004 Star Wars pt 1, Automation Sequences, Winston Churchill

004 Star Wars pt 1, Automation Sequences, Winston Churchill
Self-Publish Strong Podcast

00:00 / 58:20

In celebration of the launch of this podcast, all of Andrea Pearson’s book marketing courses are available at 50% off. Enter PODCASTLAUNCH – one word – at checkout. This deal expires March 24, 2018 at midnight. Go to selfpublishstrongcourses.com for information on currently available courses. Thank you.


Andrea: Hi everyone! Welcome to the Self-Publish Strong podcast. I’m your host Andrea Pearson. I’m joined today by my husband.

Nolan: Hi, this is Nolan.

Andrea: We’re going to be discussing Star Wars: A New Hope today, but first we’ve got a quote for you and a continuation on our automation sequences tips. The quote is by Winston Churchill and it is, “Kites rise highest against the wind, not with it.” Do you have any thoughts on that since you picked it?

Nolan: It sounds cool.

Andrea: It does sound cool. So opposition in all things?

Nolan: Opposition, yeah.

Andrea: Yeah, when something is easy… I don’t know.

Nolan: If it were easy everyone would do it.

Andrea: Yeah, if it were easy, everyone would do it and… what is the quote? Something about men and rivers are made crooked by following the path of least resistance or whatever that is. Oh, the path of least resistance leads to crooked rivers and crooked men. Something like that. Basically, if it’s easy, everyone would be doing it, number one. And number two, it doesn’t make you grow which leads to success. When you’re forcing yourself to grow, then you’re more likely to be successful.

Our tip today is a continuation, like I said, of the automation sequences tip. We’ll be talking a little bit about the first email that you’ll send, and we’ll talk later about reader magnets, but the purpose of this first email is to get them their freebie. So if you offer a free book in exchange for sign up, and I definitely recommend doing that because it doubled or tripled our subscriptions pretty quickly once I started doing it. We’ll talk about those later and best ways to, you know, have good results with that, the best things to give away.

But you want your first email of your automation sequence to be set up to send out immediately and the very first thing you want to have is basically a “Hi, and here’s a link to your freebie.” It’s a welcome email and it introduces you to them, but it should be a very, very, very brief introduction, if any introduction at all. At this point, readers are most likely more interested in getting their freebie than hearing about you, so keep the email short and to the point. You can basically tell them a little bit about yourself in it. For example, how often they’ll hear from you, if you swear, if you use too many smiley faces, which is something I am definitely not ever… I’ve never been accused of. Anyway, I do use smiley faces quite a bit. Yeah, it’s just basically a way to get your foot in the door so to speak, to let them get a feel for who you are in just a very, very little bit of a way. Anyway, I talk quite a bit more of this about this in-depth in my automation sequences course, but basically, every single sequence I’ve ever set up has been based off of this one that I’m going to be sharing with you over the next few episodes. By the time all these go live, you’ll have all of them, all the tips in order, so you will be able to listen to them all quickly. We are recording this in February. What’s the date today?

Nolan: The 16th.

Andrea: Yeah, February 16th, 2018. So this week, I’ve been working on… I finished the book cover for the fourth book in my Koven Chronicles. It’s Crimson Hollow. I also finished the cover for the third book in that same series. I wanted to get into editing the third book, but my brain’s been… we’ve been all over the place this week and my brain’s been very detached. I think I just need a little bit more separation since I barely just finished the book last week. If any of you ever have questions, go ahead and send me email at andrea@selfpublishstrong.com. If you are interested, you can support our Patreon page at patreon.com/selfpublishstrong. Basically for awesome perks such as getting your questions answered and things like that.

Anyway, like I said, we’re really talking about Star Wars today. Yeah, let’s get going.

Nolan: I’m going to skip the opening crawl, you can just read it. Tells you everything you need to know.

Andrea: And actually, I mean, it’s the biggest and most successful info dump ever.

Nolan: Yeah.

Andrea: They just basically dump… it’s like a prologue.

Nolan: Yes, it’s quite a bit of information. Okay, so opening scene of the movie is the rebel ship flying away from us and then the Imperial Star Destroyer is chasing it. What does that tell you?

Andrea: Action. That’s what I notice. They start in the middle of the scene…

Nolan: The middle of the scene.

Andrea: … not the end or beginning.

Nolan: Exactly. It’s a tiny little ship, right? And it’s flying away, shooting – pew-pew-pew-pew – and then you see this big ship come in and it just keeps getting bigger and bigger and bigger and shows, you know, like, the rebellion versus the Empire encapsulated in one shot.

Andrea: Yeah, the rebellion’s tiny and they have limits to their resources and…

Nolan: …there’s this big juggernaut chasing them.

Andrea: Yeah.

Nolan: The Empire has a very distinctive color palette, black, white, and red.

Andrea: Yeah.

Nolan: That’s just carried throughout all the movies. The rebellion has whatever, but they’re very stark.

Andrea: Contrasted.

Nolan: Everything is black and white, black and white for them.

Andrea: Yeah.

Nolan: In the literal and figurative sense.

Andrea: I did forget to give this little bit of information. The genre is space opera, space fantasy. It was titled Star Wars: A New Hope and the episode IV bit was added in 1980, 1981 when George Lucas realized that it was successful enough – well, they knew it was successful enough the first weekend – to do a redo, or to do, sorry, a sequel. Everyone, including George Lucas, who went on vacation, said watching the premier they thought it would fail. 20th Century actually had to force theaters to show it. They were more interested in watching or showing another movie that was releasing that year. 20th Century had to hold back that other movie if they wouldn’t show it and that was only forty theaters that actually agreed to show it across the country, which I thought that was interesting. Everybody, you know, I bet those people are really glad they ended up showing it.

Anyway, so, my comment was androids, the androids are dirty so it shows that they’ve been through stuff, whatever that might be.

Nolan: Yeah.

Andrea: It goes along with what you’re saying, the stark contrast between the clean stormtroopers and then the dirty androids and the fact that they’re where the rubber meets the road. Basically.

Nolan: Right. My next scene is 4:40 into the movie and that’s when, I mean, the battle goes on, right? So, like, you know, the good guys have, like, little pistols and they’re hiding against the sides of the hallway and then there’s an explosion and the stormtroopers come piling through the hall. Right after that is when Vader steps through. He just, like, looks to the left and looks to the right at the bodies.

Andrea: And steps over them.

Nolan: He steps over them. That tells you a lot about his character.

Andrea: He doesn’t care.

Nolan: Yeah.

Andrea: And, actually, I have a comment that’s right at that point. Princess Leia is in all white, and the ship is all white, and the stormtroopers are all white, Darth Vader’s black, and I just, I remember the stormtroopers were actually intended for good when they are first created. So their uniform is all white and, I don’t know… I mean, a little correlation there, maybe.

Nolan: So, yeah, we can tell a lot about his character just by looking at him and how he acts. He doesn’t say anything. Already you know he’s a pretty bad guy. Or a good guy.

Andrea: Yes, I love Darth Vader. So does our five-year-old.

Nolan: Yeah. Ella-Vader.

Andrea: Ella-Fader.

Nolan: Ella-Fader.

Andrea: I’m at the part where the droids, they jettison themselves off from the ship.

Nolan: I have one thing before that. So Vader interrogates the captain of the ship. He’s holding him up with one hand. And he accidentally kills him and then throws his dead body away because he can’t answer his questions now. That’s a little more explicitly bad guy stuff. You realize how strong he is, how ruthless he is.

