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academy awards · 27 February 2023

Dune 2022 Academy Award Winners List

"Dune" is a 2021 science fiction film directed by Denis Villeneuve and adapted from Frank Herbert's novel of the same name.

The film has received several Academy Award nominations and wins, which is a remarkable achievement for a sci-fi film, given the Academy's historical reluctance to recognize the genre.

Here are the 10 Academy Award nominations and wins that "Dune" received:

Best Picture - Nominated

Producers: Cale Boyter, Joe Caracciolo Jr., Mary Parent, Denis Villeneuve

Best Director - Nominated (Denis Villeneuve)

Director: Denis Villeneuve

Best Original Score - Nominated (Hans Zimmer)

Music by: Hans Zimmer

Best Sound - Won

Sound: Mark Mangini, Theo Green, Doug Hemphill

Best Cinematography - Won (Greig Fraser)

Cinematography: Greig Fraser

Best Production Design - Won (Patrice Vermette and Zsuzsanna Sipos)

Production Design: Patrice Vermette
Set Decoration: Zsuzsanna Sipos

Best Visual Effects - Won (Paul Lambert, Tristan Myles, Brian Cox, and Gerd Nefzer)

Visual Effects: Paul Lambert, Tristan Myles, Brian Cox, and Gerd Nefzer

Best Makeup and Hairstyling - Won (Donald Mowat and Love Larson)

Makeup and Hairstyling: Donald Mowat and Love Larson

Best Costume Design - Nominated

Costume Design: Jacqueline West and Bob Morgan

Best Film Editing - Nominated

Film Editing: Joe Walker

As we can see, "Dune" received a total of 10 nominations, which is a significant achievement for a sci-fi film.

Moreover, the film won six Oscars, including Best Sound, Best Cinematography, Best Production Design, Best Visual Effects, Best Makeup and Hairstyling, and Best Soundtrack (Hans Zimmer).

It's worth noting that sci-fi films have traditionally struggled to gain recognition from the Academy. The genre has often been seen as lowbrow and lacking in artistic merit, with few exceptions. Despite this, "Dune" managed to receive several nominations and six wins, which is a testament to the film's quality and the skill of its cast and crew.

Furthermore, it may signal a potential shift in the Academy's attitudes towards sci-fi films, and we may see more recognition for the genre in the future.

In addition to the Academy Awards nominations and wins, "Dune" also received several nominations and wins at the British Academy Film Awards (BAFTAs) and other award ceremonies. Here's a list of the nominations and wins:

BAFTA Awards

Best Film - Nominated
Best Director - Nominated (Denis Villeneuve)
Best Cinematography - Won (Greig Fraser)
Best Production Design - Won (Patrice Vermette and Zsuzsanna Sipos)
Best Special Visual Effects - Won (Paul Lambert, Tristan Myles, Brian Cox, and Gerd Nefzer)
Best Sound - Nominated
Best Original Score - Nominated (Hans Zimmer)
Best Makeup and Hair - Nominated (Donald Mowat and Love Larson)
Best Costume Design - Nominated
Best Editing - Nominated

Critics' Choice Awards

Best Director - Nominated (Denis Villeneuve)
Best Cinematography - Won (Greig Fraser)
Best Production Design - Won (Patrice Vermette and Zsuzsanna Sipos)
Best Visual Effects - Nominated
Best Score - Nominated (Hans Zimmer)

Satellite Awards

Best Art Direction and Production Design - Won (Patrice Vermette and Zsuzsanna Sipos)
Best Cinematography - Won (Greig Fraser)
Best Sound - Won

"Dune" is a 2021 science fiction film directed by Denis Villeneuve and adapted from Frank Herbert's novel of the same name. T...

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bene gesserit ·

Quotes from Dune 2021

Dune, the science fiction novel written by Frank Herbert, has been considered a masterpiece of the genre since its publication in 1965. It has garnered a large following over the years, with fans drawn to its intricate world-building, political intrigue, and philosophical themes.

With the success of the book, many have attempted to adapt it to other mediums, including film and television (e.g. Children of Dune). However, none have been able to capture the essence of the novel quite like the latest adaptation directed by Denis Villeneuve, which was released in 2021. The anticipation for this film was high, with fans of the book eager to see their favorite characters and settings brought to life on the big screen.

The success of this adaptation rested on the ability of the filmmakers to stay true to the source material while also making it accessible to a wider audience. With stunning visuals, a talented cast, and a faithful interpretation of the story, the 2021 version of Dune has been praised by fans and critics alike, solidifying its place as a modern science fiction classic.

Quotes from the 2021 film Dune directed by DenisVilleneuve, grouped by character and house:

House Atreides

Duke Leto Atreides: "The spice must flow." (This is a recurring quote throughout the movie that refers to the importance of the spice melange, which is only found on the desert planet of Arrakis and is necessary for space travel and other technologies.)
"A great man doesn't seek to lead; he is called to it. But if your answer is no, you'd still be the only thing I ever needed you to be: my son."
"We are House Atreides. There is no call we do not answer. There is no faith that we betray. The Emperor asks us to bring peace to Arrakis. House Atreides accepts!"
Duke Leto Atreides: "The future of House Atreides rests on you." (Said to his son, Paul, who is the heir to the Atreides family.)
Duke Leto Atreides: "Fear is the mind-killer." (Said to Paul as a lesson in controlling his emotions and fears.)
Lady Jessica: "My son will be the ruler of Arrakis and its people." (Said to the Reverend Mother, who is testing Paul's abilities.)
Duke Leto Atreides: "When you look into the abyss, you must not blink." (Said to Paul when discussing the dangers of ruling Arrakis.)
Paul Atreides: "The future I saw, it's true." (Said to Lady Jessica after experiencing a prophetic vision.)
Gurney Halleck: "The Harkonnens will not give up Arrakis without a fight." (Said to Paul as they prepare for battle.)
Paul Atreides: "I must not fear. Fear is the mind-killer." (Repeating the lesson he learned from Lady Jessica.)

