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00:00:07,007 --> 00:00:08,800
Yeah. Well, we're starting where...
2
00:00:08,884 --> 00:00:10,928
You get up and he comes, you know, back.
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00:00:20,312 --> 00:00:22,397
KIM RICHARDS:
All right, guys and girls. Good morning!
4
00:00:22,481 --> 00:00:24,816
Welcome to season two of Huckleberry.
5
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-Welcome back! Yes.
-(CREW MEMBERS CHEERING)
6
00:00:27,236 --> 00:00:29,321
Welcome back,
or welcome for the first time.
7
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I'm Kim. I'm the First AD...
8
00:00:30,697 --> 00:00:33,909
(CROWD CHEERS)
9
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Season two! Yeah!
10
00:00:41,583 --> 00:00:42,584
That's great.
11
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-What's your name?
-My name's Kayden.
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-Like Hayden?
-Of course.
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MAN: All right, here we go.
Lock it up, please.
14
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(CHUCKLES)
15
00:00:53,095 --> 00:00:54,680
(BOTH CHUCKLE)
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JON FAVREAU: Welcome,
everybody, back to the show.
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We're gonna have
a lot of beats of fighting
18
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with a lot of characters
running in from different places,
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a lot of choreography going on...
20
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Take a couple of steps,
and then lean into it.
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(WOMAN LAUGHS)
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Season two...
You're walking into a world.
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They're bringing these characters to life.
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Feels really exciting, it's electric.
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For season two,
what everyone is after,
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but what is important to me
is making people care,
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to create new things,
and to introduce new characters,
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and to go to new planets,
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while preserving all of
this incredible nostalgia that we have
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for every aspect of Star Wars
that people wanna see.
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I think we all like this aesthetic
more for Boba Fett.
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FAVREAU: Right.
FILONI: That's what we know him as.
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In season one, once you've set up,
"This is what the show is,"
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you're always open
to have a little more fun,
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and yet still deepen the whole experience
for the character and the viewer.
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FILONI: That really winds up.
ROTH: Winds up really well.
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AMY SEDARIS: Maybe I'm in here?
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You're just curious about the small tip.
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ROY CANCINO: Clear the hole.
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Can everybody see me good enough? Okay.
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So, the scene starts...
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This is coming after a few establishing
shots of the spaceship flying around,
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so this is at Hangar 35,
which is, I think, a few hangars down
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from where the Millennium Falcon
used to get gassed up.
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-(SEDARIS SNICKERS)
-It's good.
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-(LAUGHS)
-That was good.
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Of course, as you know, with Amy,
we might get off road a little bit.
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Let's be prepared for that.
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-Encourage creativity.
-(LAUGHTER)
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For episode one,
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I loved working with Jon as a director.
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He knows what he wants,
he loves working with the actors...
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He backs off, you back off,
it doesn't jump off at that point.
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At that point, you're looking
what the hell's going on, and I love...
55
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-So this is where you get the Leone stuff.
-Exactly.
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Camera pushes in, you see the bombs,
you see the head moving around...
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This is as close as we can get
without him getting able to do it,
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so it looks like, if he moved or let go,
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it would run off,
and the thing would go under.
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BRENDAN WAYNE:
He knows to tell stories.
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He understands bigger picture,
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which usually you get people
who get caught up in moments
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and hope that this thing falls together.
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Waiting...
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WAYNE: That's the actors' job.
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We gotta catch our moments.
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He catches the story.
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(INAUDIBLE CONVERSATION)
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The first season,
I wanted to make sure that I was available
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to oversee the whole show
as an executive producer,
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but I always wanted to sit in the chair
and be able to just interface directly,
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and try things
that may have been too ambitious
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for somebody who didn't know
the show as well as I did,
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so I was able to throw myself
a lot of curveballs.
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Just gonna... (CHUCKLES)
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00:03:56,612 --> 00:03:58,113
(ROARING)
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The krayt dragon
is a great example of Jon
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once again taking something from
the original films that's obscure,
79
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and then elevating it
to be this big centerpiece.
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So, taking something we only glimpsed
as bones in New Hope,
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00:04:23,889 --> 00:04:27,559
and fleshing it out, and making it
into the big, bad creature of episode one
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and then Doug's group
did an amazing job of designing the thing
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and figuring out what does this thing
look like when it's in its prime?