Andrea: Yeah, where we learn his character right off the bat. Like the coldness, he doesn’t care.

Nolan: Yeah, he’s not subtle…

Andrea: No.

Nolan: …about anything he’s doing. He wants what he wants and that’s it. So at seven minutes is the escape scene with the droids.

Andrea: Yeah, so, when the pod jettisons out of the ship, the guy’s like, “Hold your fire, there’s no life forms aboard.” My question was, this was a little criticism. Are their lasers limited? I mean, hold your fire? It’ll waste your lasers? I think he could just have said don’t fire. He could have just said there’s no life forms on it, so it doesn’t matter, but… Like, “We only have five lasers left! Hold your fire!”

Nolan: They’re probably not going to run out of laser ammo anytime soon.

Andrea: The genre of this movie, having them start in the middle of the action. You need to have that for a lot of these types of movies and types of books. You know, things that follow this genre, you want to have action start and that’s actually true of even romance. Romance, the action’s different, but it still… You need to have that interest of something happening. You don’t want to say my character brushed her teeth, she did her hair, and then… I mean, establishing normal to a point, you know, but after that it just gets boring. You’ve gotta get into the action.

Nolan: They took care of that with the opening crawl.

Andrea: Yeah.

Nolan: I mean, it’s the non-actiony bit that lead up to the actiony bit.

Andrea: Yeah, and I never read it anymore. Do you ever read it?

Nolan: No. I mean, I know what it is, you know. It’s like, in the rebellion thing and the thing and…

Andrea: Princess Leia is on this little ship…

Nolan: And then explodyness.

Andrea: Yeah.

Nolan: Immediately. So. Anyway. Speaking of princess, mouthy princess. She’s sassy.

Andrea: Oh, yes. Yes, she is. She’s our strong female lead. She has to be sassy.

Nolan: Yeah. She’s way shorter than Vader.

Andrea: Yes, she is. David Prowse or whatever his name is.

Nolan: So they played a lot with that intimidation, you know, the Empire.

Andrea: Yeah, he pushed her up against him and he’s, like, looking down at her.

Nolan: Up to his, like, bellybutton. One of his crony guys says, “She’ll die before she’ll tell you anything.”

Andrea: Yeah, he says, “Leave that to me,” or whatever.

Nolan: Yes. Then one thing Vader says right after that, they realize that the plans might be on the escape pod. He says, “There will be no one to stop us this time.” So they’ve been doing this for a while.

Andrea: Yeah. Chasing them all around. Do they actually cover that in the movie?

Nolan: Rogue One they do.

Andrea: Okay. I meant – that’s what I meant. Rogue One, do they actually cover that? I can’t remember.

Nolan: The one scene in Rogue One…

Andrea: Is the start of this movie.

Nolan: Yeah, leaving on the ship.

Andrea: Yeah.

Nolan: So, then, he’s been chasing, but you don’t know that at this point because Rogue One hasn’t been made yet.

Andrea: So, therefore… A little side note, they added in language, like swearing, so this movie wouldn’t be branded as a kids movie. It would’ve gotten the G rating otherwise. So they added a couple of d-words and h-words to get the PG.

Nolan: Never mind the bloody severed arm.

Andrea: Oh, yeah.

Nolan: And the burned corpses.

Andrea: Yeah. I mean, I watched this movie when I was a kid. I didn’t understand what the burned corpses were. It’s really funny now looking. Obviously that’s what they are, but… So I have a comment about the Jawas.

Nolan: I have something at 9:05. That’s when… So we haven’t talked about R2-D2 and C-3PO. C-3PO’s a complainer. When they’re on the escape pod, which I didn’t mention, back at seven minutes. “Are you sure this thing is safe?” And then, anyway, at 9:05. “We seem to be made to suffer.”

Andrea: Yes, if you are C-3PO, you were made to suffer.

Nolan: He was made to make us suffer.

Andrea: He’s like the Jar Jar Binks, except I would say he was better at it than Jar Jar Binks.

Nolan: Yeah. He’s a pretty, like, naive character.

Andrea: Idealistic.

Nolan: Yeah, because he’s like…

Andrea: While being pessimistic.

Nolan: They split up. Him and R2 have an argument. He’s like, “I’ll go this way, you want to go that way? Fine, go that way.” And then he sees some glint in the distance and he waves at it. “Come pick me up!” You know…

Andrea: Because he’s expecting it to be a good glint.

Nolan: Yeah, of course. Exactly. And then R2-D2 gets captured, though.

Andrea: Yeah. Because R2-D2’s a fighter.

Nolan: Yeah, he gets shorted out and captured. He walked right into a trap and gets taken.

Andrea: He’s also foulmouthed.

Nolan: Yes, I’m pretty sure he swearing.

Andrea: No no. He was speaking English originally, and they took it all out, but left C-3PO’s responses to him in because they didn’t want it to be that bad. He swears all the time apparently. But I love R2-D2.

Nolan: So this part of the movie is kind of slow.

Andrea: It is. I was actually kind of bored. I’ve seen it so many times.

Nolan: I didn’t realize how, yeah, empty of things it is.

Andrea: Yeah.

Nolan: Because they kind of get captured and it’s, like, five minutes of them rolling around.

Andrea: And there’s no dialogue really.

Nolan: They just kind of, like, show how miserable all the robots are. The robots are miserable. They don’t have to be. They could always just be happy about it. Anyway.

Andrea: So I know about the Jawas. The language they’re speaking is Zulu sped up.

Nolan: Interesting.

Andrea: It’s the actual language. I thought that was cool. At 17 minutes, we meet Luke. That’s where I am.

Nolan: Okay 14 minutes, so at 14 minutes they reunite.

Andrea: “R2, it is you! It is you!”

Nolan: And then, actually, at 14 minutes and 55 seconds is when they say that.

Andrea: “It is you! It is you!”

Nolan: Yeah, so, they’re actually in the same sandcrawler for a while before they realize they’re in the same sandcrawler.

Andrea: Yeah, and it’s sad because I have a note here that says 14 minutes and then I have a note here that says 17 minutes: Meet Luke. And then a note here that says 18 minutes: First Luke whine. First of many.

Nolan: Yeah.

Andrea: And that’s all I got until 20 minutes, when I actually…

Nolan: Yeah, it’s like from nine minutes when they split up till like 17, so there’s like eight minutes where only, like, they just, like, meet again and then they’re happy about it for a while and then the droids selling scene starts at 16 minutes 30 seconds. That’s when they go to the Lars Farm… the Skywalker Farm I guess it is. It’s not Lars? Sorry. Owen. Owen Skywalker’s Moisture Farm. And then the Jawas start selling them droids.

Andrea: Do you think that, I don’t know, that slow of a beginning would, apart from the first scene where there’s lots of action, but this, I mean, would that work now?

Nolan: I mean, there doesn’t have to be a lot of action. It’s fine, because they have so much before, it’s okay to cool off, but it…

Andrea: Dragged.

Nolan: I felt like when I was actually sitting there analyzing that period in the movie that I was just like, “Why is this even in here?”

Andrea: Yeah.

Nolan: It didn’t need to be there.

Andrea: They could’ve just had them get kidnapped and then go straight to, you know…

Nolan: They could have condensed it into like two minutes, I don’t know.

Andrea: Yeah.

Nolan: It’s not that big of a deal, but it just felt kind of a really odd pacing choice.

Andrea: Just like my first book was. Key of Kilenya had a horrible place in the first, I don’t know, the first quarter of it, but this was George Lucas’s first real hit. I mean, he’d done lots before then so you’d think he would’ve learned already to get that out of the system.