House Harkonnen

Baron Vladimir Harkonnen: "Bring in the driller." (Said as he prepares to attack House Atreides.)
Glossu Rabban: "We're Harkonnens. We don't need a reason to kill." (Said to a Fremen leader, showing the ruthless nature of the Harkonnen family.)
Piter De Vries: "The spice extends life. The spice expands consciousness." (Said while talking to the Baron about the value of the spice.)
Baron Vladimir Harkonnen: "Give my regards to the House Atreides." (Said sarcastically to Duke Leto Atreides before ordering his attack.)
Glossu Rabban: "They call you the 'Kwisatz Haderach'? That's cute." (Said to Paul, mocking his status as a prophesized messiah.)
Piter De Vries: "I enjoy pain, didn't you know?" (Said to the Baron when asked about his torture methods.)

Fremen

Chani: "He's dreaming. He'll be insane within a month." (Said about Paul, who has been having prophetic dreams.)
Stilgar: "The spice is vital to space travel. The Spacing Guild demands it." (Said to Paul to explain the importance of the spice.)
Liet-Kynes: "The spice is not just in the sand. It's in the air, the water, the food. It's everywhere." (Said to Paul to explain the ubiquity of the spice on Arrakis.)
Jamis: "The sleeper has awakened." (Said to Paul after he defeats Jamis in combat and earns the respect of the Fremen.)
Fremen Chorus: "We are the Fremen, the people of the open desert." (Said during a traditional Fremen chant.)
Chani: "The future is already written. We can only change the past." (Said to Paul when discussing the inevitability of events.)
Stilgar: "You are the leader of the Fremen now." (Said to Paul after he earns the respect of the Fremen.)
Dr. Liet-Kynes: "We have to change the way we live. Otherwise, we will not survive." (Said to Paul when discussing the environmental impact of harvesting the spice.)

Others

Reverend Mother Gaius Helen Mohiam: "You've never sat down with a Mentat before, have you?" (Said to Lady Jessica, referring to the mental abilities of the Atreides family's advisor, Thufir Hawat.)
Thufir Hawat: "To play the game, you must understand the moves." (Said to Paul as he teaches him about the political intricacies of Arrakis.)
Dr. Liet-Kynes: "The balance of the universe is a delicate thing." (Said to Paul as they discuss the ecological impact of harvesting the spice.)
Dr. Wellington Yueh: "I serve the Duke." (Said when he is taken hostage by the Harkonnens and forced to betray the Atreides family.)
Reverend Mother Gaius Helen Mohiam: "The Kwisatz Haderach could be our messiah." (Said to the Bene Gesserit council when discussing Paul's potential.)
Thufir Hawat: "I would lay down my life for the Duke." (Said to Paul when discussing his loyalty to House Atreides.)
Dr. Wellington Yueh: "The tooth. The poison's in the tooth." (Said to the Baron when discussing his plan to betray the Atreides family.)
Reverend Mother Gaius Helen Mohiam: "The Kwisatz Haderach could be our messiah." (Said to the Bene Gesserit council when discussing Paul's potential.)
Thufir Hawat: "I would lay down my life for the Duke." (Said to Paul when discussing his loyalty to House Atreides.)
Dr. Wellington Yueh: "The tooth. The poison's in the tooth." (Said to the Baron when discussing his plan to betray the Atreides family.)

These quotes provide some insight into the motivations, values, and beliefs of the various characters and factions in the movie, as well as the importance of the spice to the overall plot.

Dune, the science fiction novel written by Frank Herbert, has been considered a masterpiece of the genre since its publication in 1965. It h...

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bene gesserit ·

Every officially published "Dune" related novel grouped by author

The original "Dune" novels written by Frank Herbert have been a massive success since the first book was published in 1965. "Dune" became a bestseller, won both the Hugo and Nebula awards for best novel, and has sold millions of copies worldwide.

The novel's success continued with the sequels, "Dune Messiah," "Children of Dune," "God Emperor of Dune," "Heretics of Dune," and "Chapterhouse: Dune," which were also well-received and sold well.

In terms of fan acceptance and critical reception, the prequel novels written by son Brian Herbert and Kevin J. Anderson have been more divisive. While some fans have enjoyed these books and appreciate the additional world-building and insights into the characters and universe, others have criticized them for deviating from Frank Herbert's original vision and writing style.

The prequels have also received mixed reviews from critics.

Our personal favorite is The Butleran Jihad.

Despite the mixed response, the prequel novels have been successful in terms of sales. The first prequel, "House Atreides," was a New York Times bestseller, and subsequent prequels, including "House Harkonnen," "House Corrino," "The Butlerian Jihad," "The Machine Crusade," "The Battle of Corrin," and "Sisterhood of Dune," have also sold well.

Overall, the "Dune" series, both the original novels and the prequels, have left a lasting impact on science fiction and have garnered a dedicated fan base that continues to be engaged with the series.

