A note on the Trailers and TV Spots






The Rogue One trailers and TV Spots appear to have a lot more unused and alternative shots and line readings than most other films. This appears to be due to a number of reasons:


'Indie hour' -
From an article on polygon.com -

Director Gareth Edwards has finally revealed why one of the most memorable shots from the first Rogue One: A Star Wars Story trailer wasn’t in the final cut.

Edwards spoke about Rogue One at a screening of the film for the Directors Guild of America and admitted the shot of Jyn Erso in the middle of a lit up tunnel wasn’t meant for use in the final film. Edwards explained that during shooting they would take time every day to have “Indie Hour.” During this time, they could shoot whatever they wanted for no specific purpose and see if anything came out of it.

As Edwards explained to Chris Miller, one of the directors on the upcoming Han Solo stand-alone Star Wars movie, they had just finished with one shot and were heading to do another. As Jones began to walk out of the tunnel, someone flipped the lights on and the way it powered up created a spectacular image.

“Someone called her, and she just turned around a little bit and I was like, ‘Oh my god that looked great,’” Edwards said, as heard on The Director’s Cut podcast. “And I was like ‘Stop stop stop!’ and everyone stopped. ‘This will take 10 seconds, just roll camera.’ Then, obviously, ten seconds turned into a half hour, and we probably did 17 takes. So that ended and there’s that feeling of, ‘Well what was that for?’ And I was like, ‘I don’t know. That just felt good.’”

Edwards admitted he forgot about the shot until it was pulled up by the marketing team and used in the trailer. He admitted it was for similar reasons that certain shots of Ben Mendelsohn as Director Orson Krennic seen in early trailers ended up going unused in the final film.

Reshoots
From and article on vulture.com - 

VULTURE: A lot has been written about the reshoots that were done on this film, and it’s rumored that Tony Gilroy came in and shot some of the new material himself. What really happened?

GARETH EDWARDS: Tony is a great writer and he had done a few days’ work on Godzilla. We had always planned to do these pickup shoots, and in this day and age when everything has gone digital, you don’t have to be so literal about preproduction, production, and postproduction — the whole thing blurs together. When we did the pickup shoots, Tony came in to write the screenplay for those scenes, and because we shot it documentary-style and had so much material, essentially, we ended up being a bit crunched for time. So we all dove in and did different things: Tony did some second-unit on the pickup shoot and so did I, and we went from 600 visual effects to 1,600 visual effects. The scope of the movie just got bigger, and so there was this divide-and-conquer mentality that went on. I think the results are really good and that’s all that matters, is the movie.



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