Nolan: Yeah, anyway, we meet Uncle Owen. He’s very gruff and decisive.

Andrea: Bossy.

Nolan: He has no need for protocol droids. “Shut up,” he says to C-3PO. Luke whines. I also say Luke whines. “But I wanna go to the station!”

Andrea: “I wanna go waa…” “You can go play with your friends after.”

Nolan: “You can waste time with your friends.”

Andrea: Sorry.

Nolan: Yes. No, he’s very work oriented. That moisture ain’t gonna farm itself.

Andrea: I’m at 20 minutes. Where are you?

Nolan: Yeah.

Andrea: So Luke’s reaction to the…

Nolan: Oh, one point. So C-3PO vouches for R2, “Why should I stick my neck out for you?” That will come up and I’ll make a point about it later.

Andrea: You’ll make a point and I know what point you’re going to make. So Luke’s reaction to the information on the rebellion. He’s like, “You know about the rebellion?” He’s a small-town boy in this random planet on some part of the galaxy or whatever. Anyway, it just shows how big the rebellion is and how I would say that the Empire’s not really holding things together if a small-town boy is pro-rebellion, you know.

Nolan: Luke’s pessimistic about his situation. “I’m never going to get out of here. If there’s a bright center of the universe. You’re on the planet farther from.” Just a couple quotes from the scene.

Andrea: Yeah.

Nolan: Yeah, he’s excited about the rebellion. He asks, like, “Have you been in many battles?” You know, that’s the first thing he asks about. Like, he asks what have you heard about the rebellion and have you been in many battles. He’s excited about that. That’s when he stumbles on the message that R2 has for Ben Kenobi, the partial message. And R2 lied to Luke about it, saying that if he removes the restraining bolt…

Andrea: He’ll be able to access the full message.

Nolan: Yes, which keeps him there. He can access… And then Luke says, “Oh, you’re too small to run away,” as foreshadowing because the first thing he does is run away.

Andrea: Yeah.

Nolan: Luke’s gullible enough to believe him.

Andrea: Yes.

Nolan: And then message doesn’t play, so…

Andrea: C-3PO’s clueless. He doesn’t know anything about what R2-D2’s doing. And even if he did, he wouldn’t try to stop him because that’s his personality. So R2 has got this special quest for Princess Leia and C-3PO’s not going to be able to stop him, you know.

Nolan: Right. So R2’s a lying, swearing sailor.

Andrea: I love him.

Nolan: And everyone’s gullible enough to believe that he’s harmless.

Andrea: Look at him. He looks so harmless. He was my favorite character all growing up.

Nolan: I’m sorry.

Andrea: Why? He’s so cute. All right. So we’ve got Obi-Wan Kenobi and so it’s the mention of him. He’s like, “That little R2 unit was talking about an Obi-Wan Kenobi. Do you think he’s talking about Ben Kenobi?” The aunt and uncle’s reaction shows us that that Obi-Wan Kenobi is important, that they know who he is, and it just shows us that Luke is too distracted. He’s, you know, he totally doesn’t even pay attention to the responses, you know. He’s not paying close attention because if he were, he would know that they know who Obi-Wan Kenobi is and they’re like, “Oh yeah, whatever.” And Luke is like, “He might be related to Ben Kenobi?” Obi-Wan Kenobi, you know.

Nolan: Yeah. So they give each other knowing looks and he’s like, “Oh, yeah, he died around the same time as your father.” And he’s like, “He knew my father?” So that means, I mean, obviously he calls them Uncle Owen and Aunt Beru, but now we know his father is dead or so he thinks anyway.

Andrea: Don’t give any spoilers.

Nolan: I didn’t give any spoilers. “He knew my father.” Yeah, Luke doesn’t know his father. So that’s an important thing that’s motivating Luke is he’s got a lot of interest in who his father was. He knows nothing about him. Basically, they don’t talk about it very much.

Andrea: His aunt and uncle have been trying to keep him from becoming like his dad. So their goal is to keep him home. But they’re not ever fully honest with him. Even if they were, I think he would still push to get away, you know. So they don’t tell him why they don’t want him to go anywhere, why his uncle wants him to stay home for another season, you know. Even if they did tell him, there is no reason why Luke would actually stay.

Nolan: Luke wants to go to the Imperial Academy which is, you know, I guess, is to get off that rock.

Andrea: Yeah.

Nolan: Because he stands up and says, and they’re like, “Where’re you going?” and Luke’s like, “ I’m going nowhere.” Luke’s just not a farmer. He’s got too much of his father.

Andrea: “That’s what I’m afraid of.”

Nolan: So more foreshadowing about Luke’s naughtiness.

Andrea: Naughtiness. Oh, yeah, so we already talked about that he’s too much like his father. “That’s what I’m afraid of,” the foreshadowing thing. I’ve got about 26 minutes and I’m sure you’ve got a comment there, too.

Nolan: He looks sad and longingly at the binary sunset.

Andrea: Yeah, it’s our hero pose, but it’s a coming-of-age show, so it’s a hero pose of angst.

Nolan: Yes, the two setting suns.

Andrea: The swelling, the music. It’s telling us to feel for him, you know. They’re trying to make us feel for our hero, who, by the way, Luke was supposed to be a girl and Han Solo was supposed to be an alien in George Lucas’s original write of the story and I don’t think Princess Leia was involved at all. I’m at 27 minutes.

Nolan: Yeah, they foreshadow the Sand People.

Andrea: Yeah, I’ve got that here.

Nolan: They weave that in just before the Sand People show up, so it’s not much of a foreshadowing, I guess. R2 runs away, just like in one or two scenes previous. He, like, runs away to do the foreshadowing. A lot of this foreshadowing is, like, one or two scenes…

Andrea: The dad. The dad! It’s a movie.

Nolan: That’s true. There’s a lot of longer arc stuff, and there’s shorter arc stuff.

Andrea: That’s true.

Nolan: So, like, the big reveals, obviously, don’t happen until later in the movie, but they throw lots in early, like, very early within the first 20, 25 minutes of the movie out of, I don’t know, four hours of movies. So…

Andrea: Yeah.

Nolan: They get right to that point. But, anyway, he says, “ We can’t go out to the Sand People. We have to wait till morning.”

Andrea: Too dangerous.

Nolan: Too dangerous. R2 causes a lot of trouble and Luke says, “Oh, R2’s caused a lot of trouble.”

Andrea: “He’s gonna be the death of me.”

Nolan: “Oh, he excels at that, sir.”

Andrea: Yes.

Nolan: “Then why did you recommend him?”

Andrea: Because of C-3PO’s whiny personality.

Nolan: “Why did you recommend such an awful droid to me? Pick that one. Oh, yeah, he sure is a lot of trouble. Thanks, thanks a lot.”

Andrea: So my comment, I’m at 28 minutes and this is where they’re in their little spear.

Nolan: Spear.

Andrea: Yeah. Luke says, “Hit the accelerator!” and my comment was why isn’t Luke driving? If he’s the one who’s known for how good he is at all this stuff why isn’t he the one driving? Why is C-3PO?

Nolan: This is a criticism. I’ll make it later, but I can talk about it now. At no point does he demonstrate his skill as a pilot. At any point at all.

Andrea: Well, it’s like that with Anakin. His only point of demonstration is an accident.

Nolan: Yeah.

Andrea: Besides the pod racing.

Nolan: Which was just boring and not interesting.

Andrea: Yes.