Here is a comprehensive list of every officially published "Dune" related novel or book, grouped by author:

Frank Herbert:

a. Dune (1965) - The first novel in the series follows the story of Paul Atreides, a young nobleman who becomes the leader of the Fremen, a desert-dwelling people on the planet Arrakis, also known as Dune. The story is set in a distant future in which noble houses rule the galaxy and the most valuable substance is a drug called "spice", found only on Arrakis.

b. Dune Messiah (1969) - The second novel in the seriescontinues the story of Paul Atreides, now the Emperor of the known universe. It explores the consequences of Paul's actions in the first book and the struggles of his rule.

c. Children of Dune (1976) - The third novel in the seriestakes place many years after the events of the first two books and follows the lives of Paul's children, Leto and Ghanima Atreides, who possess special abilities inherited from their father.

d. God Emperor of Dune (1981) - The fourth novel in the series is set 3,500 years after the events of the first three books and followsthe rule of Leto II, the son of Paul Atreides, who has become a hybrid creature as a result of his ingestion of the spice.

e. Heretics of Dune (1984) - The fifth novel in the series is set 1,500 years after the events of God Emperor of Dune and explores the struggles of the Bene Gesserit, a powerful group of women who have been manipulating human history for centuries.

f. Chapterhouse: Dune (1985) - The sixth and final novel in the series is set immediately after the events of Heretics of Dune and follows the Bene Gesserit as they struggle to survive and preserve their knowledge on a hostile world.

Brian Herbert and Kevin J. Anderson:

a. Prelude to Dune trilogy:

Dune: House Atreides (1999) - The first novel in the trilogy takes place several decades before the events of Dune and follows the early years of the Atreides family, including the childhood of Paul Atreides.
Dune: House Harkonnen (2000) - The second novel in the trilogy explores the history and motivations of the Harkonnen family, who are the traditional enemies of the Atreides.
Dune: House Corrino (2001) - The third and final novel in the trilogy focuses on the political struggles of the Emperor and his family.

b. Legends of Dune trilogy:

Dune: The Butlerian Jihad (2002) - The first novel in the trilogy is set 10,000 years before the events of Dune and explores the war between humans and sentient machines.
Dune: The Machine Crusade (2003) - The second novel in the trilogy continues the story of the war between humans and machines and the origins of the Bene Gesserit.
Dune: The Battle of Corrin (2004) - The third and final novel in the trilogy concludes the story of the war between humans and machines and the rise of the Spacing Guild.

c. Hunters of Dune (2006) - The first of two novels in the "Dune 7" series, which were based on notes and outlines left by Frank Herbert before his death. The story takes place several years after the events of Chapterhouse: Dune and follows the Atreides family as they attempt to find a way to save their ancestors from a terrible fate.

d. Sandworms of Dune (2007) - The second and final novel in the "Dune 7" series concludes the story begun in Hunters of Dune, as the Atreides family continues their quest to save the universe from destruction.

e. Paul of Dune (2008) - This novel is set between the events of Dune and Dune Messiah and explores the early years of Paul Atreides' rule as the Emperor.

f. The Winds of Dune (2009) - This novel is set between the events of Dune Messiah and Children of Dune and explores the lives of the characters during the early years of Paul's rule.

g. Sisterhood of Dune (2012) - This novel is set 80 years after the events of The Battle of Corrin and explores the origins and early years of the Bene Gesserit sisterhood.

h. Mentats of Dune (2014) - This novel is set in the years leading up to the events of Dune and explores the origins and training of the human computers known as Mentats.

i. Navigators of Dune (2016) - This novel is set in the years leading up to the events of Dune and explores the origins and abilities of the Spacing Guild navigators.

j. The Duke of Caladan (2020) - This novel is set several years before the events of Dune and explores the life of Duke Leto Atreides, the father of Paul Atreides.

k. The Lady of Caladan (2021) - This novel is set in the years following the events of The Duke of Caladan and explores the life of Lady Jessica, the mother of Paul Atreides.

This is a complete list of every officially published "Dune" related novel or book to date.

Now, if you wanted to read the Dune novels in chronological order, we've the list.

The original "Dune" novels written by Frank Herbert have been a massive success since the first book was published in 1965. ...

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bene gesserit ·

What are the film and TV adaptations of Dune?

Frank Herbert's Dune is a classic science fiction novel that has inspired several film and television adaptations over the years. Each adaptation has its own unique take on the story, characters, and themes of the novel, and has been received differently by critics and audiences.

In this discussion, we will provide a list of the major adaptations of the Dune novels, along with their directors, cast members, plot synopses, and critical evaluations. We will also explore the strengths and weaknesses of each adaptation and discuss their place in the larger context of science fiction film and television.

Dune (1984)

Directed by: David Lynch

Starring: Kyle MacLachlan, Virginia Madsen, Sting, SeanYoung, Francesca Annis

Plot Synopsis: In the distant future, a young man named Paul Atreides (MacLachlan) is sent to a desert planet called Arrakis to oversee the mining of a valuable spice called melange. However, he becomes embroiled in a political and religious conflict between the native Fremen people and the corrupt ruling class. As he learns more about his own destiny, Paul must navigate dangerous alliances and mystical powers to save his family and the fate of the planet.

Critical Evaluation: Despite a strong cast and Lynch's unique visual style, the film was a commercial and critical failure upon release. Some critics praised its ambitious scope and complex world-building, while others found it convoluted and poorly paced. It has since gained a cult following and is considered a cult classic in the science fiction genre.

Frank Herbert's Dune (2000) (TV Miniseries)

Directed by: John Harrison

Starring: William Hurt, Alec Newman, Saskia Reeves, Julie Cox, Giancarlo Giannini

Plot Synopsis: Based more faithfully on the novel, the miniseries follows the same basic story as the 1984 film, but with more time to explore the world and characters in greater detail. Paul Atreides (Newman) is still sent to Arrakis to oversee the mining of melange, but he must also contend with political intrigue and assassination attempts. As he gains the trust of the Fremen and embraces his own destiny as their leader, Paul faces a final battle with the villainous Baron Harkonnen (Giannini) and his minions.

