I really liked the way JJ shot The Force Awakens.
Take Kylo Ren for example. The way he shoots him strutting down hallways. The angle is great and it really differs from the static way George shot his actors in the prequels. George literally just aimed a camera and said "action".
With JJ you get a sense that Kylo is this big presence of evil. The up close shots, the dutch angles during the Poe interrogation that signifies a power struggle, its all really good. Kylo feels magnetic, a person of real power and determination.
It's pretty basic, something you learn in film school. There wasn't really anything shot that I'd call brilliant, fairly mediocre
it's easy to look good when compared to the way the prequels were shot though
He used basic techniques, and not even that effectively. Overall the cinematography was average and uninspired, while lacking in a lot of the flavor that the OT had which took loads of inspiration from based Kurosawa. But I guess that style of cinematography is too slow paced for the ADD thoughtless retard that is Abrams.
well Super 8 was a carbon copy of ET (with some Goonies sprinkled in) and his Star Treks were Tony Scott films in space.
The only one where he really makes it his own is Mission Impossible, and that's pretty generic.
The one-off frantic-crash zoom, dutch angle and fish-eye shots he decided on, made me think he was taking a bit of a scattergun approach at times, and just throwing in any old shit from film school.
Certainly, mostly it was coherent, but those few choices were jarring to me and made me question his approach to the film
Nah. The direction is competent at best. The techniques used for Kylo scenes are intermediate level.
Bettering the direction of the prequels says absolutely nothing about the quality of direction for TFA.
The direction of Raiders is fantastic and better than TFA in everyway.
If you're just talking about an imitation of Raiders' style then I can understand a little more of what you're saying.
>George literally just aimed a camera and said "action".
Actually, he admitted during a hiring interview with a potential AD or DP for the prequels (I don't know which it was) that sometimes he'd forget to say "Action" or "Cut" and that, if he did, they should jump in and say it for him.
>stupid idiots shitting on my 10/10 Star Jew movie ~.~
I really like kylo ren's character and think he had potential to be a cool and interesting villain. But then they shit all over that by being so garbage at writing and choreography.
The opening scene of ANH has more visual story telling than all of TFA. Editing helped, obviously. I wonder why TFA didn't get the same editing treatment, or maybe JJ just produced unworkable garbage.
>I really liked the way JJ shot The Force Awakens.
>it's a well made film, but it's bad
You forgot to explain that it's bad because it's popular.
Stop being such a contrarian. I went in expecting a cold, calculated, awful film and got a very technically competent movie. I was very surprised, but saying it's a bad movie is just wrong. It has a few flaws, sure, but all movies do.
Yeah the opening of ANH is great. One of the best Star Wars moments in fact.
I haven't seen it since opening day, but I can't remember any great examples of visual storytelling in TFA. Am I wrong?
If you use the word "contrarian," you're literally an idiot. It's an invented concept by idiots with childish sensibilities who are too fragile to deal with criticism of mediocre media that has widespread appeal.
It's a troubling manifestation of millennials' mental weakness. Seriously, the only people who would even entertain any "argument" involving the concept of being "contrarian" are weak, lazy idiots who can't deal with criticism substantively.
If it bothers you that much that people criticize mediocre mass-marketed work designed to appeal to the lowest common denominator, like Star Wars, Breaking Bad, pop music, etc., you should find a safe bubble and stay there. Or kill yourself.
You're not wrong. I can't remember any examples of visual story telling in a mainstream movie for years. It's what bothered me about The Revenant. People say it has amazing cinematography. Hell my brother said it was the best he's ever seen. I agree that it is a pretty movie, but it's never used to tell the story whatsoever.
I like Sam Hyde too.
If you're too retarded to understand what contrarian means, I shouldn't even be replying to you.
Instead of offering any counter arguments, you instead get butt mad about an entire generation (that I'm not even a part of).
Proving you hate the movie because it's popular, not because you have any legitimate criticisms of it.
Dreaming of galaxies far, far away in cinemas nearby. Crowds gasp in amazement swinging their hands along with lightsaber movements. Alas, the audience's awe is uninspired. Just like Kylo Ren walks and talks Darth Vader but is afraid he will not surpass his supremacy, Star Wars: The Force Awakens is afraid of treading treading uncharted territory fearing it will not live up to the expectations set by the original trilogy. As a consequence its universe provides nothing but an ersatz adventure.
