There is no doubt about the importance of this week’s major news on the stellar front: the appointment Dave Filonishowrunner and author of numerous Star Wars productions for the small screen such as historical productions Clone Wars And the last Ahsoka, to the Chief Creative Officer (CEO) of Lucasfilm. A nomination that was warmly welcomed and applauded by a large section of the enthusiast world, but not without some doubts and bewilderment on the part of a minority. What does this mean for the future of the saga? Are those who herald Filoni’s arrival as the decisive turning point for future stellar production right, or do those who have doubts about the suitability of this choice have reason to worry? Let’s try to explore the aspects of the role and the person in more detail in an attempt to better understand what lies ahead.
The role of the creative director
We’ll start by saying that the creation of this role is good news regardless. In fact, this is probably the good news the Star Wars franchise has been waiting for. The most recurring flaw, which a segment of the audience never failed to point out, especially regarding the controversial episodes seven through nine, was the lack of a unified creative vision that provided cohesion and thematic continuity to the story. The role of the Demiurge is over George LucasThis void has never been filled. Had there been a CCO at the helm of the project in those years, some of the flaws attributed to the three successive films would likely have been ironed out at the root.
Simply put, the creative director monitors and protects new products, ensuring they are true to the essence of the Star Wars saga in style, theme and spirit. Filoni himself, explaining his new role, defined himself as a kind of “Jedi council” to whom writers, directors and producers would be able to turn in creating project productions. In a more realistic way, and borrowing a term from the world of journalism, we can define it as a “censor”, a censor who ensures that new stories do not risk deviating too far from the core themes and atmosphere of Star Wars. As mentioned, the fact that the need for such a figure was acknowledged is already a big step forward for the saga. However, is Filoni the right man in the right place? We see.
Creativity born in strength
The strengths that make Filoni an excellent candidate for this role are many and cannot be underestimated. Unlike many creators who have taken turns behind the cameras as of late, Dave Filoni hasn’t gotten anywhere near the Star Wars universe lately. Passionate about the subject from a young age, he grew up observing every aspect of the saga and was “trained” by Lucas himself, who entrusted him with the first non-cinematic work for which he is still known today, the long-running Clone Wars animated series which, in the eyes of a large part of The audience rehabilitated and empowered the characters and themes of the prequel trilogy. Filoni certainly knows what Star Wars isWhat themes and emotions a Star Wars story should evoke and how to translate the spirit of the saga to the screen.
Added to this “emotional” knowledge is more “encyclopedic” knowledge, but it is no less important. The cowboy hat-wearing director knows the stories, characters, events, aliens, planets, background, and trivia about the galaxy far, far away by heart, a body of knowledge that perhaps not all creators necessarily need to brag about, but which undoubtedly proves that they are. Be precious when it comes to narrating (or controlling others’ narratives) in what has now become a massive franchise.
The dark side of the creative director
However, some of the concerns raised by Filoni’s appointment were discussed, related to some of his trends that were not clearly defined and have emerged recently. For the record, let’s also examine the less exciting aspects of Lucasfilm’s new CCO.
- Filoni has shown several times that he does not like team play. The most obvious example comes from his first production produced under Disney auspices, Star Wars Rebels. Nowadays Filoni is universally credited as its creator, and was in fact, at least in its first season, the fruit of a creative combination of multiple minds that also saw the highly respected Greg Weisman, a big shot not just at Disney, at the helm. But animation in general, which boasts a masterpiece like Gargoyles in its curriculum. First, first Weisman and then the other creators associated with the first season of Rebels would almost immediately withdraw from making the series, leaving Filoni alone at the helm, and without offering much of an explanation at all. The shade may not be very dangerous, but it does leave a bit of a bad taste in the mouth.
- From The Rebels onwards, Filoni gives the impression of placing other composers’ productions on a lower level than his own. His productions are full of quotations and references to his own productions (and within certain limits this is physiological), but they always ignore – and in some unfortunate cases blatantly contradict – work done by other authors, and this is all the more troubling. , because the rule of considering all modern Star Wars productions as canon is an important one for Lucasfilm/Disney, and because it is generally a sign of a lack of respect and appreciation towards colleagues and collaborators. Sometimes one gets the impression that Filoni wants to launch a Star Wars takeover bid, marginalizing or downplaying everything he doesn’t do except (and forgive us, but the standardization of this term online gives us a little excitement) of the “Filoniverse.”
- Finally, it is worth noting the vision of power that emerges from Filoni’s work. What at the dawn of the epic was something mysterious, elusive, and suggestive, in Philonian’s works became something garish and blatant, very similar to the magic of Dungeons and Dragons: intelligent creatures, magical weapons, gods, witches, the undead, and even alternate dimensions and temporal shifts, if we may add to them.” “The World Between Worlds” is notorious. This is perhaps a very attractive thing for a concept that has found much of its magic in the unseen and unspoken.
The future is always in motion
In conclusion: Do the positives or the negatives prevail? While waiting to see the new Starwarsian track put to the test, it’s only right to rejoice in a move of this kind. As said in the opening line, creating this role, regardless of who plays it, is an important step forward for the future of the saga. Filoni’s choice, roughly summed up in light of the character’s biography, is a harbinger of great potential: the director and author know what audiences and fans like, knows the material and often knows how to touch the right chords emotionally to create great plots and situations. Emotional strength. The synergy between the “guardian” of the Star Wars spirit and the creative contribution of a group of authors and screenwriters can produce great things.
The “dark side” to be avoided is that the aforementioned “OPA” in Star Wars materializes, and future production of the saga becomes a monopoly, or even worse, a Filonian “one man show”. Star Wars is and should be, especially if it wants to keep up with the times, renew itself and engage a mass audience, with a choral narrative. We have already seen how much the saga has to say and offer when the personal vision, even if it is not quite as “ecumenical” as the vision of Rogue One or Andor, is left free to express itself with due freedom. The danger to be avoided, therefore, is that the new CEO will be tempted to exercise too much unnecessary interference in future production. Finding the right balance between protecting the Starwarsian spirit and protecting the creative freedom of others is the challenge facing Lucasfilm going forward. So, to conclude with a mixture of quotes, let us welcome the new Chancellor, a strong Chancellor who will not allow our tragedy to continue. But watch out for emergency authorities!
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