I suspect it may have originally played this way, but was changed in post. The idea being, the more Obi-Wan fails, the more Anakin and Obi-Wan seem like equals. But, I think we still get enough of Obi-Wan failing without that beat, and it makes this whole sequence flow better. As one continuous escalation of tension.
I’m sure the intent was to make this appear super close. Will they make it before the door closes? Or will they overshoot and fly out the other side? But, some awkward perspective makes it look like they're going to land easily. I considered replacing both ships in the preceding shot to solve this. But I found that tightening the timing got it 90% of the way there so it’d be a lot more work for not a lot of difference.
As originally shot, this section of the movie was intended to be straight up comedic (see left). This awkward little beat is a remnant from that. As originally shot, this section of the movie was intended to be straight up comedic (see above). This awkward little beat is a remnant from that.
One of the difficulties with doing wipe transitions is that you need the scene to continue playing out after it’s “ended.” Which often introduces a bit of an awkward pause. On top of that, this scene was scripted to go on longer. Which meant that we saw Padme reacting to Anakin’s next line as the wipe was happening. Which was extra jarring. Usually it’s the sort of thing I’d leave, it is part of the style, but it’s much better here to not end on a bizarre awkward moment.
Reducing the timing of a transition like this, I run the risk of making it feel jarringly fast. But since we’re cutting into Anakin’s nightmare, that’s not a bad effect actually.
This is one of the rare moments when an actor clearly runs out of green screen space, because this was shot during pickups and there was no longer any set to work with.
I tried 5-6 versions of this, with different combinations of removed, retimed, or rearranged lines. But ultimately, every edit I made hurt more than it helped. There just isn’t enough material to work with. So what I’ve settled on doing is making some minor stylistic tweaks, which aim to sell you on the “mystical corruption” aspect of the scene, without making drastic changes.
Basically, I’m just copying some elements from Kylo Ren’s interrogation in The Force Awakens. Which, as a movie, is a masterclass in this sort of stylistic cheap trick.
George suggests that there’s some force manipulation going on in this scene, I’m not sure that comes across, but a bit of a rumble helps to sell it (à la Kylo Ren’s interrogation in The Force Awakens).
It looks to me like this was originally “Yes, my master” but got overdubbed in post. That combined with some odd timing, and the tonal whiplash of Anakin going full evil mode in a heartbeat, means that, in my experience, this line often gets a laugh. I hope that tweaking the timing helps, but in addition I've:
Essentially I’m emulating the look of a vintage anamorphic lens (à la Kylo Ren’s interrogation in The Force Awakens). Dial this effect up and you’ve got a dream sequence, dial it back, vague eerieness.
The trailer has a much better line read here, but the audio mix of it is unworkable so I’m sticking with punching this up.
They’re exaggerating the colour here, which is a good idea, but they’re fighting against the fact that this was shot on green screen with studio lighting, so it has the effect of making it look fake. Muting the sky slightly and separating the skin tones makes it less stylistic, but more realistic, and it matches the surrounding shots more.