The banality of the blockbuster serves to suppress the audience's capacity for imagination of better worlds to come. Cool artifice replaces reality. As a spectacle the blockbuster reaches its apex when its whole is self-contained: nothing but images referring to other images of popular culture. In Star Wars: The Force Awakens the universe created is a hodge-podge of familiar elements of its franchise's former glory days. For instance, Rey, who ostensibly is the new Luke Skywalker, originates from a desert planet abandoned by family just as Luke was. The Empire is now called the First Order, ruled by a Sith Lord identical to the Emperor and is still intent on building planet-destroying superweapons containing one fatal construction flaw. Han Solo returns the way the fans were hoping for: flying the Millenium Falcon with Chewie. Sadness of his death stems more from the disappearance of a fan-favorite character than from a tragic narrative.
Mired in self-references, the film ultimately signifies nothing. Its world is a poor substitute of man's innate sense of discovery. Where the literature of J.R.R. Tolkien fills the reader with a sense of wonder, Star Wars: The Force Awakens embodies the estrangement of man in his self-shaped artifice. The creatures wandering about come over as nonsensical and a mere sign of inter-space relations. More importantly, advanced technology is elevated to the fantastical, taking the place of man and nature as the source of all worship. Technique is shown to be a worthy ruler. Megalomaniac spaceships, each one bigger than the other, reveal our complex society's preoccupation with technological advancement. The Star Destroyer is its ultimate fetish.
Star Wars: The Force Awakens is propaganda of seriousness (as defined by Johan Huizinga) in its most deceptive form. The viewer becomes trapped in its numerous winks to the Golden Oldies. He sublimates his innate alienation living in a technical world of artifice into an ersatz adventure. When he leaves the cinema, his critical faculties are weakened. Instead of being awakened, prompted to use his life force, he is lulled to sleep.
>I can't remember any great examples of visual storytelling in TFA
Finn getting blood mark on his helmet, allowing audience to discern which stormtrooper he was as well as providing a visual motif for his mental scarring.
match cut between Finn putting on his helmet center-frame and Rey scavenging in center frame: it implies their destinies are tied together.
There were more, lemme think. Even Kasdan pointed out how good JJ was at staging and storytelling through visual information alone.
Again, no counter arguments, no statements of substance, just
>reeee you're a millennial!
Further proving you are a contrarian as opposed to having legitimate reasons to dislike it.
>beat-for-beat copy and paste of ANH
>endless pandering and fan service
>uninspired direction and cinematography
>horribly underwhelming score
>terrible pacing after Jakku
>poor world building after Jakku
>lazy (or cynical) holes in characterisation
Probably a 4/10 for me. I can accept that some people like and dislike the movie and have reasons for both. Why can't you?
In future you probably shouldn't call someone a contrarian right off the bat. Almost everyone here has written a blogpost on /tv/ in the last three weeks detailing their thoughts on the movie and they probably can't be fucked typing it all up again to have the same discussions over and over.
Those are pretty weak examples and JJ is always really blatant with his attempts at this, and they're always really shallow. Finn's moment of moral conflict, told through his physical acting was reemphasized way too much, as if we didn't get that he wasn't happy about the situation the first time. Then of course, even if that scene was done more effectively, it contradicts his character background presented in the movie as your average stormtrooper indoctrinated from birth with absolutely ZERO incidents of showing any disagreement with the first order, and they never expand on the theme anyway.
Similarly with the ruins of the old Empire on Jakku, that tells a completely fucking contradictory story to the one that we're being told. It shows crashed star destroyers, AT-ATs and other shit implying the Empire got owned and aren't the bigshots anymore, but throughout the movie we see that the Empire is still owning everybody else, nobody can really stand up to them, and they're even more threatening than before.
It's garbage visual story telling because it doesn't actually tell the story, it contradicts it, and it lacks in any of the subtlety that other great examples of the art employ, it shoves it down your throat, like when the sun went out before Kylo killed Han. So of course Kasdan, the head primary cunt behind Disney Wars is shilling for JJ and complimenting the work of her pet monkey working on one of her main projects.
It was the middle of the day except for this one shot.
Sorry mate, but blood on the helmet was fucking schlock. Doing the opposite would have been interesting in fact - giving him no discerning characteristics in the stormtrooper suit implying a total lack of personal identity until he takes the helmet off and we see his face.