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DOUG CHIANG: It was a huge challenge,
'cause Jon raised the bar
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in terms of design.
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00:04:40,280 --> 00:04:43,033
He challenged us
to really come up with a spectacle
87
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that would fit within the box
of what we were given.
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We saw skeletons of it.
It was just the head and the neck.
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How do we extrapolate that
to create our dragon?
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And one of the fun design ideas was that,
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"Okay, maybe as it evolves,
it actually grows limbs,
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00:04:58,549 --> 00:05:00,968
"and so, the older it gets,
the more limbs it has."
93
00:05:01,802 --> 00:05:04,555
That, then, gave us the license
to really expand on that.
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00:05:04,638 --> 00:05:06,473
"Let's push the scale,
let's push the drama,
95
00:05:06,557 --> 00:05:09,351
"let's go for the scope in the spectacle
of what Jon was writing
96
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"and see where the boundaries were."
97
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The dragon actually came out
to be pretty big when Jon approved it.
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It was 150 feet.
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And then, once Jon got in there
and started to look at layout shots,
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it grew even bigger.
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When we started
looking at him in the environment,
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he didn't really look that imposing,
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so we just started scaling him up,
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and he became 600 feet long,
and Jon said, "That looks right."
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HICKEL: And then,
from an animation standpoint,
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how is it pushing itself
through the earth?
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So we came up with a scheme where
it's liquefying the sand around it
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with some kind of
sound wave or something,
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so that it can swim through the sand.
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It's all, you know, hidden.
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It's all sleight of hand
because we never see the full dragon,
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it's always hidden,
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and it's kind of like the shark in Jaws.
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The less you reveal of it,
the better it is,
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the more mysterious,
powerful the design is.
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We're at the entrance,
right now, of the Volume,
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and as I write things
and we design environments,
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I try to think of what we could
try different in this space.
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We've done exteriors, we've done caverns,
we've done ice tunnels...
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We've used it for a lot. Here
was an opportunity to try something
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that was an underground arena
that would've been prohibitive to build.
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Season two, technically,
the Volume changed, it became bigger.
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It's about a hundred feet long
and 22 feet tall.
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We had phenomenal new
color management science from ILM
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in regards to the way the pixels
were being driven to the screen.
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MAN: I'm basically moving
the entire sky world around
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to find a better composition in frame.
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We also could shoot
much more lower light scenes,
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much darker scenes, which was phenomenal.
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FAVREAU: Wanna look at the artwork here?
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SIMON KASSIANIDES: Absolutely.
MAN: Yeah.
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I drew that one up there.
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My son watched me.
My son was in here painting, too. He's 18.
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What?
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I'm like... (MAKES SWISHING SOUND)
He's said, "You've done this before, Dad."
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-I'm like... "I don't know."
-Oh, yeah.
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FAVREAU: I really loved the exterior,
because the artist, David Choe,
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he started off doing graffiti art,
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and he asked me,
"How come there's no graffiti?"
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There was in animation.
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And I said, "There could be,
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"and I'm getting ready to direct one,
you wanna come down?"
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And so, David Choe painted
all the exteriors on the set.
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FAVREAU: He said that
it was about layering, right?
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CHOE: Yeah.
FAVREAU: Graffiti's about layering.
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You don't wanna make it like a mural.
You want it to look like...
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-generations of graffiti.
-CHOE: Right.
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I like the level of nerdiness
we've put into this.
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FAVREAU: Yes.
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00:08:07,821 --> 00:08:11,241
We left a lot of the low graffiti
for the Jawas...
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00:08:11,325 --> 00:08:12,910
(FAVREAU CHUCKLES)
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'cause they can't reach that high.
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FAVREAU: That's a living piece of art.
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It's for me to live out
all my childhood fantasies,
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and just... I mean, it's a win-win,
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and Jon stole me in for a second
as an alien.
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(INAUDIBLE CONVERSATION)
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Did a little bit of a trench
159
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so that you can
snip it down below level,
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and then when you do
your cavel over it, it just...
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-So that way, you know?
-Yeah.
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00:08:59,915 --> 00:09:01,458
You're not building on a hump.
163
00:09:01,542 --> 00:09:03,752
-You're building in a valley.
-Yes, yes.
