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SFX: The Sci-Fi and Fantasy Magazine - - Contents -

How Star Wars: Rogue One can take flight.

A Con­nected Uni­verse

1 For starters you want Rogue One to truly feel part of a gal­axy far, far away. “A ref­er­ence to an­i­mated se­ries Rebels,” says Robert Wil­liam Graham. “It should be all brand new char­ac­ters but set up char­ac­ters and events in the orig­i­nal tril­ogy.”

The Dark Side

2 Given that Vader, the Em­peror and Grand Moff Tarkin are at the top of their evil game be­fore A New Hope it’s lit­tle sur­prise you want some ap­pear­ances from one ( or all three). “Darth Vader should be in Rogue One, but not the main vil­lain,” says Gary Pratt.

War, Huh, Yeah

3 “Blood, sweat and mud. Sav­ing Pri­vate Ryan on the for­est moon of En­dor, es­sen­tially,” says Isaac Thompson, echo­ing many who called for a dif­fer­ent feel from the main films in the se­ries.

New He­roes

4 Set­ting the film dur­ing a time pe­riod yet to be cov­ered on the big screen means op­por­tu­ni­ties to in­tro­duce fresh faces. “Don’t make any­one the sec­ond cousin twice re­moved of Han Solo, there are an in­fi­nite num­ber of sto­ries in the Star Wars uni­verse,” says Peter Low­don.

New Sounds

5 You can’t have Star Wars with­out Ben Burtt’s sound ef­fects, or John Wil­liams’ score, but Stephane Thevenin wants a fresh spin on the fa­mil­iar sound­scape. “A vari­a­tion on the rhythm and com­po­si­tion of Wil­liams’ mu­sic could be great.”

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