I can't remember the cut between Finn and Rey but I'll take your word for it.
He must have fast forwarded through all his movies, or he's just utterly incompetent and incapable of maturing as a director, because there's hardly any Malick influence in TFA, and that's not even who he should be taking inspiration from if he wanted to capture the feel and charm of the OT like he said he did.
TFA is shot just like his godawful Trek films.
That Leia and Rey hug was obnoxious as fuck and made no sense. Leia hugging Chewie, who she was intrinsically linked with through Han, makes far more sense and would actually have carried some emotional weight.
Rey and Leia hugging is just JJ artificially forcing the old and the new.
When Rey is washing some scrap at the little scavenger camp, there's that part where she looks at some old-ass lady doing the same thing across the table, implying her ultimate fate should she stay on Jakku.
All of the stuff with Finn in the village at the beginning. Finn didn't say a word during that scene and we were able to completely understand what his deal was. Not to mention that part when Kylo Ren notices him just standing there. I don't know if he could just feel the mercy and conflict in the guy or if that was implying future force potential, but either way it set up Kylo knowing what trooper betrayed the First Order later on, again without saying a word.
I'm sorry OP, but the cinematography is the thing that stood out the most to me as non-Star Wars.
The shot in your pic actually made me laugh irl while in the cinema. The extreme angle makes Kylo's walk look like an angry penguin waddle. Impossible to take seriously. Using a tracking shot for the following scene where he discovers that Rey has escaped was also extremely Michael Bay.
It's been said here before, but there's a strange contrast between the sparse well-composed shots and the rest of the movie. There's the occasional beautiful but derivative shot- almost every shot from when Rey is in the Star Destroyer until she finds BB-8 and the Apocalypse Now-TIEs, but then there's endless dutch angles, tracking shots, ground shots and close-ups where there should be nice wide-shots to let us take in the imagery they've presented to us.
I was completely incapable of enjoying the hammy Nuremburg rally bit as it called for harrowing imagery through cinematography with some gravitas- they're about to commit galactic genocide for fuck's sake. We got dutch angled-tracking shots, the weird close-up on one section of troopers for the salute with a goofy slide transition to the cucks turning on the lazerbeam.
>You're really going to tell me that the poor symmetry and lack of gravitas in pic related didn't trigger your autism?
While the story itself is complete trash, there was an opportunity to at least shoot it with the same majesty as the OT. Think of the opening shot of A New Hope, the Falcon being pulled into the Death Star, a star destroyer docking inside the Executor in ESB. We felt the scale of the universe, the Empire felt like a tangible threat and the rebels truly felt like the underdogs.
At no point in TFA are we given a chance to step back and appreciate the scale of the scenario, even in intimate scenes. We literally can't see the bigger picture in this movie, and that's fucking frustrating to be reduced to such a cliché
The hug wasn't about Leia, it was about Rey like you say. They make a pretty big point of showing two things visually and not mentioning them in dialogue. Rey is upset when Han dies and Rey is standing alone while people celebrate. Without Finn and Han she has nobody there. Well why didn't Chewie stay with Rey or talk to Leia? Well the next scene has a shot of just Chewie being sad alone in the base. Seems like he wants to be alone, he's a pretty emotional guy.
During the hug Rey is about to cry while Leia has the 'mom rocking her baby' look on her face. Or maybe her face can't move anymore, I don't know. I certainly don't mean to imply Leia is literally her mother but she was one once. Without even going so far as to say Leia felt her sadness with the force, Leia can just be seeing this sad and lonely girl that Han told her about and realizing she just needs a hug after all the shit she's been through.
>literally just aimed a camera and said "action"
What the fuck was up with that mang?
Loved that shot in the initial trailer even though it was extremely derivative, then suddenly its a split-second cutaway at the wrong time of day???
Fresh off the boat, from reddit, kid? heh I remember when I was just like you. Braindead. Lemme give you a tip so you can make it in this cyber sanctuary: never make jokes like that. You got no reputation here, you got no name, you got jackshit here. It's survival of the fittest and you ain't gonna survive long on 4chan by saying stupid jokes that your little hugbox cuntsucking reddit friends would upboat. None of that here. You don't upboat. You don't downboat. This ain't reddit, kid. This is 4chan. We have REAL intellectual discussion, something I don't think you're all that familiar with. You don't like it, you can hit the bricks on over to imgur, you daily show watching son of a bitch. I hope you don't tho. I hope you stay here and learn our ways. Things are different here, unlike any other place that the light of internet pop culture reaches. You can be anything here. Me ? heh, I'm a judge.. this place.... this place has a lot to offer... heh you'll see, kid . . . that is if you can handle it...