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One nice, big thing the production did
165
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was they opened up a little room for us,
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so that we can actually build
a lot of stuff here on site.
167
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Kind of opening up
that old ILM creature shop again
168
00:09:13,679 --> 00:09:15,055
to build the Star Wars aliens.
169
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(INAUDIBLE CONVERSATION)
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The director, Dave, and Jon,
input comes from all three,
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00:09:20,227 --> 00:09:23,981
and then we go and we try and interpret
that into the best form that we can
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for a makeup that might fit a person,
or work well as a makeup.
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Being one of the departments
that deal with practical elements,
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we're always kind of making sure that
what we do blends in with the background,
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especially having the Volume,
so we have a visual that we can match,
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00:09:53,093 --> 00:09:55,220
and making sure
that our textures and everything
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match with the costumes
and all that stuff,
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so you get to see
that really cool mixture.
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00:10:04,730 --> 00:10:06,481
You're gonna see.
They're about to come in.
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00:10:06,565 --> 00:10:08,025
They're two Gamorreans.
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00:10:08,108 --> 00:10:11,987
So, I don't know if you know Star Wars,
but they're green pig guys
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00:10:12,070 --> 00:10:15,949
that are in here fighting to the death.
This is, like, deathmatch, all right?
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00:10:16,033 --> 00:10:18,619
So, all you guys, I know
that rehearsal was kind of weird,
184
00:10:18,702 --> 00:10:20,370
'cause you had nothing to act against,
185
00:10:20,454 --> 00:10:23,040
but on the day, there's gonna be
two pig guys in here fighting,
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00:10:23,123 --> 00:10:25,501
so use that to feed off your energy.
187
00:10:25,584 --> 00:10:29,004
And again, this is really about you guys
in here all day, today and tomorrow.
188
00:10:29,087 --> 00:10:30,839
So really, really good energy.
189
00:10:30,923 --> 00:10:33,425
First team's gonna come in
and shoot this thing, all right?
190
00:10:33,509 --> 00:10:35,177
(CROWD CHEERING)
191
00:10:35,260 --> 00:10:38,889
On this episode, we discussed all styles
of fighting from all over the galaxy.
192
00:10:38,972 --> 00:10:41,892
The pig guys have a certain style,
they're really, you know,
193
00:10:41,975 --> 00:10:43,769
not the most finessed
or beautiful movement,
194
00:10:43,852 --> 00:10:46,230
but they were strong and a little clumsy.
(CHUCKLES)
195
00:10:47,523 --> 00:10:49,566
They're a little leaner,
the fighting Gamorreans
196
00:10:49,650 --> 00:10:52,444
as opposed to the heftier Gamorrean guards
from Jabba's palace.
197
00:10:52,528 --> 00:10:54,863
(BOTH GRUNTING)
198
00:10:57,783 --> 00:10:59,576
We made them a Gamorrean axe.
199
00:10:59,660 --> 00:11:02,496
So this is an aluminum...
It's a hollow fighting axe,
200
00:11:02,579 --> 00:11:04,873
and then we added
a couple of little details,
201
00:11:04,957 --> 00:11:07,209
so it has electricity,
so when they're fighting,
202
00:11:07,292 --> 00:11:08,377
you can see sparks.
203
00:11:08,460 --> 00:11:11,129
(SPECTATORS CHEERING)
204
00:11:11,213 --> 00:11:13,173
FAVREAU: I like the idea of people
just watching
205
00:11:13,257 --> 00:11:16,969
a Muay Thai fighter-fight club type thing
or a gambling venue,
206
00:11:17,052 --> 00:11:19,388
where he was visiting, like, a mob boss.
207
00:11:19,471 --> 00:11:21,974
Because with Star Wars,
you can lean into different genres.
208
00:11:22,057 --> 00:11:23,642
We've had Western, Samurai,
209
00:11:23,725 --> 00:11:25,978
a little bit of heist,
a little bit of war movie.
210
00:11:26,061 --> 00:11:28,897
And in this one, I want to feel
a little bit more gangster movie.
211
00:11:28,981 --> 00:11:31,942
If I can locate other Mandalorians,
they can help guide me.
212
00:11:32,025 --> 00:11:34,736
I'm told you know where to find them.
213
00:11:34,820 --> 00:11:38,365
"You know, it's really uncouth
to talk business immediately.
