I’m cautiously optimistic about the Disney buyout of Lucasfilm. Apparently there’s plenty of nerd rage circulating the interwebs about it right now, with cries of, “NO! That’s not true! That’s impossible!!” and whatnot.
But, as with most Jedi devotees, the purity of my love for the series was forever ruined by The Phantom Menace and its follow ups. I’ll never forget the series of disappointments that film piled on, the slow realization as it went on that it wasn’t going to fundamentally redeem itself. Lucas et al did not seem to have considered what made the original trilogy work, but rather treated the material as an intellectual property that could be strip mined for flimsy stories sold on their special effects.
Lucas knew that people would go see the movie, and did not waste time with things like mystery or working to get us invested in the characters. Lucas, legal and creative despot of the Star Wars and Indiana Jones properties*, had free reign to make whatever the heck he wanted. The prequels have the feeling of half-baked ideas run amok, ultimately flashy, hollow products lacking any compelling aesthetic or narrative sensibilities. I’m overstating my case somewhat, but it fuels how I feel about the Disney takeover of the intellectual property (from here on, IP).
Because Lucasfilm has already reduced the Star Wars brand to an IP to be mined for corporate entertainment, it makes sense for it to be taken over by a company who often succeeds at doing that to great effect. Not that Disney hasn’t churned out its fair share of crappy movies, but, like many others this past week, I would point to the Disney takeover of the Marvel and Pixar brands of positive examples of what the Mouse House can do with pre-existing IPs or studios. This is the framework (effective corporate takeover of an entertainment IP) that should shape how think about which directors are best suited to the task of helming Star Wars 7.
First off, there are some big name directors who are just not viable options. Industry moguls like James Cameron, Steven Spielberg and Peter Jackson are invested in their own projects and studios and would surely never deign to be squeezed into the Disney’s re-energizing of the Star Wars franchise. Two other fan favorites, Chris Nolan and Joss Whedon, are less impossibly unlikely yet ill-fitting for various other reasons. God spare us gritty or post-modern turns in the Star Wars film canon.
There are other highly talented directors who haven’t been as widely proposed but might at first seem like good fits. Guillermo del Toro, master of the truly alien, is too infested in his brand of subversive fantasy-horror to come to a gee-whiz IP like Star Wars. Brad Bird, who gave us The Incredibles and Mission Impossible 4, is too witty and kinetic–I don’t see him thriving in broadly epic adventure mode. Insanely talented stylists like Alfonso Cuaron and Ridley Scott don’t fit, precisely because Star Wars has never really been about style.
The worst case scenario is that we get some awfully pedantic director hired for bringing effects heavy tent-pole films to the screen on time and under budget. Chris Columbus, of the first two Harry Potter‘s, would be one, Jon Turteltaub of the National Treasure films would be another. Stephen Sommers helmed the first two Mummy films and was entrusted with the second installment of G.I. Joe. Shawn Levy gave us the Night at the Museums, the three-letter nick-named McG both Charlie’s Angels as well as Terminator 4. And then there’s Brett Ratner–*shudder*. Anyone who fits this bill would count as a loss to me.
Here are some guys I think could make it work–and seem like realistic possibilities given that it’s Disney doing the hiring.
Andrew Stanton (Finding Nemo, John Carter)
Despite the colossal mess that was John Carter, a lot of its problems seem inherent to the unlimited freedom the studio gave to Stanton to make a convoluted fanboy indulgence rather than a streamlined and effective pop thrill ride. Stanton is a talented director, and Carter shows the promise of a large-scale, effects-driven adventure that could have been.
Gore Verbinski (Pirates of the Caribbean, Rango)
Verbinski oversaw Disney’s most lucrative franchise of the past decade, and while the Pirates sequels weren’t as fun as the first, they remain agreeable effects-driven tentpole films. Additionally, Verbinski’s penchant for weirdness and art design could really serve the Star Wars universe well. He could bring back some of the strange textures that the Jim Henson workshop imbued Empire and Jedi with.
Robert Zemeckis (Back to the Future, The Polar Express)
Zemeckis has finally broken his decade long absence from live action film with the highly acclaimed Flight, and could follow that up by taking over SW7 for Disney. He made Who Framed Roger Rabbit? with them in the late 80’s, and has been obsessed with effects-driven films for virtually his entire career. He’s made some highly popular classics like Spielberg and Cameron, but he doesn’t seem to be tied up in future projects in the same way that they are.
Joe Johnston (The Rocketeer, Jurassic Park 3, Captain America)
Johnston is a serviceable director who tends to work with effects, and his pop-classicism would be a great fit for the Star Wars universe. Captain America was an especially great showing for him, and the Marvel-Disney connection might get him on the list.
Jon Favreau (Elf, Iron Man, Cowboys & Aliens)
The same goes for Favreau. He has a both a great eye for action and snappy dialogue timing. If the next Star Wars has any of the verve of the Iron Man films it will be better for it.
Pete Docter, Andrew Adamson, John Lasseter (various)
These guys, like Andrew Stanton, are all talented directors working in animation. Adamson has already made the transition to live action (from Shrek to The Chronicles of Narnia) but Docter (Up) and Lasseter (Toy Story, Cars) could both reasonably break out of Pixar and make a fantastic Star Wars film. Although Lasseter certainly knows how to make an entertaining film, as current head of Disney Animation Studios he is the least likely of the three to take or be offered the job.
In My Dreams: Hayao Miyazaki