"I haven't seen Clones, which has been during this period when I haven't seen much of anything, but I did see Phantom Menace, and see my feelings about it - see, first of all, I think that when you make a lot of movies, your attitude about the movies changes"
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Kasdan’s line reads like a man trying to stay polite while walking around a crater. The syntax is famously Kasdan-y: conversational, self-correcting, full of little detours ("see, first of all") that function as rhetorical airlocks. He’s not delivering a verdict; he’s showing you the process of refusing to deliver one.
The context matters: Kasdan isn’t a random pundit. He helped build the emotional engine of the original Star Wars trilogy (and Raiders), then watched the franchise mutate into something more industrial, more IP-forward. So when he says he hasn’t seen “Clones” and hasn’t seen “much of anything,” it’s not just about being busy or out of the loop. It’s a soft confession of withdrawal: the artist stepping back from a culture machine that no longer speaks his language.
The real blade is in the last clause: “when you make a lot of movies, your attitude about the movies changes.” It’s an insider’s way of explaining how repetition turns wonder into workflow. The subtext isn’t “Episode I is bad,” even though that’s the shadow on the wall. It’s sharper: once filmmaking becomes an assembly line, the product starts to feel like one, and even veterans stop approaching it as cinema. Kasdan is hinting at an exhaustion of belief - not just in a prequel, but in the idea that the next one will restore the original spark.
The context matters: Kasdan isn’t a random pundit. He helped build the emotional engine of the original Star Wars trilogy (and Raiders), then watched the franchise mutate into something more industrial, more IP-forward. So when he says he hasn’t seen “Clones” and hasn’t seen “much of anything,” it’s not just about being busy or out of the loop. It’s a soft confession of withdrawal: the artist stepping back from a culture machine that no longer speaks his language.
The real blade is in the last clause: “when you make a lot of movies, your attitude about the movies changes.” It’s an insider’s way of explaining how repetition turns wonder into workflow. The subtext isn’t “Episode I is bad,” even though that’s the shadow on the wall. It’s sharper: once filmmaking becomes an assembly line, the product starts to feel like one, and even veterans stop approaching it as cinema. Kasdan is hinting at an exhaustion of belief - not just in a prequel, but in the idea that the next one will restore the original spark.
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