I've recently been watching these very interesting Star Wars video essays on YouTube (yeah I know, a rare breed) and it brings up these comments Lucas has made about how he views Star Wars as almost like a silent film in terms of how important the visuals are to him in comparison to the dialogue. But this essay also points out how important Lucas finds all of the "rhyming" moments in his trilogies and the way he utilizes them to remind you of something else for emotional or thematic reasons. And there's so many of them, both in visuals and in dialogue, and it's interesting to consider how important this is to him, the repetition for a purpose as well as the storytelling through visuals above everything else and then to look at Star Wars since the Prequels came out and realize how little has really been able to match up to those ideals since then.
The ONLY thing that's come out since the Prequels that I think really hits these two things the same way is, in fact, Andor. One of the things I noticed about the way people discussed Andor as it was airing in a way I haven't really seen for any of the other shows or films was the visual SYMBOLOGY. So many times I saw people noticing the Imperial cog everywhere, from the aerial shot of Narkina 5 as the prisoners escape to the architecture of Mon Mothma's house. There were people picking up on the use of items in Luthen's shop that are familiar from other things to give this idea that Luthen is from another time, he's attempting to preserve this world he lost, that if you're not looking closely enough you won't notice what he's really saying or doing with this shop. The color choices for the different locations and people got analyzed because the people involved spoke about how they intentionally utilized color to SEND A MESSAGE about the characters and the world. We know that the people who made the costumes and sets really worked hard to treat Star Wars almost like a period drama and study the history of the franchise as if it were a real place so that the things they came up with felt like they belonged in this world everyone knows so well even if it's completely new. And of course there were all of the myriad references to things from Rogue One, the constant repetition of "climb", the sunset on the beach, etc.
Nearly EVERY SHOT in this show was created with so much intention behind it in order to say something meaningful about the characters, the world, this specific story they're in, and the overall saga of Star Wars itself. It's insane how much greater impact this show was able to achieve through the incredibly careful usage of visual symbols and thematic repetitions, much like Lucas did before them. It feels like they didn't just study the history of the galaxy far far away, but they studied the history of STAR WARS and what Lucas was trying to do and say with this story. They peeled back his onion a bit more and were able to create something that really has that same visual feel even when it's not created for a child audience. It also is experimenting with its narrative style through its structure and through Cassian's character being allowed to be somewhat more reactive than proactive, and while that didn't work for everyone, it does feel like it's following in Lucas's footsteps of experimentation through Star Wars. Push the boundaries of what Star Wars is and can be and what you can say with it.
But this only works because they peeled the onion back enough to TRULY understand all of the messages Lucas was sending with it. They got the heart of Star Wars and despite its lack of space wizards, despite the lack of most major characters in the Saga, this was a show that honestly got the message more than just about anything else Star Wars has put out since the Prequels. The choices between selflessness and selfishness, the themes about how you always HAVE to make a choice even when it feels like you don't have any (sometimes ESPECIALLY when it feels like you don't have any), and how important it is to make sure to choose the path of compassion above everything else. The themes of connection to others, the symbiotic circle and the impact even the smallest person can have on world around them, it's RIGHT THERE and it's CENTRAL to Andor's storyline.
So yes, it experiments a little with narrative structure, but it's possibly the most Star Wars thing to exist Revenge of the Sith because it honestly truly GETS what Star Wars was about, both in its themes and in its filmmaking. A lot of people said that Andor didn't feel like Star Wars to them, usually because of the lack of space wizards and the fact that it's not a story aimed at children. But to me, Andor is EXACTLY what Star Wars is and has always been. They're stretching the boundaries of what Star Wars can be, but it's saying the exact same things Star Wars has always said, it's just saying it slightly differently. This doesn't feel like fanfiction to me, not really. Unlike things like the Mandoverse or the books, Andor isn't just taking some of the toys out of the sandbox and going to play with them somewhere else. Andor is IN that sandbox. It's building a slightly different sandcastle, but it's still within the sandbox, using the same sand that Lucas did.
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“He was my best friend,” says Ringo softly. “Yeah. I loved Harry.”
rolling stone interview
“Ringo and I spent a thousand hours laughing,” Nilsson said.
ringo: with a little help, by michael seth starr
Mark Hudson: “I think that Harry's friendship with John was also very very close, but I - I don't think it was as intimate as his relationship with Ringo Starr.”
