On a seemingly ordinary October day, Adam Driver stunned Star Wars fans by revealing his desire to return to the franchise that made him famous. Known for his role as Kylo Ren in the sequel trilogy, Driver aimed to revisit the series through a new project after The Rise of Skywalker concluded his character’s arc. Despite his enthusiasm and a compelling pitch to Lucasfilm and Disney executives, the much-anticipated idea was ultimately declined, raising questions about the direction of the Star Wars franchise.
The Unseen Return of Ben Solo
Adam Driver teamed up with Steven Soderbergh, an acclaimed filmmaker, to develop a film titled The Hunt for Ben Solo that would bring back his character from The Rise of Skywalker. Driver discussed the project in an interview with the Associated Press, describing it as a “handmade and character-driven” story reminiscent of The Empire Strikes Back. He called the script
“one of the coolest (expletive) scripts I had ever been a part of.”
Soderbergh expressed regret that audiences would not get to experience the film, saying,
“I really enjoyed making the movie in my head. I’m just sorry the fans won’t get to see it.”
Scott Z. Burns, a writer with a history of collaboration with Soderbergh, was also involved in scripting the project.
Lucasfilm President Kathleen Kennedy had initiated contact with Driver as early as 2021, signaling interest in exploring the character of Ben Solo further. Soderbergh maintained involvement up through 2024, underscoring the project’s serious consideration within the studio. Lucasfilm executives—alongside figures like Dave Filoni and Carrie Beck—embraced the concept enthusiastically. However, when the proposal reached Disney’s senior leadership, it faced rejection. Driver stated that Disney CEO Bob Iger and Alan Bergman refused to proceed because they
“didn’t see how Ben Solo was alive, and that was that.”
This decision sparked disbelief, especially given Star Wars’ history of reviving characters with minimal explanation. The franchise revived Emperor Palpatine in The Rise of Skywalker with a famously mocked line: Somehow Palpatine returned. While that resurrection drew criticism, it set a precedent that many fans and critics might have accepted if it led to a compelling story. Ben Solo’s unique Force dyad status could have offered a plausible narrative reason for his survival, yet Disney opted not to explore it. Furthermore, Star Wars has previously brought back characters like Darth Maul, who survived an on-screen death, and Boba Fett, who escaped the Sarlacc pit, as confirmed in The Book of Boba Fett series. In contrast, Disney’s recent box office disappointment of Tron: Ares, which resurrected Jeff Bridges’ character despite his prior death, makes the refusal to revive Ben Solo all the more perplexing.
Disney’s Cautious Approach to Star Wars and Its Consequences
Adam Driver’s rejected return highlights Disney’s conservative stance on the Star Wars franchise’s creative decisions. An accomplished actor willing to revisit a significant character had positioned himself as a key figure in revitalizing the saga. Alongside him, Steven Soderbergh, whose critically acclaimed works span decades—including hits like Ocean’s Eleven and Sex, Lies, and Videotape—offered fresh, experienced direction. This collaboration aligned with early promises that Disney’s acquisition would bring visionary filmmakers infusing new energy into the series.
Instead, Disney has favored safer choices. Jon Favreau leads projects such as The Mandalorian and the spin-off focused on Grogu, with series announcements that have yielded mixed fan response, particularly after an underwhelming teaser trailer. Upcoming projects include Star Wars: Starfighter, directed by Shawn Levy, known for blockbuster hits like Deadpool and Wolverine, signaling Disney’s preference for proven commercial successes. While Levy’s credentials are impressive, the refusal to back Soderbergh—whose filmography also includes Erin Brockovich and Magic Mike—raises questions about the studio’s risk tolerance.
Soderbergh himself is not a radical figure in filmmaking. He shifted away from major studio productions for more creative freedom with smaller budgets but remained willing to collaborate with Disney, revealing his respect for the Star Wars brand’s reach. As Disney faces skepticism and waning fan enthusiasm, trusting a filmmaker with a reputation for innovative and thoughtful storytelling could have energized the franchise and restored some goodwill after a series of contentious Disney+ projects.
The pitch’s focus on Ben Solo, a pivotal and highly marketable character, made the rejection more baffling. Driver and Soderbergh’s proposal presented Disney with an opportunity to build a story rooted in character depth and fresh perspectives, qualities often missing in recent franchise entries. The refusal to proceed suggests a reluctance to deviate from predictable strategies, despite evident opportunities for renewal.
Industry-Wide Hesitance Toward Acclaimed Directors in Franchise Films
The challenges faced by Driver and Soderbergh are not unique to Disney. Other studios have similarly passed up chances to collaborate with top-tier filmmakers on major franchise properties. For instance, Activision reportedly turned down Steven Spielberg’s interest in directing a Call of Duty film, a surprising decision given Spielberg’s legacy with blockbusters like Jaws and Jurassic Park.
Paul Thomas Anderson has spoken about his enthusiasm for superhero movies and willingness to direct a blockbuster, but such offers have not materialized. Unlike auteurs like Martin Scorsese or Kelly Reichardt, who have expressed no desire to enter franchise filmmaking, directors including Soderbergh, Anderson, and Spielberg have shown willingness to engage with large IPs under the right conditions.
Successful franchises like Spider-Man, The Lord of the Rings, Pirates of the Caribbean, and The Dark Knight trilogy thrived by trusting directors who brought unconventional approaches to these blockbuster series. These filmmakers produced well-crafted stories that appealed both to fans and broader audiences, resulting in long-lasting cultural impact and financial success. One might expect that, following the positive reception of the series Andor, Disney would be more receptive to visionary creatives like Tony Gilroy. Instead, they continue to lean on safer bets such as Simon Kinberg for the upcoming Star Wars trilogy and established figures like Jon Favreau and Dave Filoni for existing series, despite some diminishing returns.
Bob Iger’s return to Disney in 2022 has been marked by mixed decisions that complicate his otherwise stellar legacy. His first tenure was notable for acquiring Pixar, Marvel, Lucasfilm, and 20th Century Fox, leading to significant box office achievements. Since then, controversial choices—ranging from insensitive remarks during the Writers Guild strike to the temporary suspension of Jimmy Kimmel’s show—have clouded his reputation. The rejection of The Hunt for Ben Solo adds to this pattern, leaving many to call for a course correction involving collaboration with Adam Driver and Steven Soderbergh to reinvigorate Star Wars’ storytelling potential.