If they even inserted it earlier it could have been as if the fleets landed somewhere else and were flying in from somewhere with a sunset happening. Problem is they already have ships flying over head before cutting to it so it's just crammed in there.
Nah I'm fine with someone disliking it if they have any reason to.
This guy sounds like he was literally rubbing his dick in the theater, whispering to himself
>Heh heh... i'm no... i'm no corporate shill... wait til I get home... just you wait Abrams, Disney... cause my article heh heh... let's just say corporations won't ever make a movie this FAKE again...
Not to sound like an RLM shill, but...
>the tiny little ship (rebel) being chased and fired upon by the overwhelmingly large ship (empire) that comes into frame tells you and your subconscious literally everything you need to know about the Star Wars universe in less than 10 seconds.
>without that shot, large amounts of world building would be needed to give the viewer a real feel for just how overbearing and powerful the empire is in comparison to the rebels
Basically, it takes less than 10 seconds to give you context and meaning to the entire Star Wars universe.
I don't care how this movie was fucking shot. What really bugs me is how Rey was man-handling Kylo the entire fucking movie. She beat him mentally AND physically. She gave the guy a fucking huge scar on his face, I mean she literally branded him. I hope Rian Johnson has Kylo fucking rekt this bitch in the next episode.
There's a difference between telling and showing in film, it's the first thing you learn in ANY film appreciation class.
You can know that the Empire is huge and overbearing compared to the Rebels, but until you actually see that shot, you don't FEEL it and understand it on a subconscious level.
>Three good shots through the entire movie
>Rest was shaky cam, quick-zoom Avengers flying truck meme cam, le ebin dutch angles, and not knowing how to keep the camera still
Say what you want about George, but he sat the camera down and let the shit on screen do the talking, not let the camera do the talking.
>By the end of the movie you understand exactly who the Trade Federation are, their motives, who they serve, and their threat
>You understand exactly who the good guys are, their power, what they control, and what role the Jedi play
>Who the fuck are the the First Order?
>Why the fuck can Rey suddenly know how to saber fight and know Jedi abilities?
>What the fuck is the New Republic, and why are they so small and weak when the Empire was destroyed?
>What planets did they just destroy? Was that supposed to be Coruscant? They never even showed anything on those planets
>What the fuck are the Resistance, and why would they even need to be around when the New Republic is?
And before you chucke cucks tell me to go read a novel or comic, why the fuck should I have to? If the Phantom Menace can convey all this shit in the movie alone, why can't TFA?
I'm not the guy who said it's one of the greatest moments ever. I'm just explaining why it is remembered, important, and a good shot.
I'd love for you to give me a few examples of better visual storytelling/world building that are as efficient as this one. I'm sure you know plenty.
You can't be this delusional.I still have no idea who or what the trade federation is. They regulate trade? They make droids? They have an army? Of droids? They needed to invade Naboo why? Some dispute that we aren't made privy to? Why do they need to make an invasion legal? How the fuck does that even work? You invade and slaughter and...
Well fuck, do I really need to continue?
Your points about TFA are true though.
but I still liked the movie :)
No. I have not seen the film, so I have no context for this sequence whatsoever.
I said "as efficient" as the ANH opening shot. Maybe you don't know the Rebel/Empire names without the text scrawl, but you still get the idea immediately. That is also a collection of shots rather than a single one.
Try harder next time.
Dude after myself not liking Force Awakens and seeing how it was near to a carbon copy of a New Hope... I watched a New Hope again to make comparison...
I found something really odd in the scene of R2D2 playing the message to Obi Wan and Luke. A very subtle reference to the First Order, this is mind boggling check it out:
Basic in comparison to what? The other space operas before Star Wars?
I don't think even Star Trek had a shot like that.
2001 external shots were about imperial oppression and not the eerieness of the setting?
>I still don't know who the trade federation are!
They are literally explained in the movie as a federation of planets and companies that regulate trade in the outer rim. Naboo was an outer rim planet.