Critical Evaluation: Although not without flaws, this version is generally regarded as a more faithful and satisfying adaptation of the novel than the 1984 film. The miniseries benefits from a strong cast, solid pacing, and impressive visual effects. It received several Emmy nominations and won two, for Outstanding Cinematography and Visual Effects.

Children of Dune (2003) (TV Miniseries)

Directed by: Greg Yaitanes

Starring: Alec Newman, Susan Sarandon, James McAvoy, AliceKrige, Edward Atterton

Plot Synopsis: A sequel to the 2000 miniseries, this adaptation combines elements from the second and third Dune novels, DuneMessiah and Children of Dune. Paul Atreides (Newman) is now the Emperor of the known universe, but faces new challenges as his leadership is threatened by a religious cult and his own visions of the future. Meanwhile, his sister Alia (Krige) struggles with her own descent into madness and the machinations of their enemies.

Critical Evaluation: While not as well-received as the first miniseries, Children of Dune still earned praise for its strong performances and engaging storyline. Sarandon in particular was lauded for her role as the powerful Bene Gesserit leader, and McAvoy made a memorable impression as Paul's troubled son, Leto II. The series won the Emmy for Outstanding Special Visual Effects.

Dune (2021)

Directed by: Denis Villeneuve

Starring: Timothee Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgard, Zendaya

Plot Synopsis: This latest adaptation, directed by Villeneuve (Blade Runner 2049), covers the first half of the first Dune novel. It follows Paul Atreides (Chalamet) as he and his family travel to Arrakis to take control of the spice mining operations, but soon find themselves embroiled in a deadly conflict with rival factions. As Paul learns more about his truenature and destiny, he forms a bond with a mysterious Fremen warrior (Zendaya) and must lead a rebellion against the forces of the evil Baron Harkonnen (Skarsgard).

Critical Evaluation: The film has received mostly positive reviews for its stunning visuals, ambitious storytelling, and strong performances, particularly from Chalamet and Ferguson. Some critics have criticized the film for its dense and complex plot, which may be difficult for audiences unfamiliar with the source material to follow. However, overall, the film is widely regarded as a faithful and compelling adaptation of Herbert's classic novel.

It has been praised for its epic scale, memorable characters, and thought-provoking themes, and has already garnered multiple award nominations.

Frank Herbert's Dune is a classic science fiction novel that has inspired several film and television adaptations over the years. Each a...

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dune · 06 February 2023

Why did the Emperor in Dune want the Atreides family to be massacred?

In the Dune novel by Frank Herbert, the Emperor Shaddam IV sees Duke Leto Atreides as a potential threat to his power due to Leto's growing popularity and the loyalty of many Great Houses to him.

The Emperor fears that Leto may be able to gather enough support to challenge his rule, leading him to see the Atreides family as a threat that must be eliminated.

To get rid of the Atreides, the Emperor devises a plan to lure them into a trap. He offers them control of the valuable spice production on the planet Arrakis, also known as Dune, which he knows is coveted by the Harkonnen family, long-time enemies of the Atreides.

Emperor Shaddam from the cult 1984 Dune movie.

The Emperor hopes that by pitting the Atreides against the Harkonnens, they will destroy each other and the Emperor can then swoop in and take control of Arrakis.

This plan involves some subterfuge, as the Emperor pretends to be benevolent and even arranges for his trusted advisor, Count Fenring, to offer Duke Leto a chance to become the Emperor's right-hand man. This is intended to lull Leto into a false sense of security and make him more willing to accept the offer of Arrakis.

Once the Atreides family arrives on planet Arrakis, the Emperor's plan comes to fruition.

The Harkonnens launch a surprise attack on the Atreides, with the help of the Emperor's Sardaukar troops. The attack is swift and brutal, and most of the Atreides are killed or captured. Duke Leto is taken prisoner and eventually killed by Baron Harkonnen himself.

Concept art of Dune's Emperor Shaddam IV

As for why the Emperor did not destroy the Atreides homeworld, Caladan, it is likely because he knew it would be too risky. The Atreides were a powerful and respected family, and destroying their home would have been seen as a major act of aggression. This could have led to a full-blown war between the Emperor and the other Great Houses, which would have been costly and dangerous for everyone involved.

By eliminating the Atreides on Arrakis, the Emperor hoped to remove the threat to his power while avoiding a direct conflict with the other Great Houses.

In conclusion, the Emperor saw the Atreides as a threat to his power and devised a plan to eliminate them by luring them into a trap on Arrakis. The plan involved using the Harkonnens as pawns and the Emperor's own troops to defeat the Atreides. However, the Emperor did not want to risk further conflict by attacking the Atreides' homeworld, Caladan, which is why he chose to eliminate them on Arrakis instead.

And to think young Paul Atredies scuppered those plans...

In the Dune novel by Frank Herbert , the Emperor Shaddam IV sees Duke Leto Atreides as a potential threat to his power due to Leto's gro...

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star wars · 05 February 2023

What are the running times of each Star Wars film?

Star Wars Film Runtimes

Every theatrical live-action film, ranked by minutes, era, and storytelling weight

The runtime of a Star Wars film is not just trivia. It tells you what kind of Star Wars story the film thinks it is telling.

Look at the runtimes of the Star Wars movies and you can see the franchise changing shape. The early films move like old adventure serials. A New Hope is brisk because it is built on clean mythic machinery: droids, desert, mentor, rescue, battle station, trench run. The Empire Strikes Back adds only three minutes, but uses that space to make the saga darker, stranger, and more emotionally dangerous.

The prequels stretch out because George Lucas is no longer telling only a rebel adventure. He is charting the collapse of a republic, the rise of bureaucratic evil, the blindness of a Jedi Order, and the grooming of Anakin Skywalker by Palpatine. That is why Revenge of the Sith feels so dense. It has to land as tragedy, political coup, war film, family rupture, and Vader origin story all at once.

