROM THE FRONT LINE (#132, APR 2012)

It’s generally accepted that Walter Murch (along with friend and colleague Ben Burtt redefined the role of the cinematic sound engineer, coining the term “Sound Designer” for Apocalypse Now (1979), which was foreshadowed by his “Sound Montage” credit for The Conversation (1974).

Murch later turned his hand to directing, helming Return to Oz, the 1985 sequel to the beloved classic. It was his friend George Lucas who offered him the opportunity to take the director’s chair again for The Clone Wars season four episode from the Umbaran quadrilogy, “The General.” Interview by J. W. Rinzler

Star Wars Insider: How did you first get invited to direct an episode of The Clone Wars?

Walter Murch: I heard about Bob Dalva, who’s a friend, film editor, director, and cameraman. George Lucas had asked him to be a guest director on the show (Season Two’s “The Deserter”) and I kept tabs with him, checking how it was going. He was having a great time doing it. I think it was a year later that George said, “What about you? Do you want to be a guest director?” Based upon the experience that Bob had, and my own general interest in the interface between art, story, and technology, I thought I would see what it was all about.

Did you choose a script from the four episodes of the Umbaran story arc?

They just said here it is. I didn’t get to choose. I think I would’ve been overwhelmed if I had to choose, because I didn’t know anything about the process other than what Bob and George had told me. It was much better just to get an assignment and not have to make a choice, weighing variables that I had no knowledge of at that time.

What did George tell you about the show?

Not much. He said, “It’s great, you’ll love it!” What he’s interested in with guest directors is people coming on board and injecting whatever it is that makes a metal into an alloy: a little extra something that’s not normally in the metal, but that helps to turn it into something else: iron into steel, brass into bronze, hopefully stronger. There are four directors on staff—very talented directors who are each working on three projects at once in various stages, whereas a guest director is only working on one thing and doesn’t hang around after the job is done. I wasn’t involved at all in the final animation. It’s just a very specific 12-week gig—to learn the software and produce the work.

George also wanted to bring in, with Bob and me and Duwayne Dunham—another guest director who has done two shows—someone who has experience in live action. George wants an infusion of a live-action sensibility into the process of doing animation, so it becomes scene-based rather than shot-based. Animation tends to be shot-based work because of the expense of producing animation; you want to minimize the amount of work, so shoot only what is absolutely necessary. Whereas with the zViz software (a proprietary software platform developed by George Lucas and Lucasfilm that helps directors compose shots), which is what we were working with, it doesn’t cost anything to keep the shot going, especially in a dialogue scene. It’s covering the dialogue the way you would cover a normal dialogue scene in live action from many different angles, which allows you to choose in the editing how the scenes will be constructed.

So you had 12 weeks. At this point was the script already written?

Yes, it was finished and, other than meeting at the end of the process, I never had any interaction with the writer. [Supervising director] ave Filoni did ask, “What do you think about the script? Any ideas?” In this story, the two clones, Fives and Hardcase, have to penetrate an alien airbase and there’s a perimeter fence around it. In the original script, they walked up to the fence and turned it off with some device they had. I thought we should make it a little harder, just to get a bit more action into it; also, if you can do everything with your own devices, it makes the opposition look weaker. So the whole idea of climbing up the tree, and then booby-trapping it to distract the guards —that was my contribution to the story.

So once you did the script, it went to the story reel phase using zViz. Was there anything in between those stages?

There was a lot of work already done in set and character design, all of which I inherited. They just said, “Here it is!” I slightly changed the nature of what some of the weird creatures were—that was another script idea I guess—I made the weird flying creatures into vultures so that they would try to eat the bodies of dead clone troopers. In the script they were just seen as passing clouds, but since they looked like vultures mated with manta rays, I thought, Let’s give them a personality and a purpose. What do these guys do? So that was another thing. I didn’t modify the look of the creatures, but I did modify what they did.

