With Colin Trevorrow exiting ‘Star Wars: Episode IX,’ who should Kathleen Kennedy and Lucasfilm hire to replace him? Our staff offers some suggestions:
Levi Hill (Deputy Editor and Co-Chief Film Critic) — Rian Johnson
To me, this was a tough choice. Why? Because there are quite a few big-budgeted directors that I think could make one hell of a Star Wars movie. Take, for example, what Guillermo del Toro could do with a massive budget and the freedom of world-building that Star Wars has been able to conjure up. Yet del Toro is also an idiosyncratic director that, in my opinion, works best when working from his own deliciously imaginative script. Then, rumored directors or writers like Sam Esmail or Stephen Daldry wouldn’t be bad choices, with Esmail in particular being an intriguing prospect — due to his love for one of the greatest sci-fis of all time (Fritz Lang’s Metropolis) as well as showrunning for the smartest sci-fi (sort of) show on TV right now, Mr. Robot.
Also, who wouldn’t want to see Ava DuVernay follow up A Wrinkle in Time with the biggest franchise of all-time?
But all of that to me is superfluous, because as much as any of us want to see another director take on Star Wars, the answer is likely right in front of us — and it’s not a bad thing. Rian Johnson’s The Last Jedi hasn’t even been seen by the public yet (and anyone, probably), but the film has already generated an immense amount of buzz from its one unbelievably beautiful and rousing trailer. To be fair, anything Star Wars related will generate buzz, but I know I’m not the only fan with the belief that the Johnson directed film could end up being the best in the entire series. But most importantly, Rian is an auteur that Lucasfilm has seemingly had no problems with on or off set. There have been no rumors about temperamental producers, slow-paced editors or wayward actors. That alone proves that Rian is passing in flying colors and that, to me, means he is the right and only choice to finish this highly touted new trilogy.
Kate Halliwell (Editor-At-Large) — Mimi Leder
I’m not going to waste my time complaining about how male directors like Colin Trevorrow continue to fail upward in Hollywood, managing to turn flops like whatever The Book of Henry was into massive blockbuster deals, while talented female directors go to movie jail after just one underperforming film.
Okay, actually… just a quick rant.
Television is full of incredible female directors right now, many of which started in film and had to transition to TV after being shut out of opportunities in Hollywood. Since the news about Trevorrow broke, names like Ava DuVernay, Mimi Leder, Michelle MacLaren, Lesli Linka Glatter, Reed Morano and many more have been bandied about online — but how reasonable is it to think that a female director may actually get this job?
For my money, I’d give the film to Mimi Leder in a heartbeat. Whether crafting incredible shots on HBO’s The Leftovers or directing high grossing blockbusters like her 1998 film Deep Impact, Leder has been one of Hollywood’s most reliable directors for decades.
But let’s be real — it’s a pipe dream. Would someone like Leder, MacLaren, Morano or Linka Glatter absolutely slay this job? Of course. Do they deserve it? Absolutely. Will they actually get it? Not on your life.
When the untitled Han Solo film went through a similar director swap just a few months ago, the studio turned to Ron Howard — basically the safest, least inspired choice in the book. Press releases concerning Trevorrow’s exit have cited irreconcilable differences with Kathleen Kennedy and other producers of the film. Obviously, these directors aren’t getting the opportunities to do what they want with their Star Wars movies, no matter how inspired (or not) their vision may be. So as much as I’d like to see a female director take on Episode IX and show all of Hollywood what they’re missing, I’m selfish enough to want to keep my favorite female directors where they have the freedom to do what they want. And, for the most part, that’s on TV.
From The Handmaid’s Tale to HBO’s new (and incredible) The Deuce to Homeland and Breaking Bad, these ladies have proven themselves incredibly valuable in helping create and maintain the peak TV era. While Leder and others are still making movies — Leder’s upcoming Ruth Bader Ginsberg biopic starring Felicity Jones is set for 2018 — it’s TV where they can really strut their stuff.