214
00:11:38,448 --> 00:11:40,576
"Just enjoy the entertainment, okay?
215
00:11:40,659 --> 00:11:42,494
"This is one of the best in my stable."
216
00:11:43,203 --> 00:11:44,830
From my stable, on... In my stable.
217
00:11:45,455 --> 00:11:47,082
"In my stable" or "from my stable"?
218
00:11:47,165 --> 00:11:49,126
But I like you being
the high status mob boss,
219
00:11:49,209 --> 00:11:51,837
even if you don't do
the character of Don Corleone.
220
00:11:51,920 --> 00:11:52,921
JOHN LEGUIZAMO: I'll try it.
221
00:11:53,005 --> 00:11:54,006
The attitude of,
222
00:11:54,089 --> 00:11:56,717
"Hey, hey!
Not business first, let's enjoy the meal."
223
00:11:56,800 --> 00:11:57,843
LEGUIZAMO: Okay, all right.
224
00:11:57,926 --> 00:12:00,053
All right.
Or let me just... Let me just do...
225
00:12:00,137 --> 00:12:02,055
Let me try something else.
226
00:12:02,139 --> 00:12:03,140
-All right.
-All right.
227
00:12:05,350 --> 00:12:08,145
"I am told that you can lead me
to others of my kind."
228
00:12:08,228 --> 00:12:11,440
"Hey, hey! It's uncouth
to talk business immediately.
229
00:12:11,523 --> 00:12:13,025
"Just enjoy the entertainment.
230
00:12:13,734 --> 00:12:16,028
"This is one of the best in my stable."
231
00:12:16,111 --> 00:12:17,571
Good, reset one more time.
232
00:12:17,654 --> 00:12:19,698
I really like how the episode came out.
233
00:12:19,781 --> 00:12:22,618
I love that we were able
to bring part of Star Wars history
234
00:12:22,701 --> 00:12:24,036
to the screen in a new way.
235
00:12:24,953 --> 00:12:27,748
It was fun interacting
directly with the actors
236
00:12:27,831 --> 00:12:30,375
in a way that I don't always
get the opportunity to,
237
00:12:30,459 --> 00:12:31,960
when other directors are working.
238
00:12:32,044 --> 00:12:34,087
But, honestly,
I did miss the collaboration.
239
00:12:34,171 --> 00:12:37,925
And I was very happy to have Sam Hargrave
working with me on second unit.
240
00:12:38,008 --> 00:12:39,843
Because I think part of what's fun
241
00:12:39,927 --> 00:12:42,930
about the experience of making
The Mandalorian is that it's a team.
242
00:12:43,013 --> 00:12:45,682
It's a team of creative people
working together.
243
00:12:45,766 --> 00:12:49,019
So, as much as I enjoy directing,
I enjoy just as much, if not more,
244
00:12:49,102 --> 00:12:51,021
when I'm working with other directors.
245
00:12:51,104 --> 00:12:52,898
(INDISTINCT CONVERSATION)
246
00:12:52,981 --> 00:12:54,566
FAVREAU: Maclunkey.
(MIMICS EXPLOSION)
247
00:12:54,650 --> 00:12:57,611
It's something Greedo says, though.
"Maclunkey."
248
00:12:57,694 --> 00:12:59,821
Yeah, but if it's curtains,
if it means...
249
00:12:59,905 --> 00:13:01,615
If "Maclunkey" means a lot of things.
250
00:13:01,698 --> 00:13:03,617
-You want the Mando to say "Maclunkey"?
-Yes.
251
00:13:03,700 --> 00:13:05,953
Should he? When he shoots the light out.
252
00:13:06,036 --> 00:13:08,956
-He says, "Mando, don't leave me here."
-Maclunkey.
253
00:13:09,039 --> 00:13:10,582
-(BOTH LAUGH)
-Come on.
254
00:13:10,666 --> 00:13:14,127
When you say it out loud... You can't.
255
00:13:30,352 --> 00:13:31,979
(INDISTINCT CONVERSATION)
256
00:13:34,606 --> 00:13:35,732
PEYTON REED: Episode 202.
257
00:13:35,816 --> 00:13:41,572
It is when we really put the Child
through a lot of intense situations.