You then moved onto the zViz story reels.

I went to zViz class for the first two weeks. I had a one-on-one tutor and I was learning the software. Co-incident with that, in the afternoons, I started to play with the set and the characters, and reading the script, and working out how we were going to stage everything; just arranging the basic elements of the “soldier” aspect of the work, which is: “Here’s the army. There’s the enemy. Our army is moving in this direction. They’re coming from that direction. They’re in single-file, and so on.” At that stage, only basic camera parameters had been set, so I went through the script scene-by-scene and blocked it out using zViz. I had a team of four story artists who were going to be working with me—Bosco Ng and Dave Brickley would sometimes be standing next to me saying, “Don’t do that. It’s more efficient to do this,” just like when you learn to drive a car. You have an instructor there to prevent you from crashing. I got about two percent into using zViz. Maybe five percent. Maybe I would have been able—for the story reel—to do some actual story reel animation, but this particular show is so full of action that I left it to the artists that were working with me.

What was the next stage?

After the blocking? The story reel. I assigned scenes to the story artists and they would phone me up four hours later and say, “Want to take a look?” And that would give me other ideas and I’d make suggestions and they would work their way through the scenes.

As with live action, do you have to choose the “virtual camera lenses” you use?

Yes. I began to sketch that out in the plotting stage. But I generally left that up to the animators, except for a few specific places like that shot of the first emergence of the scorpion tank: I wanted that to be a telephoto lens.

Did you find it liberating?

Yes, it was. I felt insecure during the two weeks when I was learning the software and not knowing how much more I had to learn. If we had all the time in the world, it would’ve been different—but this is an ongoing series and you have to hit schedule milestones. And I was very happy with the work the story artists did; they saved my bacon a number of times when there were things I couldn’t quite figure out. Based on their own experience being animators and working on The Clone Wars, they knew what could be done and that would trigger ideas from me. So it was a very good collaboration with all four guys.

Did you have any involvement with the direction of the actors?

Yes, once we’d recorded and cut the temporary voices in. and then made any adjustments, we went down to Los Angeles and recorded the actual voices of the clones and Krell. So I was there for the final recording. It’s very important, I think, for the director of the recording.

The episode has a lot of action in it, but is also quite violent. There’s a scene where some Umbarans walk past and the clones shoot them in the head.

That was another idea I had. And another was the amount of stomping that the scorpion tanks do. There are many clones that get killed by being stepped on. This was an idea I came up with based on exploring the ability with zViz to articulate the character’s movement, like a puppet. The scorpion tanks are a six-legged mechanism. It wasn’t specified in the script what those legs could do—it just walked forward and shot. I thought it would be more interesting if it appeared to be alive in an animalistic sense and, working with Dave Brickley, we started tooling around with these creatures. We made them stand up on their hind legs, so to speak, and put the front legs up in the air. Once you did that, it was clear that it would be good.

These ideas arise spontaneously out of the directing process and if nobody stops me, then I’ll do them. It’s grisly—people killed by being stepped on, and the idea of finishing off this Umbaran pilot—and it begs the question. “If they didn’t shoot him, what were they going to do with him?” Then there’s the whole idea of these vulture creatures feeding on the flesh of clones. I plead guilty to the grisly parts of the story, or emphasizing them anyway.

Is that because you think kids today can handle it?

I think so, but I wasn’t thinking about the audience spedifically. It’s shown at eight o’clock at night, and I know that the viewing age ranges very wide. I thought it was my duty—I’d been invited in to do this stuff and they were looking for somebody from the outside. So I guess I was pushing the edge of the envelope. And I think that’s one of the very interesting things about the show. It gets into some pretty deep, philosophical waters about what an army is: Who are the soldiers in an army, and what are they really doing? Do they obey orders without thinking or are they obliged to think on their feet and countermand an order if they know a better way to do it and what’s the cost of that? How does identity emerge out of group of soldiers who, in this case, are literally bred to be the same. And yet different identities do emerge out of their DNA—how does that happen? How do you cohere as a military fighting force where the idea is to sublimate your identity and not be individuals? Once you start thinking about all that, you get into some pretty interesting areas.

