Lost in Translation continues its look at fanworks with “Kenobi: A Star Wars Fan Film”, directed by Jason Satterlund, story by Rob Harmon, and screenplay by James Costa & Jason Satterlund and Rob Harmon. This production had some money behind it, not only for effects but for location shots. Have a watch; it’s only seventeen minutes.
The short takes place a few years after Revenge of the Sith on Tattooine. Obi-Wan is in transition from being Ewan MacGregor to being Alec Guiness. The seventeen minutes packs a lot of information, all through body language of the leads. Knowledge of the movies both before and after the fan film adds to the depth. The costumes and hairstyles match what has been seen in Star Wars. Costa as Ben has the looks to show that Obi-Wan is aging.
I mentioned above that the production had some money behind it. The creators ran an IndieGoGo campaign. As a result, the creators were able to do some filming in Morocco to capture the right sort of desert needed; in the movies, the Lars farmstead was filmed in Tunisia to the further east. The music was performed by the Budapest Scoring Orchestra, who have appeared in a number of movies and video games. And to sweeten the pot, the creators got James Arnold Taylor, the voice of Obi-Wan in the Star Wars: The Clone Wars, to portray Captain Leegus. The funding also allowed for drone shots and 3D printing of props.
The effort put into the fan film pays off. Keeping a young Luke safe means sacrifice for Obi-Wan, one that he isn’t sure he can make when the film starts. The mood is maintained through the actors, through the camera angles, and through the music, with tension being underlaid until everything explodes into action. Pacing matters in a shorter work, and the pacing in “Kenobi” never lags.
“Kenobi” demonstrates what is possible with today’s technological infrastructure. It’s not just having blockbuster quality video camers at consumer-friendly prices. It’s the social networks that come along with Internet-as-a-utility. IndieGoGo allows creators to have fans directly fund works, with word of mouth spread through the likes of Twitter and Facebook, and the final result on YouTube. Even twenty years ago, this would not be as easy to do. Today, the infrastructure that allows creative types and audiences to meet allows for fan works not considered in the past.
/Lost in Translation/ is going to take it easier the next few weeks starting today after submerging into Prohibition and Chicago of the eaerly 30s. Fan adaptations will be on the menu for the next few weeks. This week, a look a Kadir Deniz‘ “KITT vs KARR” series. A quick reminder about the approach Lost in Translation takes with fan works – the quality isn’t as important as the understanding of the source works. Fan works are good for learning storytelling and film techniques without the pressure to produce something for sale.
The series that Deniz is adapting, Knight Rider aired originally from 1982 to 1986, was created by Glen A. Larson, and starred David Hasselhoff as Michael Knight and William Daniels as the voice of KITT, the Knight Industries Two Thousand. KITT is an artificially intelligent vehicle, aiding Michael as he works for the Foundation for Law and Government, bringing justice to people who are often above the law. KARR, the Knight Automotive Roving Robot, voiced by Peter Cullen, was FLAG’s prototype, an early design put aside in favour of KITT. The difference between the two is that KARR was programmed for self-preservation while KITT’s programming placed the life of his passengers and the people around him above his own. KARR was introduced in the first season episode, “Trust Never Rusts”, and thanks to fan interest, returned in the season three episode, “K.I.T.T. vs K.A.R.R.”.
In the first episode of Deniz’ series, KARR is portrayed as he appeared in the latter half of “K.I.T.T. vs K.A.R.R.” The music and dialogue are pulled from existing episodes. Deniz, though, created the storyline for the series of videos. The camera angles used are a mix and include classic angles from the TV series to new angles possible thanks to being CG animated. The only real hints that the series is CG animation are how Michael moves and how the trailer breaks apart. KITT and KARR are spot on, and Michael is wearing his classic ensemble from the series.
There’s a nod to the 2008 Knight Rider series with the black Mustang Shelby, the car that portrayed KITT in the remake series. Again, the episode is all CG animation. The cinematography is based on the original series, but expands, allowing Deniz to make the episode his while still being a fan work. KITT’s abilities are all ones that have appeared in the series, even the skiing.
The latest episode available. KARR’s plot continues and he has help from someone with a grudge against Michael. There’s still classic camera angles as seen in the original series, almost indistinguishable. The problem seen with the tractor-trailer as KITT turbo boosts through in the first episode is more cleaned up this time around. The chase reflects the series; KITT’s shell could withstand bullets, but missiles were to be avoided. The final twist, Airwolf, comes from the Donald Bellisario created series, Airwolf, starring Jan Michael Vincent as Stringfellow Hawke and Earnest Borgnine as Dominic Santini. Hawke had a deal with Archangel, played by Kent McCord; the Firm would get Airwolf back if Archangel could recover String’s brother Saint-John, a POW in Viet Nam. Airwolf, as it appears in the third episode, is a perfect replica of the model used in the TV series. Even how it appears up from behind the cliff rings true; Hawke and Santini often came from below the line of sight in the helicopter. The end theme of the third episode blends the the themes of both Knight Rider and Airwolf, which caps a note perfect episode.
Deniz’ series isn’t complete. He’s working on it as he can, but he has released some test footage for future entries on his YouTube channel. He has captured the feel of the original series and has created a work that fits with the tone of the series while telling his own story.