The Disney era then brings modern event-movie gravity. The Last Jedi becomes the longest theatrical Star Wars film because it is trying to interrogate the myth while still functioning as the middle chapter of a blockbuster trilogy. Rogue One, meanwhile, proves that a Star Wars film does not need Jedi mysticism to feel huge. It just needs pressure, sacrifice, and a final act that makes hope feel expensive.

Ralph McQuarrie inspired Darth Vader concept art used with a Star Wars film runtime guide — Star Wars began as lean pulp myth, but the runtimes show how that myth expanded into politics, tragedy, legacy, and modern blockbuster sprawl.

◆ ◆ ◆ The hard data

Star Wars Film Runtimes, Theatrical Releases

This table covers the eleven live-action Star Wars feature films released theatrically between 1977 and 2019. The 2008 animated Clone Wars film is excluded here because this guide is focused on the main live-action theatrical slate.

Released live-action theatrical Star Wars films, release order
Year	Film	Runtime	Era	What the runtime is doing
1977	Star Wars Episode IV: A New Hope	121 min	Original Trilogy	A tight mythic engine. It builds a universe, introduces the Force, defines the Empire, rescues the princess, and destroys the Death Star without wasting movement.
1980	Star Wars Episode V: The Empire Strikes Back	124 min	Original Trilogy	Only slightly longer than A New Hope, but much heavier. It splits the heroes, deepens the Force, and turns victory into survival.
1983	Star Wars Episode VI: Return of the Jedi	131 min	Original Trilogy	The original trilogy's longest film because it has to resolve Jabba, Endor, Vader, Luke, the Emperor, and the Rebellion's final strike.
1999	Star Wars Episode I: The Phantom Menace	136 min	Prequel Trilogy	The start of the institutional Star Wars mode. It needs time for Naboo, the Senate, the Jedi Council, Anakin's discovery, and the hidden return of the Sith.
2002	Star Wars Episode II: Attack of the Clones	142 min	Prequel Trilogy	The most structurally overburdened prequel. It tries to be romance, mystery, war prelude, Jedi critique, and conspiracy thriller at the same time.
2005	Star Wars Episode III: Revenge of the Sith	140 min	Prequel Trilogy	Operatic and compressed despite its length. Every major thread points toward one destination: Anakin falls, the Jedi burn, and the Republic becomes the Empire.
2015	Star Wars Episode VII: The Force Awakens	138 min	Sequel Trilogy	A modern re-entry point. It spends its time reintroducing the grammar of Star Wars while handing the saga to Rey, Finn, Poe, and Kylo Ren.
2016	Rogue One: A Star Wars Story	133 min	Anthology	A war film disguised as a Star Wars side story. It uses its runtime to build a doomed mission that turns the word hope into something paid for in blood.
2017	Star Wars Episode VIII: The Last Jedi	152 min	Sequel Trilogy	The longest Star Wars film. It uses that space to question legend, failure, inheritance, balance, and the burden of being turned into a symbol.
2018	Solo: A Star Wars Story	135 min	Anthology	A looser crime-adventure film about identity, friendship, debt, the underworld, and the battered romance of the Millennium Falcon.
2019	Star Wars Episode IX: The Rise of Skywalker	142 min	Sequel Trilogy	Long on paper, hurried in practice. It tries to close a trilogy, answer fan backlash, revive Sith mythology, and finish the Skywalker Saga in one sprint.

Runtime note: These are standard theatrical runtimes. Minor differences can appear across catalogues, Blu-ray releases, streaming services, and regional listings depending on logos, credits, and localized material.

Star Wars Runtime Stats

121 Shortest film, A New Hope

152 Longest film, The Last Jedi

1494 Total minutes, all 11 live-action theatrical films

24h 54m Full theatrical marathon time

136 Average runtime across the 11 films

1226 Skywalker Saga total, Episodes I to IX

Runtime totals by Star Wars era
Era	Films included	Total minutes	Total time	What that means for a watch
Original Trilogy	IV, V, VI	376	6h 16m	The cleanest marathon block. It is compact, coherent, and still the best demonstration of Star Wars as mythic adventure cinema.
Prequel Trilogy	I, II, III	418	6h 58m	Nearly seven hours of political rot, Jedi blindness, clone armies, Sith patience, and one gifted child being turned into a weapon.
Sequel Trilogy	VII, VIII, IX	432	7h 12m	The longest trilogy block, shaped by legacy pressure, tonal disagreement, and the challenge of extending the Skywalker myth after its natural ending.
Skywalker Saga	Episodes I to IX	1226	20h 26m	A full-day myth cycle about fathers, sons, prophecy, empire, rebellion, failure, and the recurring temptation of power.
Anthology Films	Rogue One, Solo	268	4h 28m	The grounded double feature: one story about ordinary rebels dying for the cause, one about a smuggler learning how much trouble freedom costs.
The Full Roster	Saga plus anthologies	1494	24h 54m	An entire day of Star Wars before food, sleep, arguments, trailers, and pausing to explain why parsecs are distance, not time.

◆ ◆ ◆ What the minutes reveal

What the Star Wars Runtimes Reveal

The Originals: Lean myth, practical pressure

The Original Trilogy is the shortest era because the storytelling is cleanest. A New Hope wastes almost nothing. Its first act hands the audience to R2-D2 and C-3PO, a trick drawn partly from the low-status viewpoint structure of Kurosawa's The Hidden Fortress. Luke does not even enter immediately, yet the story is already moving.