258
00:13:41,655 --> 00:13:44,366
It is maybe the most intense episode
of the season,
259
00:13:44,449 --> 00:13:45,450
which I am proud of.
260
00:13:46,118 --> 00:13:47,536
As we walk past sort of a dark room...
261
00:13:47,619 --> 00:13:49,580
REED: Yeah, 'cause actually when we were
looking at the footage,
262
00:13:49,663 --> 00:13:51,540
you were saying you wanted
a little more shadow
263
00:13:51,623 --> 00:13:53,667
to make it feel like
there's only one way out.
264
00:13:53,750 --> 00:13:55,502
-A little more horror movie.
-REED: Okay.
265
00:13:55,586 --> 00:13:59,006
Jon wanted to create an ice planet
that was distinct, so it wasn't like Hoth.
266
00:13:59,089 --> 00:14:01,592
And we started to figure out,
"How do we do that?"
267
00:14:01,675 --> 00:14:05,512
Because the minute you do a snow planet,
people are gonna think it's Hoth.
268
00:14:05,596 --> 00:14:08,599
And so, we decided that,
"Maybe this is kind of a glacier planet.
269
00:14:08,682 --> 00:14:10,726
"It's a different quality of ice."
270
00:14:11,185 --> 00:14:13,854
Can you technically come lower,
or is the...
271
00:14:14,229 --> 00:14:17,482
FAVREAU: The second episode,
I think was great to work with Peyton,
272
00:14:17,566 --> 00:14:19,359
because he has so much imagination,
273
00:14:19,443 --> 00:14:22,404
and it was one of those episodes
where the script was short,
274
00:14:22,487 --> 00:14:24,615
it allowed for a lot of room
for discovery,
275
00:14:24,698 --> 00:14:26,366
and he really embraced it.
276
00:14:26,450 --> 00:14:30,162
And it took a director like him
to breathe extra life into this thing
277
00:14:30,245 --> 00:14:32,998
and expand upon
what was already on the page.
278
00:14:33,081 --> 00:14:35,042
REED: John first showed me the script,
and I read it,
279
00:14:35,125 --> 00:14:37,419
and there was a description,
"Ice spiders."
280
00:14:37,503 --> 00:14:39,838
It struck me in a great way,
because it felt pulpy.
281
00:14:39,922 --> 00:14:41,423
It felt like a pulp serial.
282
00:14:42,966 --> 00:14:44,760
It really struck me, like,
283
00:14:44,843 --> 00:14:47,638
"Okay, this is tonally the origin
of the original Star Wars.
284
00:14:47,721 --> 00:14:49,681
"This is what George Lucas
was influenced by."
285
00:14:49,765 --> 00:14:51,016
And it just felt right.
286
00:14:51,099 --> 00:14:52,976
When we started talking about the design,
287
00:14:53,060 --> 00:14:55,103
it keyed off of this design
288
00:14:55,187 --> 00:14:57,648
Ralph McQuarrie
had done for Empire Strikes Back.
289
00:14:57,731 --> 00:14:59,900
CHIANG: I grew up
enjoying Ralph's designs so much.
290
00:14:59,983 --> 00:15:03,111
And he designed so many creatures
that were never really used,
291
00:15:03,195 --> 00:15:06,448
and one of them was specifically
the spider that lived on Dagobah.
292
00:15:06,532 --> 00:15:08,951
And it was such a beautiful design,
it was white.
293
00:15:09,034 --> 00:15:10,994
To me, it always
kind of evoked the idea
294
00:15:11,078 --> 00:15:13,288
that this creature should live
in a cold environment.
295
00:15:13,372 --> 00:15:16,750
And so we thought, "Well,
maybe we should try to bring that creature
296
00:15:16,834 --> 00:15:19,628
"and put it on this planet
as an ice spider."
297
00:15:19,711 --> 00:15:21,380
HICKEL: It's really a fun creature to do,
298
00:15:21,463 --> 00:15:23,966
because we get to see it
through its entire life cycle.
299
00:15:24,049 --> 00:15:25,926
We see the egg, and then we see sort of
300
00:15:26,009 --> 00:15:29,054
the small, medium,
and large size hatched spiders,
301
00:15:29,137 --> 00:15:32,516
and then, of course, the big boss
mama spider at the end.
302
00:15:32,599 --> 00:15:37,479
Peyton has a great sensibility for humor
that leavens a sequence like that.