Nolan: Yeah, so they give him an X-Wing at the end of the movie for the final battle with no flight experience on a suicide mission. I would not do that. Unless, like, they had literally nobody else alive who had ever flown an X-Wing and then maybe. But I’m pretty sure they may have had somebody else because he had zero experience in an X-Wing. He just makes a couple of mentions about how I’m not such a bad pilot myself or something like that, but at no point does he…

Andrea: Ever show his skill.

Nolan: …ever show it and that is why…

Andrea: I mean, C-3PO is a protocol droid.

Nolan: The protocol droid is driving the dang car.

Andrea: Yeah.

Nolan: He should’ve, like, I don’t know, done something cool in the car like gone off a jump or something. I don’t know, like, “We could make that jump, sir!” and then he does it and he’s like, “It’s because I’m so good.”

Andrea: Yes.

Nolan: That doesn’t happen and that’s my same criticism I have with Anakin when they talk about how he’s the chosen one and so powerful and then he never does anything more exceptional than anybody around.

Andrea: No.

Nolan: Maybe he’s kind of a good pilot by the third movie. They show, like, one scene where he’s, like, blowing stuff up in the big battle. The main characters, they don’t show them being that exceptional until he gets The Force and that’s only because everyone else does.

Andrea: So they’re good at showing us how bad the bad characters are, but aren’t showing us other skills that we need to see the good characters. Like, why should we root for this character? We haven’t seen him be rootable.

Nolan: Yeah, he whines a lot. I guess we feel sorry for him because he’s a poor bumpkin, but that’s about it.

Andrea: So we’ve got a false foreshadowing at 28 and three-quarters of a minute into the movie where they say “Sand People, or worse.” And we never see what’s worse. They hint at that, foreshadow it, but we never see what’s worse. That drives me nuts. I like or worse because Sand People aren’t that scary in my opinion.

Nolan: No, they’re not. Anyway, so, that… yeah, so, at 28 minutes and 20 seconds they find R2 and say that we better go, Sand People will be here. He’s like, “Oh, I see one,” and the one’s right in front of him, right?

Andrea: Yeah.

Nolan: While Luke is fighting with that Sand Person, Kenobi shows up. You hear, like, a scary noise. So Kenobi is, like, a Jedi Master. He doesn’t whip out his lightsaber and mow everyone down. He scares them away. Everybody lives.

Andrea: Yeah.

Nolan: Right? That tells you something about his character right away.

Andrea: Yeah, but is it something we want to be told about his character? Is that false?

Nolan: No. It’s not. He’s not in most cases.

Andrea: I want Obi-Wan to be lethal.

Nolan: Not in this… no, he’s a talker.

Andrea: I know. I hate that. I mean, he’s supposed be a powerful Jedi Knight. He’s not supposed be…

Nolan: He cut some dude’s arm off later.

Andrea: Yeah, I agree. Yeah. I would’ve put a fight here, you know, like, something interesting to watch, you know.

Nolan: I think it’s fine. It shows his character. He’s not Vader. He’s diametrically opposed to him.

Andrea: Yeah, I see what you’re saying, yes.

Nolan: Vader would’ve just mowed everyone down. He doesn’t. He just scares them away and that’s it and, you know, everyone’s fine.

Andrea: Yeah, and and also he lives there. If he just mowed them down, they probably would come back in greater numbers as he says.

Nolan: Yeah. I mean they’re just defending their territory. They don’t deserve to be mowed down. Anyway.

Andrea: He’s a major character in the series, and he’s only in the first half of the first movie. What’s his name? Alec Guinness?

Nolan: Yeah.

Andrea: Yeah, he didn’t want to be known for his Star Wars role, so he actually forced – not forced – he bartered with George Lucas to arrange for him to die early on, so he could be out of it and yet he’s still known for this role. I mean, I don’t know him in anything else.

Nolan: Lawrence of Arabia.

Andrea: Okay. I don’t know him in that either. Anyway, so all the other main actors were nervous around him like Luke and Han Solo. The little bit of trivia I read was that they would goof off and then when he’ds be on set, they’d all act very professional and then when he wasn’t there they would goof off again. The director liked it when he was there because everybody was on time and…

Nolan: That’s because he’s a serious actor.

Andrea: Okay, where you?

Nolan: I’m still here. He says he belongs to him and he doesn’t remember owning any droids which is odd because R2 was all up the first three episodes. Whatever. Continuity error. Luke asks him if he knows who Old Ben is and he’s like, “Oh, no one’s called me that in a long time.”

Andrea: He’s like, “Of course I know who Old Ben is. It’s me.”

Nolan: So that means he’s been, you know, maybe hiding or something like that. He hasn’t gone by that name…

Andrea: For… how old is Luke? 18?

Nolan: Yeah, something like that. So for 18 years at least. Or exactly because we know that he leaves and goes to Tatooine right after. So, anyway, there you go. They go to Kenobi’s place, right? So that’s at 32 minutes 40 seconds.

Andrea: At 32 and 50, where C-3PO says, “You go ahead. I’m done for.”

Nolan: Yes.

Andrea: And the personality of the droids, C-3PO as we’ve said is a whiner, is a complainer. He’s a protocol droid. This is where the comedy comes in. He’s a protocol droid who’s being thrown into action. Not only does he do his job like he was created for.

Nolan: He’s a fussy butler.

Andrea: Yeah, and never once does he actually do that. Every single time he’s doing anything, he’s under stress, including when he’s in Jabba the Hut’s place. He’s actually doing what he was hired for, or what he was created for, but it’s not in ideal circumstances, so he’s still in a comedic position.

Nolan: He’s a fish out of water.

Andrea: Yes, so R2-D2’s, like, calm, cool, collected, always knows what’s going on and C-3PO is the opposite.

Nolan: So, yeah. So Kenobi knows all about Luke’s dad and Luke’s super interested in that. I like how, like, Uncle Owen and Anakin, like, never talk. But it makes it feel like they had a relationship of some kind.

Andrea: Uncle Owen and Anakin?

Nolan: Yeah.

Andrea: From the first movie?

Nolan: Yeah, like, you know, they just hand Owen the baby.

Andrea: Oh, I see what you’re saying.

Nolan: It just makes it sound like they have, like, a history. Like, Owen and Anakin, when they don’t. He doesn’t waste time with, like, Force studies. He’s like, “Oh yeah, you could totally be, like, a Jedi and stuff.” It’s, like, did you even check to see if he could move anything. “Here, have lightsaber.” Right? Like, I don’t know… maybe was secretly testing him when he was younger because he’s been around. Like he knew about them.

Andrea: He’s been around.

Nolan: Yeah, he’s met him before, or at least seen him before. He knew enough to know that he was around.

Andrea: Yeah, he’s probably followed him, you know.

Nolan: Yeah, well, he is their neighbor-ish. They’re neighbors-ish.

Andrea: Well, that’s the whole reason he’s there is to keep tabs on Luke.

Nolan: Right. They don’t really go into how he did that. It seemed kind of incongruent, but it’s probably… That’s his whole job.

Andrea: Yeah.

Nolan: The last 18 years has been him making sure Luke is fine. So, anyway, then he forks over his lightsaber.

Andrea: Yeah and we get our first history lesson on it.

Nolan: Yes. It’s from a more civilized age before the dark times before the Empire.

Andrea: Yup.

Nolan: And that weapon’s very different than the blasters everyone’s been running around with, actually. So it’s a very… It’s a departure from the weapons that everyone else is using. They’re using blasters, this is a lightsaber. Those were civilized times, these are not.