It sounds like it intellectually engaged you.

Yes, it did. But all this is not specifically limited to my episode. That whole Umbaran arc in particular is about the assassination of a kind of Hitler. When do you kill the guy who’s supposedly your commanding officer? What he’s doing is wrong and against all military code, and yet you have to obey him. it’s a dilemma that the human species confronts over and over. I looked at maybe 12 other episodes in the course of 12 weeks. and I was really impressed with the range of subject matters and the implications of some of the ideas that were being explored.

Also, I was taken with the density of the storytelling in a 22-minute session; I would be watching one of these episodes, looking at the animation and being impressed with the style and the production design and all of that, and then the seven-minute moment, the commercial break, would come and I’d realize, wait a minute, that felt like 20 minutes not seven! It felt like a lot had happened and it had only been seven minutes. Each of these 22-minute episodes feels like an hour in terms of the visual and thematic complexity of the stuff that’s being explored. Those experiences quickly eliminated any sense that I was making a film for kids. But by the same token, Return to Oz, which is essentially a film for kids, also has some heavy-duty stuff in it. I think kids can take it.

Did you get to see your episode before it went to air?

Yes, but the first version I saw I thought the picture was way too dark. I would not have animated things the way I did if I had known it was going to be that dark. I had been told Umbara was a dark planet, but I didn’t know it was going to be that dark. There’s a saying in England: When you do live-action night shooting, you’ll get the question, “Where is this light coming from?” And the answer is, “That’s ‘Customer’s Moonlight.’” In other words, the audience paid to see the movie—the light is there to allow them to see what they paid for. But when I saw the aired version of “The General”, the darkness had been lightened. I don’t know what knobs they twirled, but there was much mom light. And yet it still looked like a dark planet. So I was much happier.

Is there anything that you’d like to have differently?

The Clone Wars animation is getting on good. particularly for certain characters. that I would like to see them move even more in a live-action sense. There’s still a tendency, especially in the story reel stage, to over-articulate body language. There are lots of hand gestures, kind of in a marionette sense, and you tend to fall into doing that because there is no facial animation at the story reel stage, only rudimentary changes from anger to joy. And with the clones wearing helmets, you don’t see any face, so there is a tendency to over-compensate with body-language. I think that may have been necessary in the early days when the animation wasn’t as sophisticated. Now it’s getting so good, it might be time to back off from the marionette aspect and treat them more like real people, real actors.

Do you think they should invest a little more in that?

Yes, but with some characters I think they’re already there! There’s a wonderfully evil female character Asajj Ventress. She’s fantastic—both as a character and how she’s animated. I love that character.

THE CINEMA OF WALTER MURCH

Walter Murch enrolled at the University of Southern California in 1965. In its School of Cinema, he met George Lucas, future writer/director John Milius, author Donald Glut (who penned the novelization of The Empire Strikes Back), Director of Photography Caleb Deschanel (who shot 1979’s More American Graffiti), and a host of other luminaries who came to prominence during the late ‘60s and early ‘70s. After Lucas and Francis Ford Coppola founded American Zoetrope, Murch helped edit and mix sound on the latter’s The Rain People (1969). His résumé soon filled out with a series of Lucas and Coppola projects: THX 1138 (1971), American Graffiti (1973), and The Godfather Part II (1974), before winning an Academy Award in 1980 for his sound design on Apocalypse Now. His subsequent credits include, among many others, Ghost (1990), The Talented Mister Ripley (1999), Cold Mountain (2003), Jarhead (2005) and The English Patient (1996), for which he netted Oscars for both film and sound editing.