303
00:15:37,563 --> 00:15:40,524
And to me,
that's the hallmark of Star Wars action,
304
00:15:40,607 --> 00:15:42,276
is that it's not just grim.
305
00:15:42,359 --> 00:15:44,903
It's leavened here and there
with a funny line of dialogue,
306
00:15:44,987 --> 00:15:48,657
or a funny bit of action, or something,
and I feel like that was...
307
00:15:48,740 --> 00:15:50,617
That note was hit hard
in that sequence.
308
00:15:57,958 --> 00:16:02,713
The bulk of this episode is a guy
in a helmet, a puppet, and a frog lady,
309
00:16:02,796 --> 00:16:05,549
who is an actor, Misty Rosas,
310
00:16:05,632 --> 00:16:08,385
and she is in this Legacy frog costume,
311
00:16:08,468 --> 00:16:10,762
and it's a practical costume
and a practical mask,
312
00:16:10,846 --> 00:16:13,974
with some CG embellishments,
but, you know,
313
00:16:14,057 --> 00:16:16,894
you're going a long time without
seeing a human face in this episode,
314
00:16:16,977 --> 00:16:19,730
and that thrilled me.
'Cause that felt really Star Wars.
315
00:16:20,689 --> 00:16:22,232
Can you come even further this way?
316
00:16:22,316 --> 00:16:23,567
Come this way for me, Misty.
317
00:16:23,650 --> 00:16:26,028
When you read it, it's
"How are we gonna create sort of
318
00:16:26,111 --> 00:16:28,071
"a dimensional character
out of this frog lady?"
319
00:16:28,614 --> 00:16:33,452
And Misty brings this performance level
to this character that's unbelievable.
320
00:16:33,535 --> 00:16:36,997
HICKEL: The way that she embodied
the creature,just as she did with Kuiil
321
00:16:37,080 --> 00:16:39,166
is just remarkably sensitive.
322
00:16:39,249 --> 00:16:41,001
And immediately, you love this character.
323
00:16:41,293 --> 00:16:42,794
PEDRO PASCAL: Misty is a superstar.
324
00:16:42,878 --> 00:16:44,588
It's absolutely heartbreaking
325
00:16:44,671 --> 00:16:48,926
the way that she creates
a compelling little frog lady.
326
00:16:49,009 --> 00:16:53,263
The physical language
that she's able to demonstrate,
327
00:16:53,347 --> 00:16:56,934
that kind of performance
is exactly what makes
328
00:16:57,017 --> 00:17:00,103
things like that work
in the world of Star Wars.
329
00:17:02,564 --> 00:17:03,815
(CROAKING)
330
00:17:03,899 --> 00:17:06,902
That is our digital version
of Frog Lady taking over
331
00:17:07,027 --> 00:17:09,404
when she breaks into frog mode
and starts leaping.
332
00:17:09,488 --> 00:17:11,823
Number one, we want it to
feel credible and real that,
333
00:17:11,907 --> 00:17:13,742
you know, she could leap such a distance.
334
00:17:13,867 --> 00:17:16,036
But also the sloppiness of it.
335
00:17:16,119 --> 00:17:17,913
We needed her sliding around on the ice,
336
00:17:17,996 --> 00:17:21,166
and bumping into things,
rather than just being a clean
337
00:17:21,250 --> 00:17:23,919
sort of athletic leaping through frame.
338
00:17:24,002 --> 00:17:25,671
That took a little while to get right.
339
00:17:26,547 --> 00:17:29,258
REED: That character provides
these momentsthat are comedic,
340
00:17:29,341 --> 00:17:31,301
and then also
some really frightening moments.
341
00:17:31,802 --> 00:17:34,471
But the big, central story
342
00:17:34,555 --> 00:17:37,057
is the story of The Mandalorian
and the Child.
343
00:17:37,140 --> 00:17:39,268
Like, that's gotta be the emotional core.
344
00:17:40,394 --> 00:17:42,855
And the fact that that could also include
345
00:17:42,938 --> 00:17:45,566
some other smaller players
in the universe,
346
00:17:45,649 --> 00:17:47,651
in this thing is... (CHUCKLES)
That's exciting.
347
00:17:47,734 --> 00:17:49,027
It was fulfilling for me.