Andrea: Yeah, and we’re too distracted. So we’re getting history lesson and everything, but we’re too distracted by our first introduction to a lightsaber to really pay attention.

Nolan: Everyone’s just staring at the glowing stick.

Andrea: Yeah. It’s pretty cool. I love the, you know, the special effects for that.

Nolan: Yes. And then Obi-Wan lies about Vader. “He was a pupil of mine that betrayed and murdered your father.” Then the full message from R2 plays.

Andrea: Okay, so we get some character development with Obi-Wan and Han Solo, right? So Luke is whiny and hopeful. Luke basically is a plot device is what I’ve decided. The whole purpose he exists is to move the plot forward because he doesn’t really have a personality. And I’ll complain about this later. I mean, there’s nothing. He doesn’t really grow. I mean, he does in his knowledge and understanding, so there is some character growth there, but in the very, very end of the movie, we don’t really see him go from whiny until all of a sudden he gets to where he’s not whiny anymore, you know.

Nolan: Yeah.

Andrea: He gets what he wants and he’s perfectly content. The grass was greener for him…

Nolan: Yes.

Andrea: …on the other side. Actually, there was actual grass on the other side.

Nolan: There’s grass instead of a desert, so I guess that’s…

Andrea: Yes.

Nolan: So, the scene with the Death Star is basically, “You must learn the ways of The Force.” We talked about that. He’s too old to do it. You have to come with me. He’s trying to convince him to go. He’s like, “I can’t. I have to help my uncle.” And he’s like, “Oh, that’s something your uncle would say.”

Andrea: “That’s your uncle talking.”

Nolan: Which makes it sound like Ben and the uncle know each other, which they do.

Andrea: Yeah.

Nolan: “You must do what you feel is right.” It’s just a very patronizing answer, I guess.

Andrea: Yes, yes. It’s a little bit patronizing. It’s like a cop-out, too, you know.

Nolan: Yeah.

Andrea: It’s like… he almost… he knows what’s going to happen. He doesn’t fight that hard, you know.

Nolan: It’s like, “Oh, yeah. Your family’s going to be murdered soon anyway.”

Andrea: Yes.

Nolan: He’s not shocked at all. Anyway, we’ll talk about that… that scene is coming up so we’ll address it.

Andrea: Yes, it’s a good scene to talk about. Okay, so we’ve got the ability to destroy a planet and it’s insignificant next to the power of The Force. That’s foreshadowing because destroying a planet is huge and yet they don’t ever show The Force doing anything cool like destroying a planet.

Nolan: He does something very small. He chokes a guy.

Andrea: From a long distance.

Nolan: From, like, 10 feet away.

Andrea: Yeah.

Nolan: He doesn’t blow something up. It’s just a subtle thing by comparison. Anyway, it’s not that subtle. That’s a choice…

Andrea: Not to the guy who’s being choked.

Nolan: Right, and you know, he just… and you see the relationship…

Andrea: Between him…

Nolan: …Vader and Tarkin later. Tarkin’s like, “Release him!” and he does. He’s like, “As you wish.”

Andrea: Oh, and Princess Leia later says, “I should’ve known he was pulling your leash.” You know, Tarkin.

Nolan: Exactly. Grand Moff Tarkin.

Andrea: Peter Cushing, okay?

Nolan: Peter Cushing. So you see their relationship. It’s not really… Vader doesn’t seem, like, that subservient. It seems like… He is inferior. I guess it seems like…

Andrea: Who’s inferior?

Nolan: Vader is to Tarkin.

Andrea: Because in the roles… I don’t understand how that’d work because in the Empire, you know, the emperor is Vader’s boss. The emperor’s in charge of the whole place, so how was Vader, you know, inferior? I mean, he does. He’s like, “As you wish.”

Nolan: He doesn’t, like, obey. He just, like, does it on a whim. He’s not like, “Yes, sir.” It’s like, “Yeah, okay, fine.”

Andrea: It’s a different order. I mean, he’s of The Force, the emperors of The Force, and so it’s, like, kind of a spiritual order rather than a militaristic or whatever.

Nolan: Yeah, Vader’s not, like, part of the normal chain of command.

Andrea: Yeah.

Nolan: I guess. Tarkin’s like, “Leave my guy alone.”

Andrea: Yeah.

Nolan: He’s like, “Fine.”

Andrea: I actually really like Tarkin. I mean, I was sad that he died.

Nolan: Sorry.

Andrea: Well, he was too confident. It was his confidence that killed him.

Nolan: His arrogance.

Andrea: Literally.

Nolan: So 39 Minutes, 20 Seconds. They’re back on Tatooine. They come across the sandcrawler. It’s been destroyed. Only Imperial stormtroopers are so precise.

Andrea: Oh, yes.

Nolan: Nothing in this movie portrays stormtroopers as competent in any way whatsoever.

Andrea: “Those blast shots are from stormtroopers.”

Nolan: You’re right. They’re like, “Sand People wouldn’t do this.” We’re made to think the stormtroopers did it because they’re so awesome. They are the least competent and this is famous. They’re famously incompetent.

Andrea: Like hitting their heads as they walk through doorways.

Nolan: Yes. I guess to make the good guys seem so awesome that bad guys look like complete morons.

Andrea: Yes, that’s not good storywriting, though.

Nolan: No, yeah. It’s not the best. Yeah.

Andrea: You need to have your bad guys and your good guys. You’ve got to write bad guys that are impressive. Otherwise, them getting beat is pointless.

Nolan: Nothing. They just mow down like a million stormtroopers. They’re whole, like, reason for existing is to shoot other things, like, when they get told to do it. And they can’t even do it.

Andrea: Well, they’re the redshirts. They can die as much as we need to. It’s Vader that’s the impressive one.

Nolan: Yeah, they’re all faceless. Identical pretty much. Canon fodder.

Andrea: Yeah, which is okay. You want to have people like that so you can kill them.

Nolan: They’re the orcs. They’re space orcs.

Andrea: Yes.

Nolan: So then… Then he’s like, “Oh, no! Imperial stormtroopers. They’re after the droids.”

Andrea: Which would lead them to home.

Nolan: Then Luke runs off and Ben Kenobi’s like, “No, don’t go!”

Andrea: And he doesn’t.

Nolan: He’s like, “No, stop. Don’t go.” And then…

Andrea: He’s like, “Whatever.”

Nolan: And so then Luke does go back to his house and he sees the bodies of his aunt and uncle all burned and he’s sad.

Andrea: I want to make a comment about that.

Nolan: He has a sad. He turns his face away.

Andrea: And then we never, ever hear him mention them ever again.

Nolan: Ever again.

Andrea: He’s not sad. He doesn’t mourn These are the only parents he has ever known.

Nolan: He mourns for part of a… a few seconds.

Andrea: Fifteen seconds.

Nolan: Not even that. He, like, turns his head and looks to the side and then he’s like, “Screw it. I’m out of here.”

Andrea: Yeah. And he, like, goes back and what’s his face is like, “There was nothing you could’ve done.” And that’s all. I mean, he doesn’t mourn them on the ship, he doesn’t mourn them at all. Ever.

Nolan: And, like, Obi-Wan Kenobi, like, knew.

Andrea: Yes.

Nolan: And, like, did nothing. Like, hey, wait a second. Maybe I could use my super seeing the future powers or something. He was aware of it, you know.

Andrea: Yeah.

Nolan: He wasn’t there, but he figured out that they were dead already. It’s pretty awful.