#season 4 #408 #crew #insider #i132 #the clone wars #guest directors #got real detailed into the process and the episode!

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egros01 · 2 years

Text

Batterie originale HP L11119-855 HT03XL HSTNN-DB8R 11.4V 3600mAh

Description du produit

Caractéristiques techniques de cette HP L11119-855 HT03XL HSTNN-DB8R batterie

Type: batterie d'origine Li-ion rechargeable

Tension: 11.4V

Capacité: 3600mAh,41.04Wh

Cellules de batterie: 3-cellules

Couleur: Noir

Garantie: 12 mois

Cette batterie est aussi compatible avec les modèles suivants

HSTNN-DB8R

HSTNN-DB8S

HSTNN-IB80

HSTNN-IB8O

HSTNN-LB8L

HSTNN-LB8M

HSTNN-UB7J

HT03041XL

HT03XL

L11119-855

L11421-1C1

L11421-1C2

L11421-2C1

L11421-2C2

L11421-2C3

L11421-2D1

L11421-2D2

L11421-421

L11421-422

L11421-423

L11421-542

L11421-544

L11421-545

TPN-C136

TPN-I130

TPN-I131

TPN-I132

TPN-I133

TPN-I134

TPN-Q207

TPN-Q208

TPN-Q209

TPN-Q210

Les batteries s'adaptent au modèles des ordinateurs portables suivants

0 notes

egros01 · 2 years

Text

Batterie originale HP L11119-855 HT03XL HSTNN-DB8R 11.4V 3600mAh

Description du produit

Caractéristiques techniques de cette HP L11119-855 HT03XL HSTNN-DB8R batterie

Type: batterie d'origine Li-ion rechargeable

Tension: 11.4V

Capacité: 3600mAh,41.04Wh

Cellules de batterie: 3-cellules

Couleur: Noir

Garantie: 12 mois

Cette batterie est aussi compatible avec les modèles suivants

HSTNN-DB8R

HSTNN-DB8S

HSTNN-IB80

HSTNN-IB8O

HSTNN-LB8L

HSTNN-LB8M

HSTNN-UB7J

HT03041XL

HT03XL

L11119-855

L11421-1C1

L11421-1C2

L11421-2C1

L11421-2C2

L11421-2C3

L11421-2D1

L11421-2D2

L11421-421

L11421-422

L11421-423

L11421-542

L11421-544

L11421-545

TPN-C136

TPN-I130

TPN-I131

TPN-I132

TPN-I133

TPN-I134

TPN-Q207

TPN-Q208

TPN-Q209

TPN-Q210

Les batteries s'adaptent au modèles des ordinateurs portables suivants

0 notes

egros01 · 2 years

Text

Batterie originale HP L11119-855 HT03XL HSTNN-DB8R 11.4V 3600mAh

Description du produit

Caractéristiques techniques de cette HP L11119-855 HT03XL HSTNN-DB8R batterie

Type: batterie d'origine Li-ion rechargeable

Tension: 11.4V

Capacité: 3600mAh,41.04Wh

Cellules de batterie: 3-cellules

Couleur: Noir

Garantie: 12 mois

Cette batterie est aussi compatible avec les modèles suivants

HSTNN-DB8R

HSTNN-DB8S

HSTNN-IB80

HSTNN-IB8O

HSTNN-LB8L

HSTNN-LB8M

HSTNN-UB7J

HT03041XL

HT03XL

L11119-855

L11421-1C1

L11421-1C2

L11421-2C1

L11421-2C2

L11421-2C3

L11421-2D1

L11421-2D2

L11421-421

L11421-422

L11421-423

L11421-542

L11421-544

L11421-545

TPN-C136

TPN-I130

TPN-I131

TPN-I132

TPN-I133

TPN-I134

TPN-Q207

TPN-Q208

TPN-Q209

TPN-Q210

Les batteries s'adaptent au modèles des ordinateurs portables suivants

#HT03XL

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