If you can't understand this concept, then holy fucking shit what did you study?
the force duel was bullshit, i completely agree
but the saber duel was understandable, nigga wasn't even trying to kill her, he was trying to take her alive - for 90% of the fight he was toying and dominating her (remember how much she was running?)
this said rey is the ultimate mary sue and can only be redeemed by becoming a villain
Repetition can be used to hammer home what's happening. A New Hope did this very well. You have the aforementioned visual demonstration of the Empire's power as compared to the small and outgunned rebellion.
The Death Star is established in the opening crawl, numerous characters comment on it's capabilities. The entire plot of the film revolves around delivering the plans documenting it's construction. It's shot to be imposing and monolithic on screen.
Similarly, Alderaan is established very early on when Leia makes her request of Obi-Wan. Leia comments on how it's a peaceful world without defenses. When it's destroyed, you understand the impact not only because of it's impact on the characters (Leia and Obi-Wan), but because of how impacts their objectives. Up until this point, the primary goal was to get to Alderaan. The Empire removed that option from the table.
Luke is established as a pilot. One of the first things he says in the movie is how he'd like to attend the academy, that he'd like to leave early if possible. He's seen playing with model ships. When negotiating with Han and Chewie, he argues that he's not such a bad pilot himself. Even in the scene immediately preceding the Death Star attack, he comments on how he used to make similar shots in his ship back home.
TFA doesn't do this. The threats go unmentioned until the suddenly manifest. The stakes are unknowns and losses have little impact on the characters. Abilities are defined only when they become immediately relevant. The script is messy. It feels more like they were trying to cram as much in as possible rather than establishing a coherent narrative with meaningful obstacles and foes.
Reddit is down the hall, to your right.
TFA fucked up by
>making Rey far too strong, far too quick
>pointless action sequences like the stupid rey piloting falcon scene and space tentacle monsters when more breathing space was needed after some scenes
>not bothering to explain Maz Kanata shit, basically just that whole part was superfluous
But those things are big enough offenders to make it a bad movie. It would have been better if Han had the saber, would have made a lot more sense. Or for them to go to cloud city looking for help and Lando has it or something
The trade federation was worried a new fair trade deal would fuck up their profits so they invaded Naboo. Naboo was an important world on an important trade route. They thought they could pressure the Republic into backing down with the new trade agreement. Anakin saves the day by blowing up their capital ship and shutting down the droid army. A real Gary Stu.
>He refers to EU galaxy maps to sound smart
In the movie they clearly have to stop off at Tatooine on the way Coruscant. Tatooine is an outer rim planet.
Please stop using EU shit, this is a canon thread.
>Dunt get angry with because you got Rick Rolled.
>can't you tell who the leader is etc.
Well, if you put it that way of course I can tell who the leader is. I knew it was Lawrence of Arabia, which has a huge reputation for being great, so I guess I expected more. I didn't realize that the visual "storytelling" would be that basic. That's not efficient whatsoever, it is overly long, and tells you very little information. It does not establish any subconscious feeling or knowledge, it does not contribute to world building, it's literally
>he is the leader.
I could stand four guys next to each other, then film one of them stepping onto a box to show his superiority over them, by being physically higher up. That is the level of visual "storytelling" depicted here.
>this damage control
Look for yourself.
>too many closeups
>you never see much of the spaces you're in and it feels claustrophobic
>battle at maz's hideout looks like it was shot on a tv set
you pic is a scene that tells instead of shows. it's shot at a low angle with the sound of kylo ren stomping around to tell us he's intimidating which would be great except that at this point in the story, he's weak and pathetic.
>They regulate trade
>Have droids to deal with piracy
>Palps gets his apprentice, Dooku, to create CIS which gives them funds and means to create an army of these droids
>Orchestrates the invasion of Naboo to both create sympathy for himself as a politician to enable him to be voted into power, and create a war between the CIS and Republic
>If CIS wins, Sheev wins
>If Republic wins, Sheev wins
The clones have genetic orders to kill the Jedi, and droids can't be swayed by Jedi.
>People are too stupid to actually consider this a clever plot to explain how something like the Republic can even fall, nevermind how a Sith became the ruler and killed thousands of Jedi without anyone caring
>"We need to land on the closest planet for repairs"
>Sullust, Malastare, D'Qar right next to Naboo
>Instead they go all the way to Tatooine
Ok friend. Again, this is a canon thread. In the movie universe, Tatooine is between Naboo and Coruscant.