Harry Nilsson: “I had a relationship with John - we were roommates a couple of times you know, short times […] But uh, Ringo and I are the, Ringo and I are friends. It's funny I always thought I would be closer to John but then over the years Ringo and I ended up being pals.”
Michael Seth Starr: Harry, born in Brooklyn, New York, in June 1941, was less than a year younger than Ringo. They were both three years old when their fathers (Richard and Edward, respectively) abandoned their families, never to return. They both enjoyed alcohol and practical jokes and were garrulous in nature, at least early in their relationship. Neither man had completed any semblance of an education. Ringo left school at the age of fifteen; Nilsson, who was extremely bright, dropped out of school in the ninth grade.
Ringo Starr: “I think I could always call Harry, night and day, and he would come and save me. I'm very lucky with friends like that.”
Chris O'Dell: “They became really, really close friends, and a lot of it was based on how much alike they were. They shared a sense of humour. You can never underestimate Ringo’s sense of humour. It’s there, it’s a huge part of who he is. Harry was also like that. [...] They were like brothers.”
Harry Nilsson: “I saw Ringo in an interview once looking very nervous saying “Well I'm probably the best rock and roll drummer in the world” and the truth is he is. But he looked very scared saying it. I could see him being scared about it, not scared, but not comfortable about it. And I wanted to be right there and say “Yes! You are! It's okay! You are the best rock and roll drummer in the world ever. That's it. Period, the end.”
Doug Hoefer (Harry's Cousin): “They would fight about shit and hang up on each other. Then time would go by and one of them would call the other back and they would pick up where they’d left off. I’m not really sure exactly how they pissed each other off, but they would . . . because Harry had a very strong personality as well.”
Stephanie La Motta: “He said, ‘I’m Harry’ and he goes searching all over the place - and I’m screaming for Ringo - who comes out and hugs Harry, because he loved Harry. They had a special bond. It was unbelievable this bond I saw between them. He loved Harry as much as Harry loved him.” (she was screaming because Harry was barging into their hotel room and she had no idea who he was)
Ringo Starr: “Harry’s no longer with us. He’s been gone 20 years now. I still miss him.”
Music played this way
All I need is my imagination
Take me far away
Where I can be with everyone who loves me
Harry's Song, by Ringo, 2008
There's no more oyster bar
There's no more Ringo Starr
There's no one left to love but you and me
UCLA, by Harry Nilsson
Ringo paid for Harry to have cosmetic dentistry to straighten his front teeth. [...] Some of Nilsson's closest friends believed that self-consciousness about his crooked teeth had been a significant factor in his decision not to appear in live concerts. Samantha Juste, for example, said: "He didn't have great teeth. I remember when he had his teeth fixed, it did a lot for him. In the early days he didn't smile really. Those teeth made a big difference to him, and to his confidence."
- from "Nilsson, The Life of a Singer Songwriter" by Alyn Shipton
Most commentators have focused on "You're Breakin' My Heart" as the one song that expressed Nilsson's emotional torment about [his wife's] departure. However, there is another interpretation, which was that it represented his first quarrel with Ringo Starr. There are coded references to Starr and their social life together, notably in the lines, "You won't boogaloo - Run down to Tramps - Have a dance or two". The reference to the Beatles' Drive My Car [You won't drive my car, might be a star] is another clue to this possible interpretation.
- again from "Nilsson, The Life of a Singer Songwriter"
For reasons of his own, Ringo did not attend Harry’s funeral, which was held on January 17, a day that was rocked by aftershocks from an earthquake in nearby Northridge. He claimed to be too grief-stricken, and Barbara went in his place.
- from Ringo: With A Little Help, by Michael Seth Starr
"We tried every which way to get Ringo to talk on camera. What came back to us each time was that there are three people he just does not feel comfortable talking about in person: John Lennon, George Harrison and Harry Nilsson. It’s just too emotional for him and I totally respect his feelings on the matter. Ringo was, however, tremendously supportive of the film including providing us with photos and making it possible to use Son of Drac, a film that Ringo and Harry made in the early 1970s but has been locked away in a London vault since 1974. At the end of the day, we were happy to have his support and understood the decision he made. Sometime later we had heard that he saw the film and liked it but thought some things were missing from the story. And I said to myself, “Yeah, Ringo, you were missing…” (laughs).
- John Scheinfeld, about making 'Who is Harry Nilsson..?'
(I have found absolutely no evidence that ringo starr knitted this)
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