If you were to remake the prequel films, what would you do with them?
You can change the actors, script, but you are limited to each prequel's perspective budget. (Google them if you don't have them)
Personally, I'd rework the story to start off with Storm troopers absolutely flooding streets and cities of smaller towns. There'd be a small brigade and Obi Wan would pop out of the shadows to stop it. Instead of Jedi being absolutely fucking everywhere, they'd be more like a batman-type vigilante.
Much less CGI and more practical effects, CGI just wasn't perfected at the time. Young Anakin was so bad but it's like that type of "The Room" bad where it's great. Idk it's hard to say, Lucas was ambitious but I feel as though practical effects and costumes would've made a huge difference.
I would make Obi-Wan Kenobi and Luke's mother secondary characters in the trilogy. Anakin and Vader would have maybe one or two appearances each.
The rest of the cast would be entirely unrelated to them, meaning you would be able to fucking watch the series in order without the Yoda, Vader and Leia reveals being spoiled too early.
I'd have Hayden play Anakin in Episode 1, and have Anakin be whatever age Hayden was at the time.
Watto wouldn't be pseudo-Jewish.
The Gungans wouldn't be pseudo-Jamaicans and Jar-Jar would have a deeper voice.
Anakin wouldn't take off in the starfighter and destroy the droid control ship, saving everyone. Experienced pilots would take his place.
Episode 2 and 3 would basically be the same.
I actually prefer Return of the Sith to any of the original movies. The labyrinthine opening shot— of Anakin and Obi-Wan giving chase to Dooku through the space vehicles on the planet of Coruscant—is a mighty and audacious gauntlet-throw, the digital equivalent of the opening shot of Orson Welles’s “Touch of Evil." It wheels and gyrates and zips and pivots with a vertiginous wonder that declares, from the beginning, that Lucas had big visual ideas and was about to realize them with a heroically inventive virtuosity. And the rest of the movie follows through on that self-dare.
If I had seen ROTS in real time, in a theatre upon its release, in 2005, I think that, at the moment when Sheev, sizzling in the blue lightning that Mace Windu reflects back at him, cries out to Anakin, “Power! Unlimited Power!,” I would have leaped out of my seat yelling with excitement. The entire movie is filled with an absolute splendor of the pulp sublime, and that moment is its very apogee. Lucas reaches historic heights in the filming of action: the martial artistry of Anakin and Obi-Wan’s double duel versus Dooku, the gaping maw of outer space and of the airshaft into which the heroic duo drops, Obi-Wan’s light-sabre fight with the four-armed Grievous, and, above all, the apocalyptic inferno of the confrontation of Obi-Wan and Anakin. I watched these sequences over and was repeatedly and unflaggingly amazed by Lucas’s precise, dynamic, wildly imaginative direction.
The scripted politics of the conflicts have a grand imagination to match. What Lucas brings to the script of ROTS is a quasi-Shakespearean backroom dialectic of power-maneuvering. The dialogue is just heightened and sententious enough, just sufficiently rhetorical, to convey the grave moment of ideas in conflict and the grand mortal results of that dialectical clash—the making of a villain and the unmaking of a republic.