348
00:17:51,989 --> 00:17:53,657
THE MANDALORIAN: No. No!
349
00:17:54,825 --> 00:17:56,159
(WHIMPERS SOFTLY)
350
00:18:01,874 --> 00:18:03,375
(INDISTINCT CONVERSATION)
351
00:18:03,458 --> 00:18:07,588
MATTHEW JENSEN: Working with Bryce,
she's such a positive person.
352
00:18:07,671 --> 00:18:09,506
It's very infectious working with her,
353
00:18:09,590 --> 00:18:11,967
because that kind of energy spreads
354
00:18:12,050 --> 00:18:14,845
not only to the actors,
but also to the crew.
355
00:18:14,928 --> 00:18:16,180
And she's very inclusive.
356
00:18:16,263 --> 00:18:21,101
And so, all of us felt
a real sense of authorship
357
00:18:21,185 --> 00:18:24,188
in helping make her episode spectacular.
358
00:18:26,315 --> 00:18:29,318
The way that Bryce was able
to lead the set,
359
00:18:29,401 --> 00:18:32,613
with so much warmth,
and so much specificity,
360
00:18:34,281 --> 00:18:36,617
you really feel that from her.
361
00:18:36,700 --> 00:18:38,410
You feel experience.
362
00:18:39,036 --> 00:18:41,622
Felt like something
that she was always meant to do.
363
00:18:42,414 --> 00:18:45,167
-Misty and John, do you guys understand?
-ROSAS: Yeah.
364
00:18:45,250 --> 00:18:49,171
Kind of, the spots.
So it's... You meet here, you hug,
365
00:18:49,755 --> 00:18:52,299
Misty turns around,
you take a beat to look at it.
366
00:18:52,382 --> 00:18:56,512
A lot of my episode
takes place on the planet Trask.
367
00:18:57,012 --> 00:19:01,391
That's a largely water-based planet,
368
00:19:01,475 --> 00:19:04,394
where there's lots of Mon Calamari
and Quarren.
369
00:19:10,776 --> 00:19:12,361
(INDISTINCT CONVERSATION)
370
00:19:14,404 --> 00:19:16,198
MAN: Thank you, everybody.
Rehearsal's up.
371
00:19:16,698 --> 00:19:19,660
ROY CANCINO: I think the thing
that was very challenging this year
372
00:19:19,743 --> 00:19:21,119
was the Trask boat.
373
00:19:21,245 --> 00:19:24,623
We shot it static,
but it had to be a moving ship.
374
00:19:25,541 --> 00:19:30,504
Shot on stage, with water,
with wind, all kinds of effects on there.
375
00:19:31,004 --> 00:19:34,174
And we ended up having to build
in a 15 by 15 tank.
376
00:19:34,258 --> 00:19:36,260
I usually get with
the visual effects team,
377
00:19:36,385 --> 00:19:39,388
plan on seeing what the pre-vis
was gonna be like.
378
00:19:39,471 --> 00:19:41,098
And then we see what it needs.
379
00:19:41,431 --> 00:19:44,351
It was interesting to try to figure out
380
00:19:44,434 --> 00:19:48,480
how to shoot it to make it look
totally real. Because you can't just say,
381
00:19:48,564 --> 00:19:50,482
"The visual effects
will make it look real."
382
00:19:50,566 --> 00:19:53,068
You wanna shoot it in a manner in which
383
00:19:53,151 --> 00:19:56,196
you would actually
have to shoot it if it was real.
384
00:19:56,280 --> 00:19:59,783
And then the audience
believes that it's real.
385
00:19:59,867 --> 00:20:02,035
And so, for instance,
one of the first shots
386
00:20:02,119 --> 00:20:04,872
that we were working with
was a crane shot.
387
00:20:04,955 --> 00:20:06,456
And Jon quickly identified,
388
00:20:06,540 --> 00:20:09,126
you wouldn't be able
to get a crane out there in the ocean.
389
00:20:09,209 --> 00:20:10,711
You'd have to be
shooting on sticks.
390
00:20:10,794 --> 00:20:13,672
Like, we shouldn't do stuff
that you couldn't actually do,
391
00:20:13,755 --> 00:20:16,008
if this was a real environment.