The Empire Strikes Back is still short by modern blockbuster standards, but it feels larger because it deepens every major relationship. The extra minutes are not filler. They create separation: Luke with Yoda, Han and Leia on the run, Vader tightening the trap. Return of the Jedi then expands because endings are expensive. The film has to finish the gangster interlude, the war story, Luke's temptation, Vader's redemption, and the Emperor's defeat.

The Prequels: The galaxy gets heavier

The prequels are longer because their subject is not simply adventure. They are about systems failing in slow motion. The Phantom Menace introduces the Republic at the moment it can still pretend to function. Attack of the Clones pushes that dysfunction into open crisis, with the Jedi investigating a mystery while failing to understand that they are already inside the trap.

Revenge of the Sith is the best use of prequel length because its structure is merciless. The film is not wandering. It is narrowing. Every meeting, nightmare, council scene, and battlefield cut brings Anakin closer to the point where fear becomes obedience.

The Sequels: Legacy adds weight

The sequel trilogy carries a different burden. The Force Awakens must restart the theatrical machine, introduce a new cast, reassure old fans, and make Star Wars feel cinematic again after a decade away from live-action film. That is a lot of work for 138 minutes, which helps explain why it leans so heavily on the shape of A New Hope.

The Last Jedi is the longest Star Wars movie because it is the most argumentative one. It wants to know what legends do to the people trapped inside them. Luke is no longer just the farm boy who saved the galaxy. He is a failed teacher, an unwilling icon, and a man crushed by the distance between myth and memory. The Rise of Skywalker then runs longer than many entries but feels shorter because it is overloaded with reversals, reveals, and connective tissue.

The Anthologies: Genre changes the rhythm

Rogue One and Solo sit near the middle of the runtime spread, but they feel completely different. Rogue One is a countdown. It begins with scattered lives and ends with those lives converging into one act of rebellion. Solo is episodic by design: escape, enlistment, battlefield, heist, betrayal, card game, ship, legend.

That contrast matters. Runtime alone does not tell you whether a film is tight or baggy. Structure does. Rogue One feels like it is closing a fist. Solo feels like a stack of pulp chapters. Both approaches can work, but only one has the momentum of tragedy.

Useful related reading on The Astromech

Star Wars hub page for broader lore, film analysis, timelines, and character essays.
Every Star Wars opening crawl for how the saga frames each film before the story begins.
The chronological order of the Star Wars films and shows for timeline placement beyond release order.
Working and production titles of the Star Wars films for a different look at how each chapter evolved before release.
Ralph McQuarrie's Star Wars concept art for the visual ideas that helped define the galaxy before the films were finished.

◆ ◆ ◆ Marathon planning

Star Wars Marathon Guide by Runtime

Star Wars marathons sound simple until the arithmetic starts biting. A quick saga rewatch becomes a full-day endurance event once the Skywalker Saga, the anthology films, food breaks, and arguments about watch order enter the room.

The best ways to binge

Original Trilogy night, 6h 16m: The cleanest compact marathon. Fast, emotionally direct, and still the best entry point for the mythic core of Star Wars.
Prequel tragedy night, 6h 58m: Works best when watched as a political tragedy about a republic hollowed out from within and a Jedi Order too proud to see the blade at its throat.
Sequel trilogy night, 7h 12m: The longest trilogy block and the most uneven. It is most interesting when viewed as a fight over what Star Wars inheritance should mean.
Rogue-to-Hope double feature, 4h 14m: Rogue One into A New Hope. Probably the strongest two-film handoff in the franchise, because one film ends by earning the title of the next.
Pre-Rebellion block, 6h 29m: Solo into Rogue One into A New Hope. This gives you the underworld, the rebel sacrifice, and the classic myth in one timeline run.
Full Skywalker Saga, 20h 26m: Episodes I through IX. Possible in a day, but only if you treat sleep as optional and snacks as tactical supplies.
Full live-action theatrical roster, 24h 54m: All eleven films. At that point it is less a movie day and more a lifestyle choice.

Best practical plan: Split the saga into eras. Watch the prequels one night, the originals another, the sequels another, then use Rogue One and Solo as focused anthology sessions rather than cramming everything into one heroic mistake.

◆ ◆ ◆ The next theatrical chapter

Announced and Upcoming Star Wars Feature Films

The theatrical Star Wars slate is moving again after the long gap following The Rise of Skywalker. The important caveat is runtime. Finished films can be measured. Development projects cannot. Until a film is classified, listed by cinemas, or officially dated by Lucasfilm and Disney, any runtime claim should be treated as provisional.

Future and announced theatrical Star Wars projects
Project	Release status	Runtime	Context
The Mandalorian and Grogu	May 2026 theatrical release	132 min, current cinema/classification listing	The first live-action Star Wars theatrical film since 2019. It moves Din Djarin and Grogu from Disney Plus serial storytelling into big-screen adventure territory.
Star Wars: Starfighter	May 28, 2027	TBD	Shawn Levy's standalone Star Wars film starring Ryan Gosling. Officially described as an original adventure set in a period not previously explored on screen.
Untitled Rey / New Jedi Order film	In development	TBD	Sharmeen Obaid-Chinoy's announced film brings Daisy Ridley back as Rey after The Rise of Skywalker, with the story centred on rebuilding the Jedi Order.
James Mangold's Dawn of the Jedi project	In development	TBD	A planned deep-history Star Wars film set around the origins of the Jedi. No locked theatrical runtime should be assumed until production and release details are firm.
Dave Filoni's New Republic-era film	In development	TBD	Originally announced as a film designed to connect and conclude threads from The Mandalorian, Ahsoka, and related New Republic-era stories.

Future runtime note: Only treat The Mandalorian and Grogu as having a usable current runtime figure. For Starfighter, the Rey film, the Dawn of the Jedi project, and the Filoni project, runtime data is not meaningful until the films are much closer to release.