Andrea: Yes.

Nolan: Everyone’s such a sociopath. It’s not good and then Luke’s like, “Totally got what I wanted so I guess I should go.”

Andrea: Yep. You know, it drives me nuts. That was one thing that actually I learned… Who was it? RiffTrax actually pointed that out and I was like, “They’re right!”

Nolan: It’s pretty jacked up actually.

Andrea: It is, you know. That’s, you know, when a major character… You’ve gotta show the pain. Otherwise it’s meaningless, and then your character doesn’t mourn and people don’t care about that character

Nolan: As far as he knows his parents are dead and then his adopted parents are dead.

Andrea: Yeah.

Nolan: And he’s just like, “Eh.”

Andrea: He’s like, “Well, guess I don’t have to stay for another season! Woohoo!”

Nolan: He’s like, “All right, no emotional baggage now. I’m outta here.”

Andrea: Yeah, but that makes it so hard for people to relate to him, which obviously it doesn’t matter because this movie…

Nolan: This is one of the greatest sci-fi movies, the greatest grossing, most memorable sci-fi movie of all time. So…

Andrea: But the problem is if writers try to base… if they try to do this, they’re going to fail. There’s too much, you know, there’s too much competition out there.

Nolan: There is. Yeah.

Andrea: You have to make your stories, you have to make your characters believable and a character who has a mom and dad figure that get brutally murdered and I mean brutally murdered, and he doesn’t show any sort of emotion towards them for longer than a few seconds. That’s really bad.

Nolan: Yeah. Princess torture scene.

Andrea: Yes.

Nolan: There’s not, like, they don’t really say anything, do they? I can’t remember.

Andrea: No, I mean Darth Vader just steps in. There’s no comment. Then the enemy is upping the ante of the…

Nolan: Yeah, the interrogator droid.

Andrea: …seriousness of her situation.

Nolan: Interrogator droid floats in with a big syringe and it just zooms in on the syringe.

Andrea: So we know that it’s going to be…

Nolan: He was there and she just has that look on her face and the door closes, and the trooper walks away.

Andrea: Yeah.

Nolan: It’s very abrupt.

Andrea: My question is what’s in the needle? What’s in the syringe, Nolan?

Nolan: Ouchie stuff.

Andrea: I was hoping you’d know your Star Wars knowledge. You need to text your brother and ask him.

Nolan: Yeah, you’re talking to the wrong one.

Andrea: His brother knows pretty much… His brother knows what color vests people should be wearing throughout everything. We’ll eventually have his brother on, I think. Come and talk with us. Like when he comes down or when we go up, we’ll have him come in and join us for conversation because he is also a writer and he and Nolan do business things together. He is definitely into movies.

Nolan: Yes.

Andrea: Luke changes direction really quickly. He’s got no sense of revenge. No sense… no desire to vindicate his aunt and uncle’s death. He’s just neutral about everything.

Nolan: He’s going to go learn to be a Jedi like his father.

Andrea: Yes.

Nolan: That’s all he cares about. “Oh, dad? Okay. I’ll go do that.” They decide to go to Mos Eisley and find the ship to go to Alderaan.

Andrea: We’ve got Obi-Wan doing something weird with his hands and Luke… He’s like, “Something’s going on,” but he doesn’t quite figure out that it’s because of Obi-Wan. I’m like, he’s kind of dense.

Nolan: Yeah. So, they get pulled over by some stormtroopers that are looking for the droids and, of course, the droids are sitting right there. Obi-Wan waves his hand and the stormtrooper just…

Andrea: “These are not the droids you’re looking for.”

Nolan: Yes. “Oh, these aren’t the droids we’re looking for. Move along.”

Andrea: Yeah. “Move along.”

Nolan: And they do. So, again, he uses a nonviolent, talkie method…

Andrea: Yeah, that’s true.

Nolan: …to get what he wants. He doesn’t have to blow stuff up. He’s just like, “Nope.”

Andrea: That’s true. I mean, it’s the least amount of drama needed to get through things. It makes for boring storytelling in a book in my opinion. I like big explosions and things like that.

Nolan: Well, it’s still demonstrating his character, and how different he is, and it’s a real contrast.

Andrea: Between him and Vader. This is true. You don’t want him to do something that’s big and explody because it wouldn’t be his character.

Nolan: It’s out of his character, yeah.

Andrea: Yeah. All right, so I have a comment on the aliens in the bar. They’re almost all humanoid. How do you feel about that?

Nolan: I don’t feel good about it, but I understand.

Andrea: They had a limited budget. They couldn’t afford crazy things.

Nolan: Yeah, they go farther in some of the newer movies.

Andrea: Yeah. Jabba the Hut was a good departure from humanoid.

Nolan: Yeah, they tried to. Yeah. Because it’s a lot of work so I don’t blame them.

Andrea: They just had to be able to put a mask on people.

Nolan: Yeah. I have a pet peeve in sci-fi movies where every alien race is humanoid with, like, ten fingers and ten toes and two eyes. Like Star Trek, especially, where they just have different bumps on their foreheads depending on what alien race. Like they have slightly different skin colors.

Andrea: Yeah, different ears.

Nolan: Yeah.

Andrea: Different teeth.

Nolan: Yeah. Just easy prosthetic stuff. I get it. Especially if you’re going to do a TV show day in and day out, you know. It’s a lot of work.

Andrea: But, I mean, some of those costumes took hours to put on.

Nolan: Oh, they totally did.

Andrea: It’s not expensive work, but it is.

Nolan: Yeah. I just… I would like to see more different stuff because it also makes it more relatable, but…

Andrea: Yeah, we’ll talk about cowboys and aliens eventually, but those aliens were very disappointing to you. I remember that.

Nolan: Yeah, they really are. They’re really disappointing. So, but it is a great scene because it just shows how big the galaxy is.

Andrea: Yeah, because you see so many different races and species.

Nolan: Up to this point, how many aliens have we seen? Jawas?

Andrea: Jawas and Sand People.

Nolan: Sand People are actually humans wearing masks.

Andrea: Are they?

Nolan: Yeah.

Andrea: So that’s actually what…

Nolan: In the universe anyway.

Andrea: Oh, interesting. I didn’t know that. Nicholas, you can correct us if we’re incorrect.

Nolan: So we haven’t really seen… I mean, even when you do see the Sand People, they’re wearing masks. And Jawas. You don’t really see… you just see their little beady eyes.

Andrea: Yeah.

Nolan: And their hoods. This is the first scene where we get, like, this whole spread of how big this galaxy is. To see how involved it really is. Just tons of different kinds of aliens and humans and whatever.

Andrea: I love that they’re like, “Hey, we don’t serve their kind here!”

Nolan: Droid prejudice.

Andrea: The droids. They’re not okay with droids but they’re okay with everything else.

Nolan: That tells you where droids fall in the grand scheme of things.

Andrea: They’re pretty low.

Nolan: It’s, like, they show Mos Eisley and you see droids working and, like, how they fit into things.

Andrea: Yeah, it’s true. Producers in the studio were uncomfortable that Chewie was naked, so they tried to get them to design a pair of shorts for him to wear.

Nolan: Oh, that would be hilarious.

Andrea: It didn’t work and so they decided to get rid of it, but till the end, they were uncomfortable that he wasn’t wearing pants. So my point here is you need to tell the story that needs to be told and adjust as needed for the market. So if you’re writing about kids, writing for kids, then, I mean, put clothes on them, right? And the level of graphicness, you know. You write for the market that you’re writing for. A little example from my Mosaic Chronicles, the last book – or not the last book anymore, but book 5, halfway through the series – you’ve got the scene where the boyfriend is being controlled by the Great Ones. He is about to cut the kidney out of his girlfriend. In an earlier version of the book I actually had him succeed in cutting the kidney out and my readers, my early readers, my beta readers were like, that is way too graphic.

