the first actor in Star Wars that actually knew how to fight IRL
That also goes for Liam Neeson, who had already had a badass sword fight, check out his climactic duel versus Tim Roth in “Rob Roy”. In fact, I believe that scene was key in his being considered for the part of Qui-Gon, I remember it being said at the time.
Actually, he won it for playing Churchill in The Darkest Hour.
Although I do believe Tinker Tailor Soldier Spy should have won all kinds of awards. And that includes Oldman for doing the nearly impossible as George Smiley: reprising a truly iconic Alec Guinness role and actually making it his own.
EDIT: well it took me a minute to catch your real meaning.
“A stable environment”.
But then there’s that surprise duster catastrophe every few months… unless it’s a bachelor’s apartment, then it can stay there nearly forever.
The term they should have used from the get-go is “measurement” instead of “observation”. Humans will always tack on mystical mumbo jumbo if given a chance, muddying up the waters for us laymen trying to learn, and “measurement” sounds much more neutral to me.
American Graffiti is a very good and extremely well-directed movie, and got him his first Best Director nomination at the Oscars. The second being, obviously, for the original Star Wars.
I think he got lost in a maze of mirrors, a prisoner of his own massive success, considering his spectrum-ish profile and reclusive tendencies.
I don’t think I’ll ever understand why Lucas kept that crappy special effect intact in the special edition while hyper-fixating on the singer’s tonsils at Jabba’s palace. Or making Luke scream “NOOOOO…!” as he willingly let go of that Cloud City vane thingamajig. Or putting R2D2 behind rocks he couldn’t fit through in the Tatooine desert while Luke gets attacked by Tusken Raiders.
Talk about having the wrong priorities every step of the way.
Or something that came up while channel-surfing on TV and decided to leave it on for a minute, put the control aside, and ended up watching the rest.
Back while in high school, one weeknight I stumbled across Jean Luc Godard’s “A Bout De Soufflé” (“Breathless”) on our town’s local channel, at just the right moment when it seemed like the film was skipping. Intrigued, I left it on, soon enough figured out that this was intentional editing. By the end, my mind was blown and my way of looking at film and art had changed forever.