Star Wars Film Runtimes Every theatrical live-action film, ranked by minutes, era, and storytelling weight ...

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02 February 2023

Obi-Wan Kenobi quotes from Star Wars

Obi-Wan Kenobi: The Ultimate Jedi Master

Obi-Wan Kenobi stands as the definitive anchor of the Star Wars saga, bridging the gap between the golden age of the Galactic Republic and the desperate rebellion against the Galactic Empire. Introduced to audiences in 1977 as a wise, weary hermit living in the Dune Sea of Tatooine, Kenobi quickly proved to be much more: a legendary Jedi Master, a decorated war hero, and the guardian of the galaxy's last hope.

His character arc is defined by profound tragedy, philosophical evolution, and unwavering resilience. As a young Padawan, he watched his master, Qui-Gon Jinn, fall in battle. As a Jedi General, he led the Republic through the devastating Clone Wars, witnessing the moral decay of an Order trapped in political warfare. Most tragically, as a mentor, he suffered the ultimate betrayal when his closest friend and apprentice, Anakin Skywalker, succumbed to the dark side of the Force and orchestrated the genocide of the Jedi Order.

Despite losing his Order, his friends, and his republic, Obi-Wan never surrendered to despair or the dark side. Operating from the shadows under the alias "Ben," he dedicated his exile to guarding young Luke Skywalker and mastering the ancient spiritual path to cosmic immortality. Through his spoken words across the eras, Obi-Wan passed on the true essence of the Jedi—patience, selflessness, and an absolute trust in the living Force—ultimately sacrificing his physical form to ignite the spark that would save the galaxy.

Episode I: The Phantom Menace (1999)

"I have a bad feeling about this." Uttered as he and Qui-Gon Jinn await the Neimoidian leadership on a Trade Federation battleship. This initial dialogue establishes the saga's running gag while subtly demonstrating Obi-Wan's sharp instinct and early attunement to disturbances in the Force.
"Why do I sense we've picked up another pathetic life form?" A young, highly structured, and somewhat rigid Obi-Wan questions his master's decision to rescue Jar Jar Binks from the Naboo swamps. This showcases his early adherence to rules over Qui-Gon’s radical compassion and focus on the "Living Force."
"Master, why do you keep dragging these pathetic life-forms along with us when they are of so little use?" Pressed further during their journey to Tatooine, this highlights a critical thematic divide: Obi-Wan views mission efficiency through pragmatism, whereas Qui-Gon teaches that every living soul has a symbiotic purpose designed by the Force.
"The boy is dangerous. They all sense it, why can't you?" Confronting Qui-Gon on Coruscant regarding the discovery of young Anakin Skywalker. This introduces the tragic irony of the saga; despite his eventual deep love for Anakin, Obi-Wan's baseline Jedi training correctly flagged the volatile fear brewing within the future Sith Lord.
"You were right about one thing, master. The negotiations were short." A dryly humorous line delivered to Qui-Gon after escaping the Trade Federation's assassination attempt, establishing the trademark witty coping mechanism that would define Kenobi's demeanor through decades of galactic conflict.

Episode II: Attack of the Clones (2002)

"Why do I get the feeling you're going to be the death of me?" A lighthearted jab shared with Anakin outside a Coruscant entertainment district. To the audience, it carries an intense, tragic dramatic irony, perfectly foreshadowing his eventual execution at the hands of Darth Vader aboard the Death Star.
"I hate it when he does that." Muttered in sheer exasperation after Anakin recklessly leaps out of an open air-speeder into traffic to track down Zam Wesell. It highlights his ongoing struggle to temper his apprentice’s impulsive, thrill-seeking nature.
"I have to admit that without the clones, it would not have been a victory." Reflecting on the brutal Battle of Geonosis alongside Grand Master Yoda and Mace Windu. This scene highlights the tragic blindness of the Jedi Order, unaware that they have willingly stepped into Darth Sidious's grand chessboard by adopting a engineered slave army.

Episode III: Revenge of the Sith (2005)

"Sith Lords are our speciality." Arrogantly reassuring Supreme Chancellor Palpatine aboard the Invisible Hand just moments before engaging Count Dooku. This sets up the dizzying fall of the Republic, demonstrating how overconfident the Jedi had become right before their ultimate betrayal.
"So uncivilized." Tossed aside in disgust after being forced to use General Grievous's mechanical blaster to puncture the cyborg's fuel cells on Utapau. It reinforces the traditionalist Jedi philosophy that a lightsaber is an elegant weapon meant to defend life, while ranged blasters represent brute, detached violence.
"It's over, Anakin! I have the high ground!" The tactical climax of their duel across the lava rivers of Mustafar. Beyond literal geometry, the "high ground" represents Obi-Wan's absolute moral and emotional composure over Anakin, who has allowed blind, unbridled rage to erode his martial focus.
"You were the Chosen One! It was said that you would destroy the Sith, not join them! Bring balance to the Force, not leave it in darkness!" A grief-stricken, agonizing scream delivered to a mutilated, burning Anakin on the volcanic shores. This painful monologue marks the permanent fracturing of the ancient prophecy and the deep personal devastation of a master who failed to save his brother.