Please stop posting your EU shit everywhere.
It's the use of a ultra-wide angle lens that causes curvilinear barrel distortion of the image - particularly around the edges.
Ultra-wide angle lenses are good for creating a depth of field and fitting a lot of the scene within the frame without shooting from a greater distance that would inhibit the depth of field. But the barrel distortion is usually undesirable
Pic related shows photos with uw lenses. The top one is curvilinear (i.e. a fisheye lens) where the second is rectilinear. You can see the curvature of vertical lines in the curvilinear photo.
Basically there was one shot near the end of the movie when Rey was on Luke's island walking to its summit, where you could see the vertical aspect of a grassy slope on one side of the frame was curved by the use of the lens so that it looked arched right over to an unnatural extent.
It didn't look right since there are no other shots in the film that have such an obviously wide angle. Same as there is only one shot where JJ decided to use Dutch angles.
Well according to "canon", normies can't fight with sabers the way they did in TFA, nor can Jedi powers be learned so quickly and without practice.
So if you're following EU canon, then you're contradicting the movie. :)
Was it in the movie? No? Then it isn't cinematic canon.
>Phantom Menace can explain a movie properly, whereas TFA can't explain shit and is just capeshit in space
>"Y...You're just mad!"
Sorry, Lucas is a genius compared to Abrams. Jar Jar Cuck Abrams is so obsessed with more winks and nods of the OT of soulless fanservice that has ruined star trek, I'm surprised he didn't have Luke's Hand still gripped to the lightsaber.
Atleast when Lucas stole shit, he stole from the best, Jar Jar is cannibalizing Star Wars itself, he is the true hack here.
The opening crawl in TFA bothered me a bit actually. Usually in Star Wars, the last part of the crawl leads directly in to what the first shot of the movie is going to show you:
>Pursued by the Empire's sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy...."
Shot of her ship being persued by a star destroyer
>The evil lord Darth Vader, obsessed with finding young Skywalker, has dispatched thousands of remote probes into the far reaches of space...."
Star Destroyer moves in to view and starts launching probe droids
>When completed, this ultimate weapon will spell certain doom for the small band of rebels struggling to restore freedom to the galaxy..."
Pans down to the Death Star
>While the Congress of the Republic endlessly debates this alarming chain of events, the Supreme Chancellor has secretly dispatched two Jedi Knights, the guardians of peace and justice in the galaxy, to settle the conflict...."
Qui Gonn and Obi-Wan's ship arriving at the trade federation control ship
>Senator Amidala, the former Queen of Naboo, is returning to the Galactic Senate to vote on the critical issue of creating an ARMY OF THE REPUBLIC to assist the overwhelmed Jedi...."
Amidala's ship arriving on Corruscant
>As the Separatist Droid Army attempts to flee the besieged capital with their valuable hostage, two Jedi Knights lead a desperate mission to rescue the captive Chancellor...."
Anakin and Obi Wan fly in to battle to rescue the chancellor.
Then we have TFA:
>Leia has sent her most daring pilot on a secret mission to Jakku, where an old ally has discovered a clue to Luke's whereabouts...."
First shot if of the new Star Destroyer launching imperial drop ships and shorts of the new storm troopers. It takes a good while before we see a single shot of Poe, who has already arrived on Jakku some time before the film started
I definitely agree on the breathing room thing. It seemed like the movie was trying to race the plot of ANH to see who could hit all the main plot points first, barely any time to soak anything in, and JJ's fluid camera shit didn't help at all. I had to piss for pretty much the entire movie, so I wasn't sure whether or not it was that urge making the movie go by so fast.
Also agree on Han having the lightsaber, him intentionally keeping it from Kylo would have given more credibility to Kylo's daddy issues. It also would have made a lot more sense considering Han was the Obi-wan mentor figure of TFA, he even explains the Jedi to them like Obi did for Luke.
>And again, that shot was not even original, it was a homage to 2001.
what scene? i admit it's been a while since i watched 2001 but i don't remember anything like the opening shot to star wars in it, just shots of ships traveling in space which isn't very specific.
Maybe the TIEs are really a few hundred miles to the West in that shot, so what was mid-day at Maz's bar was sunset where the TIEs entered the atmosphere. They were moving really fast, after all.