Tim and Frank are back to discuss the latest Star Wars film, SOLO.
We like to podcast them softly, from a distance.
Tim and Frank are back to discuss the latest Star Wars film, SOLO.
Frank and Tim are back with their latest Star Wars episode. And while their predictions of Max von Sydow being Boba Fett and who Rey’s parents are didn’t prove to be correct; everything you hear in this podcast is true…
Steve is a top bloke, he’s an Aussie, he’s a top Aussie bloke. He hails from Western Australia but after spending some years on the road and gathering valuable life experience, he found his way over to Sydney where he took up his apprenticeship studying performing arts – an apprenticeship, Steve will tell you, is still going on.
Early in an acting career, beggars can’t be choosers, so Steve took a stab at just about anything that came his way. One of his launching pads was a, determined after the fact, rather sacrilegious commercial in which The Last Supper had, or was depicted as having, a rather different outcome from that set down in the biblical text.
It, though removed from television, got him some notice and a part in the Australian cult hit Two Hands in which Steve starred and began a friendship with fellow Perth-born actor, the late Heath Ledger. It was radically different from the films being made locally at the time and also launched the career of Rose Byrne (Troy, X-Men: First Class).
He was disgruntled and ready to throw in the towel on his career when, unexpectedly, a big Hollywood movie came knocking at his door. The film was Vertical Limit, directed by Bond and Zorro director Martin Campbell and starring Scott Glenn and the late Bill Paxton among others. Steve was one half of a two man comedic relief package in the film alongside Ben Mendelsohn who would go on to international fame and appear in Rogue One: A Star Wars Story and next year you’ll see him in Ernest Cline’s big screen version of Ready Player One, directed by Steven Spielberg.
From those high snowy mountains in New Zealand (where Vertical Limit was filmed), Steve has since enjoyed a long a fruitful career in film, television and his first stomping ground, the theatre. He remains a humble, salt-of -the-earth sort of fella who calls it like it is and won’t act in something that he himself wouldn’t be interesting in watching.
In an era when most of our country’s talent is swept across the pond with the promise of maximum exposure and ridiculous amounts of money, Steve has stayed, content to be an actor who is allowed the freedom to collaborate fully on the projects he chooses to be a part of.
He is a man of many parts, a teller of great and funny tales from a life and career spent being just what he is: A bloody good actor.
So, put your hands to together, for Steve Le Marquand…
There are three types of people. Those who have an undying love for anything and everything Star Wars, those who have a legitimate beef with the unintentional ramifications that Star Wars brought to the fertile era of 70s cinema, and then there are the overly pompous people who parade around “liking” the original trilogy yet scoffing at minute aspects of THE FORCE AWAKENS. The third type of person is a fictitious amalgam of what people loathe about other people.
What JJ Abrams, Lawrence Kasdan, and Kathleen Kennedy did with the seventh entry into the Star Wars saga was establish a whole new world of Star Wars films. Some arguments against TFA are understandable, but after decades Abrams was able to construct, shoot, and assemble a film that looks and feels like it belongs, wholeheartedly, in the saga canon. Ultimately the job of directing a Star Wars film isn’t that sexy, their artistic freedom is monitored, but it’s up to that person to hit the marks that George Lucas set with the first film, and JJ Abrams achieves that in a way makes it hard to think anyone else could do a better job.
THE FORCE AWAKENS follows a template, just like THE PHANTOM MENACE before it. It’s A NEW HOPE but in a different era with some of the same characters. Anyone who walked into the film expecting something other than a Star Wars Saga film would be better off searching the deep web for some obscure Russian film from the 1970s that they can discuss in a vapid and obtuse way. Star Wars is Star Wars is Star Wars. There’s the light side. There is the dark side. There are TIE fighters and X-Wings, and there are space aliens that make witty zingers. Oh yeah, and there’s a Death Star.
Abrams assembles a diverse cast that is inspired organically. There wasn’t a mission to check boxes of ethnicity or gender. He found the right people that were born to play that part. The new cast is simpatico with returning cast members of Mark Hamill in his ultra brief turn, Carrie Fisher in what is now a very bittersweet performance, and of course Harrison Ford as the ultimate space cowboy.
Ford brings everything as he has to his final turn as his seminal character in a career stocked to the brim with so many memorable characters and franchises. With help from Abrams and Kasdan’s script, Ford takes on the Obi-Wan esque role. Ford is perfect. He’s funny, he’s smarmy, he’s hopeful, and he’s everything you’d want Han Solo to be all these years later and more. For those who fall into the first group of people, watching Han Solo die is one of the most heartbreaking moments in cinema history. Ford’s build up; his gruffness wrapped in his sentiment and nostalgia completely sells his demise in the most beautifully tragic way possible. It’s near maddening that Ford wasn’t nominated for Best Supporting Actor.
There is a mixture of practical effects and CGI, much like the prequels. And then there’s BB-8. The new fan favorite that is an encompassment of R2-D2’s sassy personality and an ultra cute design and color scheme. It’s rather impressive how instantly beloved and welcomed BB-8 was, and after seeing the film, it’s incredibly hard not to fall hard for that little whirling dervish of love.
The picture excels on nearly every level, and if it weren’t so quickly followed up by the excellent ROGUE ONE, there wouldn’t be as much shelf wear on the film. The film is vibrant as it is dreary. Abrams not only acknowledges the prequels, he embraces the aesthetic. He mixes the original trilogy with the prequel trilogy to create his own, and predominantly new world of Star Wars. The film isn’t without some minor hiccups and narrative issues, but this isn’t the new film by Martin Scorsese. It’s Star Wars.
Star Wars saga films are built on nostalgia. Star Wars is nostalgia for many. And while Lucas isn’t part of the Star Wars universe moving forward, Abrams has more than proved himself as a worthy supplement. He’s inherited the mantle of Lucas, and he’s helped construct the joy of Star Wars for generations to come. What’s so ironic are those who hold such an obnoxious contempt for Lucas, yet are rabid for the new dawn of Star Wars. Those who consistently beat the drum of talking in circles to those who are as like(narrow)minded as them, that will bend over backwards to suck any joy they can out of anyone who praises Lucas. You know, the guy who created everything in the first place. Leave George Lucas alone, without him you’d have nothing to complain about and would have saved a lot of money.
Frank is joined by his Star Wars expert friend, Terry to discuss the abrupt firing of Lord and Miller from the HAN SOLO film, and swift replacement that is Ron Howard.
Frank and Tim discuss their reactions to STAR WARS THE FORCE AWAKENS. They get into who Supreme Leader Snoke is, who Rey is, Harrison Ford’s brilliant return as Han Solo, the prequel tie-ins, the new Funko Pop FORCE AWAKENS series that just got released, and much more!
Tim and Frank sit down and gush about their love for STAR WARS. Topics discussed are the STAR WARS prequels, but we mainly discuss the genesis of THE FORCE AWAKENS and what we think might be happening. This is going to be the first of many STAR WARS themed podcasts from Tim and Frank. Enjoy!