Obi-Wan Kenobi (Disney+ Limited Series, 2022)

"The fight is done. We lost. The time of the Jedi is over. Let it go." Spoken in absolute despair to Nari, a rogue Jedi padawan seeking refuge on Tatooine. Ten years after Order 66, this line reveals a fundamentally broken Obi-Wan who has severed his own connection to the Force, suffering from severe post-traumatic stress and spiritual isolation.
"When the time comes, he must be trained... There's more to life than your farm, Owen. He needs to see that. There's a whole galaxy out there." An argument with Uncle Owen Lars outside the moisture farm. It reveals the core ideological battle of Luke's childhood: Obi-Wan views the boy through the lens of cosmic destiny and the Jedi legacy, while Owen fiercely protects Luke’s humanity, terrified he will be destroyed exactly like Anakin.
"Have you ever been afraid of the dark? How does it feel when you turn on the light? It feels like that." Comforting a young, curious Princess Leia on the transport ship to Jabiim. This beautiful, poetic analogy completely redefines the Force for a new generation—not as a tool for weaponized power or telekinetic combat, but as an ever-present source of safety, warmth, and hope.
"I'm sorry. I'm sorry, Anakin. For all of it." Sobbing through tears during his climactic duel after cracking open Vader’s helmet, exposing the scarred face and distorted voice of his old apprentice. It is the rawest, most human moment in Star Wars lore, as Obi-Wan tearfully takes personal responsibility for his friend’s descent into hell.
"Then my friend is truly dead. Goodbye, Darth." Delivered with cold, tragic acceptance after Vader responds, "You didn't kill Anakin Skywalker... I did." This pivotal psychological realization allows Obi-Wan to detach from his crippling guilt and accept that the boy he loved is gone, enabling him to treat Vader as an entity of pure dark side corruption.

Episode IV: A New Hope (1977)

"Hello there!" His legendary first on-screen words, casually uttered after mimicking a Krayt Dragon to scare off a band of Tusken Raiders attacking Luke. This greeting acts as a bridge across decades, linking back to his greeting to General Grievous in the prequels.
"I felt a great disturbance in the Force, as if millions of voices suddenly cried out in terror and were suddenly silenced." Spoken aboard the Millennium Falcon, marking the exact cosmic echo of the Death Star obliterating Alderaan. This demonstrates the immense weight a Jedi carries, intimately feeling the localized trauma of an entire planetary population dying simultaneously.
"Mos Eisley Spaceport. You will never find a more wretched hive of scum and villainy. We must be cautious." Warning young Luke as they overlook the lawless rim-world spaceport, capturing the gritty, dangerous reality of the Outer Rim territories outside the Republic's former jurisdiction.
"These aren't the droids you're looking for." The iconic historical introduction of the Jedi Mind Trick, showing how a master uses the Force subtly and non-lethally to manipulate the weak minds of Imperial occupiers.
"The Force is what gives a Jedi his power. It's an energy field created by all living things. It surrounds us and penetrates us; it binds the galaxy together." The vital, foundational definition of the Force delivered inside his humble hut, laying down the mystical laws of the universe for both Luke Skywalker and the real-world audience.
"Strike me down, and I will become more powerful than you could possibly imagine." A chilling promise delivered directly into the eyes of Darth Vader on the Death Star. It signifies the ultimate victory of the Jedi philosophy over the Sith; Vader seeks physical domination, while Obi-Wan achieves true, immortal transcendence.

Episode V & VI: The Original Trilogy Finale

"That boy is our last hope." Spoken as a ethereal Force ghost on Dagobah, expressing anxiety as Luke abandons his training. It highlights that even in death, Obi-Wan’s foresight remained limited, leaving Yoda to remind him of Leia's hidden lineage: "No. There is another."
"Luke, you're going to find that many of the truths we cling to depend greatly on our own point of view." Defending his decision to conceal Darth Vader's true identity from Luke. This introduces an advanced, nuanced philosophical element to the Jedi Code, showing how historical truths must sometimes be framed as metaphors to protect an individual’s psychological path.

The Sequel Trilogy Cameos (2015 – 2019)

"Rey... these are your first steps." Echoing within the cosmic current during Rey's sudden psychometric vision in Maz Kanata’s castle. The audio seamlessly mixed Ewan McGregor's newly recorded lines with a precise vocal extract of the late Alec Guinness saying "Rey."
"These are your final steps, Rey. Rise and take them." Obi-Wan's voice calling out alongside generations of historic Jedi spirits during the battle of Exegol, providing the communal, spiritual strength required for Rey to finally dismantle the resurrected Emperor Palpatine.

Behind the Scenes & Production Trivia

Origins of the Alias: While Obi-Wan formally adopts the name "Ben" to keep a low profile on Tatooine, expanded The Clone Wars canon notes that this was the intimate, personal nickname used for him by Duchess Satine Kryze of Mandalore years prior.
The Forbidden Romance: Unlike the detached philosophy of his contemporaries, Obi-Wan deeply understood Anakin's romantic struggles. He admitted to Anakin that had Duchess Satine asked him to stay, he would have willingly turned his back on the Jedi Order forever.
Crafted From Scrap Metal: The original prop for Obi-Wan's lightsaber in 1977 was engineered from everyday junk. It was built using a Rolls-Royce Derwent jet engine balance pipe, a WWI rifle grenade launcher, a kitchen sink tap handle, and an antique Texas Instruments calculator strip.
The Financial Masterstroke: Sir Alec Guinness was highly critical of the film's script, calling the sci-fi dialogue "rubbish." However, he trusted George Lucas's creative drive enough to negotiate a 2.25% share of the film’s total box office gross, making him exceptionally wealthy.
Uncle Wedge: Ewan McGregor’s direct inspiration for joining the franchise came from his uncle, Denis Lawson—the actor who portrayed legendary Rebel pilot Wedge Antilles in the original trilogy.
Vocal Sound Effects: While filming the high-speed lightsaber choreography for the prequels, Ewan McGregor repeatedly made the "whoosh" and "vwoom" sound effects with his own mouth out of habit, requiring George Lucas to humorously remind him that the audio team would add those in later.