IndieWire recently published an interview with Oscar Isaac in a piece entitled, Oscar Isaac Is Taking the Year Off After ‘Star Wars: Episode IX,’ So He’s Passing on Everything.
In it, Oscar Isaac says:
“The way they’ve been shooting it right now is looser than it’s been for the last two times,” he said, clarifying that Abrams has been allowing more improvisation on the set. “It does feel like a relief to get on set and feel like, ‘Oh, we can try things.’ It’s a testament to J.J. coming back and feeling confident. There’s less pressure for it to be right. We just want to make a good movie and have a really good time while doing it.”
He joked that the improvisatory quality of the production was like “Cassavetes in space,” but said it came naturally to the production. “Often, you do feel like you’ve got to find your way to make something more alive, but this time, it’s been the opposite,” he said. “There’s no need to smuggle anything in there.”
This is interesting given that it was widely reported that the directors Lord & Miller were fired from Solo, due to too much improvisation. The were also reported to have been fired for making Solo too comedic, despite Jon Kasdan promoting the film as “very funny.”
For screenwriters and father-son duo Lawrence and Jon Kasdan, the film’s roots are heavily vested in one of the most central relationships in the universe’s mythology: the friendship between Han and Chewbacca (played in “Solo” by Joonas Suotamo). “To me, this is a love story between Han and Chewie,” the younger Kasdan told the outlet. “Their relationship has always been my favorite part of the saga, and the fact that only Han understands what Chewie is saying, I find a very funny possibility for comedy.”
The more that comes out, the more it seems that the official story being reported on the production problems of Solo is not at all the true story.
But back to Oscar Isaac:
He shrugged off the backlash to the previous installment. “Luckily, since I’m not directing it, producing it, or distributing it, I don’t have to worry so much about fan expectations,” he said. “Also, not all fans have the same expectations.” He compared the response to “Star Wars: The Force Awakens” to the negativity that met George Lucas’ prequels. “People had very strong feelings, but there wasn’t as much of an organized way to speak out about it,” he said. “People that run blogs and websites need content. So it’s like, ‘There’s some content!’ Five people on Twitter. Hundreds. Whatever it is. Then you make it into a story.”
But he has learned to cope with the possibility that not every project will please the masses. “You make a movie and people are supposed to like, or not like it, or not care about it,” he said. “Those are the only three options. So it’s not shocking that one of those things happened.”
Believe it or not Oscar, there were blogs and websites from 1999 to 2005. And communication existed. But the backlash against the Prequels was primarily driven by the media, as explained by Ahmed Best and Jake Lloyd. Oscar is likely only repeating what others have told him here, being highly unlikely that he has actually followed any of these events himself.
But is Isaac telling us, that fans have chosen the option, “not like it” with regards to The Last Jedi? Perhaps.
He noted that while “there’s definitely an issue of representation” in Hollywood, “I think it really needs to start more with the writers and directors. They’re the ones that write the stories. I don’t think the reasons actors are interesting is for their representational qualities; it’s for their transformative ones. That’s where the magic trick is, where the craft is.”
Still, he bemoaned the same issues of diversity that have dominated many conversations about the state of the film industry lately. “It’s so fucked up what happens, how people who don’t look like the stereotypical white American get marginalized,” he said. “It’s the corporate entities and the studio entities that allow this to happen, who have ideas about what the lead needs to look like. Time and again, those things are disproven. So fuck yeah, you’ve got to make them put more diversity in there. You have to knock it into their brains that it’s a better business move to do that.”
Anyone with half a brain knowns that film and television have been diverse for decades. Only those who fancy themselves as civil rights heroes pretend that we’re still living in the flatulent 1960s. Oscar is actually “bemoaning” the lack of diveristy in the “corporate entities and studio entities,” that just produced the purportedly most diverse trilogy in the biggest cinematic IP in history (despite Lando Calrissian appearing on the screen 38 years ago), which he himself appears in. It takes some seriously monumental delusion to to have these opinions in his position.
I wonder how many priviliged white males will be taking a whole year off to rest up?