So I’m not getting my hopes up. Give it to Howard, or Rian Johnson, or whatever white man will make the studios happy, if you must. I’ll be hanging with my girls at home on Netflix, HBO, Hulu, Amazon and wherever else they can truly do their thing.
Harrison Tunggal (Associate Editor and Co-Chief Film Critic) — Patty Jenkins
Do fired Star Wars directors become Force ghosts? Is this gif, this gif or this gif a better representation of the current state of Lucasfilm? Regardless, the production company behind the galaxy from far, far away continues to lose directors like Anakin loses limbs. A tentpole film losing its helmer is nothing new though, and somewhat analogously, Wonder Woman lost its first director, Michelle MacLaren, because of her creative differences with Warner Brothers. As we all know, Patty Jenkins replaced MacLaren and delivered one of the best superhero films of all time, suggesting that Jenkins knows how to cooperate with the demands of a studio. Whether Jenkins’ sock-folding can live up to Kathleen Kennedy’s high standards remains to be seen, but Jenkins has demonstrated an aptitude for storytelling within the rigid confines of an established universe. Hiring Jenkins would also allow her to close a trilogy hinged on Rey, a move that could make Rey even more inspiring and iconic than she already was. Just imagine the “No Man’s Land” scene but with the Force-wielding awesomeness of Rey. I want that scene more than Luke wants his power converters. Additionally, choosing Jenkins is a choice predicated on the assumption that Star Wars: The Last Jedi will be a darker film, just like The Empire Strikes Back. With that in mind, what was Wonder Woman if not a film that lifted its titular heroine from the darkness of Batman v Superman: Dawn of Justice? Jenkins’ Episode IX could do something similar, bringing Rey out of the darkness of The Last Jedi. If the tone of Wonder Woman was any indication, Jenkins can meld rollicking excitement and fun with darker moments of dramatic weight — if that doesn’t scream Star Wars, then I’m a trough of bantha fodder.
Kyle Kizu (Editorial Director) — Spike Jonze
I’m going to mutter the three words that doom anyone making a pitch for something/someone they know will likely fail to sell: Hear me out. If not for anything else, I’d want Lucasfilm to choose Spike Jonze simply because of the endless “wait, what the fu**?!” reactions on Twitter. But honestly, Jonze could do something wildly special with a Star Wars film. His four films are all intensely visual (as are all of his music videos) with Where the Wild Things Are showing that he can manage large scale CGI and Her displaying his absolutely masterful visual and stylistic rendering of setting (his Los Angeles is a quite distinct and singular futuristic vision). If he were to have the galaxy to play with, we could surely expect a captivating manifestation of bizarre — Star Wars needs bizarre — and utterly delightful imagination, the likes of which, after two merely decent visual Star Wars films, the franchise desperately needs. But visuals only matter so much and, thankfully, Jonze handles character with care and grace. With Her, the director offers one of the most tender, joyful and tragic character journeys of recent memory, and those three qualities are absolute must-haves when it comes to the final installment of any trilogy, let alone a Star Wars one. Jonze could dig deep into the vulnerable emotion of both the galactically massive, nearly 40 year journey of Luke, which might come to a close in Episode IX, as well as the intimate, explorative and raw discovery that is the journey of Rey unfolding before us. Now, the only thing that’s left to prove for Jonze is his ability to direct action, and I have an odd place in his career to point to. Spike Jonze has dabbled in feature films, music videos and documentaries. But he’s also directed skateboard videos. Yes, you read that right. Skateboard videos. And one particularly breathtaking shoot that handled intense choreography of action is the introduction to Fully Flared. Am I crazy? Maybe. But I think he could shoot the hell out of an explosive X-Wing dogfight and an epic lightsaber duel.
Do you agree with any of these choices? How would you have answered this week’s question? Sound off in the comments below.
Feature image via Gage Skidmore.