Nolan: She lives.

Andrea: She does live, you know. You don’t need both kidneys.

Nolan: You don’t need both kidneys.

Andrea: Anyway, so I ended up editing that so that he only cuts her instead of taking out her kidney. Anyway, so you write the story that fits, you know, for your readers’ expectations alone.

Nolan: We skipped the arm cutting off part.

Andrea: Oh, yes, go ahead.

Nolan: The scene also shows how naïve Luke is because he, like, tugs on the guy’s shirt and he’s like, “I’d like a drink, please.” And those guys mess with him and he’s just, like, gonna get killed.

Andrea: Yeah, pretty much.

Nolan: So Obi-Wan steps in and he’s like, “Leave this poor kid alone. Let me buy you a drink,” so he tries to talk him down.

Andrea: Yeah.

Nolan: Then somebody draws a blaster and then – BOOM! He pulls out his lightsaber and cuts somebody’s arm off.

Andrea: So once things get ugly, he’s fast.

Nolan: This is his first real act of violence.

Andrea: Yeah.

Nolan: He tried to be nice.

Andrea: Yeah.

Nolan: And they didn’t go for it and they got violent. So he just whips out his lightsaber, cuts the guy’s arm off, and then he holds it there. Everybody sees… he’s like, “See this. I’ve got a lightsaber.” Everybody’s just like…

Andrea: They turn and they go back there own business and they ignore him. That also shows what situation that city’s in. The fact that they just all ignore, you know, a whole bunch of violence. They just mind their own business.

Nolan: Yup. They probably… just a hypothesis… they probably thought all the Jedi were gone. Plus he’s totally dressed like a Jedi.

Andrea: Yes, he’s got the robes.

Nolan: He just rolls up in there wearing his Jedi robes and whips out his lightsaber and he’s not… for all the subtlety, he’s… yeah. For all the subtlety he’s demonstrated up to this point in the movie, he doesn’t even bother to, like, not wear his uniform.

Andrea: Yeah.

Nolan: He’s like, “I’ll just wear my Jedi master uniform all the time.”

Andrea: But which, to me, I mean, watching the movie, I had no idea that was what he was wearing. I just thought everybody were robes.

Nolan: But they would know that. I mean, everybody else would know what that means. They were pretty famous at one point. It’s only been 18 years.

Andrea: Yeah, but were they established as being his Jedi robes at this point? I mean, did George Lucas know that he was wearing his uniform or was that just what they gave him to wear.

Nolan: I mean, that’s what they wear later, so, I mean, I don’t know.

Andrea: So they establish it later, possibly.

Nolan: Yeah, because they wear it in the earlier movies, they mimic it. So maybe it was, like, just the design and timing thing, but in retrospect it’s just, like, a red flag.

Andrea: Yeah, no kidding.

Nolan: It’d be like, “Oh, are you wearing this Nazi uniform,” in the opposite direction, but it’s like it’s so iconic that you just can’t get away from it. If someone were to walk around today wearing one, they would get some looks.

Andrea: Yeah, they would.

Nolan: Especially if they walked around with a weapon as well.

Andrea: No kidding. Let’s go until they take off and then we’ll start the next episode at that point.

Nolan: Oh, actually, I’m at 47, so they meet Han Solo…

Andrea: Yup.

Nolan: …and they make their deal. They do their dithering.

Andrea: Yeah.

Nolan: “I’ll pay you this, I’ll pay you that,” you know, whatever. They agree and then Luke and Kenobi leave, right?

Andrea: Yeah.

Nolan: And then Han turns to Chewie and says, “This could really save my neck.” So right away, we know he needs the money for something else. It’s not just a regular job for him. He needs it. He’s in trouble.

Andrea: We also know that he’s out for himself.

Nolan: That’s true. He’s not like, “I hope those guys get to Alderaan safely.”

Andrea: Yeah, no kidding.

Nolan: He’s like, “I need the money.”

Andrea: We’ve got the good cop, bad cop between Luke and Obi-Wan. I mean, Obi-Wan’s like, “Yeah, we can pay,” and Luke’s like, “We’re not going to pay that much!”

Nolan: “I’m not such a bad pilot myself” all evidence to the contrary, or no evidence at all.

Andrea: Yes. Okay, so Luke sells his speeder. He doesn’t care. No emotions, no energy, nothing. I mean, for all we know…

Nolan: “I’ll never be back,” he says.

Andrea: Yeah, he’ll never be back, but that’s…

Nolan: I’ll just leave the whole farmstead to rot. I’ll just, like, tell my next of kin and turn it over to, like, their relatives or something.

Andrea: No, and I’m like, is he not… Any teenager with a car, you know, his speeder… they’d be like, “Ahhh!”

Nolan: He sold his hot rod.

Andrea: And he’s like, “Meh.”

Nolan: Yeah.

Andrea: Going on to better, bigger things.

Nolan: Han runs into Greedo, the green guy, the Rodian. Yes, I know, all these things.

Andrea: Who’s a bounty hunter.

Nolan: Who’s a bounty hunter looking for him. He’s like, “Hey, I’ve almost got the money.” That we were talking just before then…

Andrea: Right.

Nolan: …that he needs. So this danger is real and close and immediate danger that he’s in. He really needs that money because it’s a problem. Han shoots first.

Andrea: No discussion there. Okay. I’m so annoyed that they try to tone it down, because that’s his personality, you know.

Nolan: It really is.

Andrea: Yeah. He’s, you know, out for himself.

Nolan: Yeah, so he just blasts the guy and then says sorry about the mess and gives the bartender a coin.

Andrea: Which I’ve got a comment about that. “Sorry about the mess. Here have a coin. Here have a penny. Here have a quarter.” You know, I don’t know anything about the money system, but it’s enough to…

Nolan: Hire somebody to clean up the mess. Hire housekeeping.

Andrea: I don’t know, a dead body, legal issues. I mean, maybe they don’t have…

Nolan: It’s Mos Eisley, they don’t have legal issues.

Andrea: Yes. But I would expect more than that. I’d be offended.

Nolan: He’s nicer than Kenobi. Kenobi just cut a guy’s arm off and let him bleed on the floor. He didn’t give him a coin.

Andrea: I thought he gave him something.

Nolan: No, I don’t think so.

Andrea: No?

Nolan: No, like, “What? You want to mess with me? I’ve got a lightsaber.” That’s it. So I think Han’s nicer than Obi. He at least offered to pay for the cleanup.

The princess resists the mind probe. So just, like, the guy said that later in the movie that she would rather die than tell them anything, so they torture her and they’re, like, “Wow, I really didn’t think she would resist.” But she does.

Andrea: Because she’s Jedi. She’s got strong blood in her.

Nolan: Yeah.

Andrea: Spoiler for third movie.

Nolan: Spoiler for the third movie. Then the Death Star sets its course for Alderaan.

Andrea: Yeah. Okay. So, when the stormtroopers were going around looking for the droids and for Luke and all that. They don’t know they’re looking for Luke, they just know they’re looking for the droids, but they’re going to be looking through storage units or whatever and there’s one that’s locked. They’re like, “Door’s locked, move on.” I’m like, they can’t do anything about that?

Nolan: Hey, that’s the one they’re in.

Andrea: No kidding.

Nolan: Hey, let’s check the locked one.

Andrea: Door’s locked, move to the next one. Really? A locked door and you’re like, “Oh, it’s just impossible.”

Nolan: Hey, stormtroopers respect private property.

Andrea: Apparently. Okay, so we’ve got Han talking to Jabba. Everybody knows this was added later. They filmed it when Jabba was still a human being. This is something that we can do. We can look at this as authors. So they added this later and they did a re-release, right? Look at Bella Forest’s Shade of Vampire. She actually wrote that at, like, half the length, or a quarter the length. She had a lot of reviews that said they wished… like, they gave her negative reviews because it wasn’t long enough. Well, she went back and re-released it and look at how well that series has done now, you know. So, you know, there’s absolutely nothing wrong with going back and relaunching and rewriting, rereleasing, changing things. I mean, I would say this probably doesn’t add a whole lot to the story, you know, just the fact that you can do it, it definitely works.

Nolan: Well, we do have some foreshadowing here because they linger on Boba Fett.

Andrea: Oh, that’s right. The camera pans past him and…

Nolan: Yeah, it holds on him for a while and then that’s where it switches. It kind of lets you know… He’s not in the rest of this movie at all, but he is in the next movie. And the third movie?

Andrea: Yeah, George Lucas…

Nolan: He’s all up in this, so that’s something there.

Andrea: Yeah, George Lucas put little things like that throughout the whole first movie because it was originally supposed be one movie. It was a 200 page screenplay and he didn’t want to condense it and so he focused, for this movie, on the first third. He didn’t know if he’d ever be able to write the sequels, but he left those things in, you know.

Nolan: Just in case. And we are lucky. Because it worked out.

Andrea: Exactly.

Nolan: Space ponchos!

Andrea: Luke puts on his poncho.

Nolan: Yeah. I don’t know why, I just always thought that was weird.

Andrea: It was the 70s. Ponchos, you know.

Nolan: I never had a poncho.

Andrea: Your parents didn’t love you.

Nolan: I had a leisure suit. They sure did.

Andrea: You had Luke Skywalker underwear. Underoos.

Nolan: I had Tie Fighter cereal, too.

Andrea: You were such an adorable little boy.

Nolan: From the 70s.

Andrea: ’79 is when you were born. You’re not from the 70s.

Nolan: I’m from the 70s.

Andrea: So, I’ve got a comment at 56 minutes. Are you?

Nolan: 55.

Andrea: Okay, go ahead.

Nolan: That’s when the docking bay scene starts. Docking Bay 94 when they agree to meet in the cantina.

Andrea: Yeah.

Nolan: Han is not afraid to shoot stormtroopers as soon as he sees them.

Andrea: Yeah. I love it.

Nolan: He pretty much opens fire. He shot first. Huh. Again. He shot first. So I think we’ve reinforced that part of his character.

Andrea: Yup.

Nolan: That’s all I’ve got.

Andrea: The rogue. You know, women love the rogue. They love the bad guy. They want to tame the bad guy and I’m not talking 50 Shades of Grey… Your eyes.

Nolan: We are talking 50 Shades of Grey.

Andrea: We did just bring it up. So just a little comment on Harrison Ford. He absolutely hated the dialogue. His quote was, “You can write this crap, but you can’t say it.” Apparently, Alec Guinness also hated the dialogue. If you pay attention to Han Solo, most of his dialogue is, like, 5000 words long and he’s, like, rushing through it and you can tell he’s trying to get it out. So read your dialogue out loud, make sure it sounds natural.

Nolan: He is a bit wordy, I suppose.

Andrea: He is, like, and people talk over him. The other characters are, like, trying to get their words out, so they talk over him. I noticed that this time. I didn’t, you know, the last 3000 times I’ve seen this movie. My next one is… Oh, you know what? We’re actually pretty much out.

Nolan: So they get on the ship and they fly off into outer space.

Andrea: Yeah.

Nolan: They have a brief fight with some people. They blow up a few… what? Four Tie Fighters.

Andrea: So we can talk about that the next time. We have left the planet. So the next part of the movie will be talked about in the next episode. Do you have any closing comments about what we’ve talked about?

Nolan: Hooray for the classic Star Wars movies.

Andrea: I know. They were good movies.

Nolan: I think the new ones are just trying too hard. I guess. I don’t know.

Andrea: We still haven’t seen the very newest one.

Nolan: I didn’t… I know.

Andrea: I didn’t mind Rogue One and I didn’t mind the last… or the…

Nolan: I think they’re okay. I don’t know if you want this in the episode or not.

Andrea: We’ll talk about them in their own episodes.

Nolan: The… I feel like they’re like the Transformers movies. Where they’re just trying to capitalize on my childhood…

Andrea: Oh, yes.

Nolan: …and just make money instead of giving a crap.

Andrea: Yeah.

Nolan: I think they, like, give a crap aesthetically, but I don’t think they care about the genre.

Andrea: Yeah.

Nolan: Like at all. So they don’t make it fit in the genre, but they’re like, “But it looks like Star Wars. Like, all of the designs look like they could fit in the Star Wars universe.

Andrea: Yeah.

Nolan: But I’m like, yeah, but the characterization and the plots aren’t.

Andrea: Yeah.

Nolan: So I hate them.

Andrea: Okay.

Nolan: There you go. That’s it.

Andrea: That’s your final comment.

Nolan: There’s only three Star Wars movies. That’s my comment.

Andrea: Okay.

Nolan: Episodes IV, V and VI.

Andrea: Well, okay. So I don’t think I have any final comments. Just watch your dialogue, do foreshadowing, and speed up the pace. People don’t have the patience anymore for slower paced movies and books. Sometimes they do, but it’s a lot harder to sell, which, if that’s what you write, then write what you’re good at.

Nolan: Pay attention to your genre rules, I guess.

Andrea: Yeah, that’s true.

Nolan: Know when to break them and when not to.

Andrea: Yeah and understand what you’re…

Nolan: So, don’t for awhile.

Andrea: Yeah, the first few books, don’t break genre rules because you’re just shooting yourself in the foot until you’ve established yourself. Though, of course, you know, there’s always exceptions to everything. I mean, some people do have breakout successes on really random off-the-wall books, but, I don’t know, I think it’s better to have a slow build instead of a fast breakout because you can’t replicate that breakout, you know. It’s depressing to have a breakout book and then not know what you did.

Nolan: The one-hit wonder.

Andrea: Yeah. I don’t want to be that. I want to be a long-haul author. So. Anyway. All right. So where can people find you Nolan?

Nolan: At home or at work. So if you know where any of those are.

Andrea: I forget. I always ask, then I’m like, “Wait a second. He’s never online.”

Nolan: I’m never on-line. Sorry.

Andrea: That’s why we actually picked my… I write under my maiden name. Andrea Pearson is my maiden name, not my legal name and we’ll probably never say Nolan’s – our – legal name on the air. He likes to be faceless and behind the scenes and not attached anywhere on the etherwebs internet.

Nolan: Etherwebs?

Andrea: Etherwebs. Anyway, if you have any questions. go ahead and email me at andrea@selfpublishstrong.com and go check out the free courses we offer at selfpublishstrong.com and our Patreon account at patreon.com/selfpublishstrong. And, yes, there is a theme here. selfpublishstrong.com! Anyway, we will talk to you next time. Bye.

Nolan: Bye.


“On My Way” Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0 License

Leave a Reply

Your email address will not be published. Required fields are marked *