392
00:20:16,091 --> 00:20:19,511
That's something that he encourages
with all of the filmmakers,
393
00:20:19,595 --> 00:20:22,181
so that the filmmaking stays grounded.
394
00:20:23,807 --> 00:20:27,561
This is Mon Calamari.
It's for episode 203.
395
00:20:27,644 --> 00:20:30,314
This is Frank Ippolito inside.
He is the craftsman,
396
00:20:30,397 --> 00:20:34,276
and the costumes are authentic wools
that we've over dyed
397
00:20:34,359 --> 00:20:36,528
and stained and aged.
398
00:20:36,612 --> 00:20:41,450
And also, it's in a galaxy far, far away.
So, for me, everything is vintage.
399
00:20:41,533 --> 00:20:43,410
Which means nothing's futuristic.
400
00:20:43,493 --> 00:20:46,622
Everything is visiting the old world.
401
00:20:49,917 --> 00:20:53,170
With season two,
I would say, it's twice as big.
402
00:20:53,253 --> 00:20:54,713
(INAUDIBLE CONVERSATION)
403
00:20:54,796 --> 00:20:57,841
TRPCIC: We're also shooting two full units
at the same time,
404
00:20:57,925 --> 00:21:00,219
with, you know, amazing directors
on both units,
405
00:21:00,302 --> 00:21:02,262
so you wanna give everybody 1,000%.
406
00:21:02,679 --> 00:21:06,517
What I do is,
I surround myself with an amazing crew,
407
00:21:06,600 --> 00:21:10,771
that any challenge that comes up, we meet.
We have to meet.
408
00:21:11,313 --> 00:21:12,314
They trust us.
409
00:21:12,689 --> 00:21:16,109
Jon and Dave trust the people they hired
in the different positions.
410
00:21:16,193 --> 00:21:19,029
And we work very closely together
with props, and special effects,
411
00:21:19,112 --> 00:21:22,366
and production design, so that we're all
on kind of the same page.
412
00:21:22,783 --> 00:21:25,702
I think that that's what helps
to not get overwhelmed
413
00:21:25,786 --> 00:21:28,330
by the massivity of everything.
414
00:21:32,125 --> 00:21:33,293
Oh, it's good, isn't it?
415
00:21:33,377 --> 00:21:34,503
It's a great recipe.
416
00:21:34,586 --> 00:21:37,506
(INDISTINCT CHATTER)
417
00:21:38,674 --> 00:21:41,969
Dave Filoni created
a character named Bo-Katan.
418
00:21:42,052 --> 00:21:46,056
And Bo-Katan was voiced by Katee Sackhoff
419
00:21:46,181 --> 00:21:49,101
in Clone Wars, in Rebels,
420
00:21:49,184 --> 00:21:51,186
and when I first read my script,
421
00:21:51,270 --> 00:21:52,896
when I saw Bo-Katan, I was like,
422
00:21:52,980 --> 00:21:56,942
"Oh, my gosh, that's Katee Sackhoff.
(GASPS) Is it gonna be Katee Sackhoff?"
423
00:21:58,318 --> 00:22:02,906
It was so thrilling to get to bring
that character to life with Katee.
424
00:22:02,990 --> 00:22:05,242
Especially because
Katee has that expertise,
425
00:22:05,325 --> 00:22:07,953
because she's been playing
the character for almost 10 years.
426
00:22:08,036 --> 00:22:11,206
This is her first day
as Bo-Katan live action.
427
00:22:11,790 --> 00:22:14,543
We've been animated Mandalorians before.
428
00:22:14,626 --> 00:22:16,503
Never been
in the same place at the same time.
429
00:22:16,587 --> 00:22:17,629
Never in the same place.
430
00:22:17,713 --> 00:22:20,007
-But we've done a lot of scenes together.
-A ton.
431
00:22:21,800 --> 00:22:23,969
FILONI: Years ago,
when she first started, I said,
432
00:22:24,052 --> 00:22:27,389
"You never know. This works out,
this could become live action one day."
433
00:22:27,472 --> 00:22:31,768
And she's like, "Okay. Great, Dave.
That's great. I'm sure."
434
00:22:32,477 --> 00:22:36,023
And so, when she showed up on set
and she's wearing the full outfit,
435
00:22:36,106 --> 00:22:38,233
carrying her helmet,
she just looked at me like,
436
00:22:38,317 --> 00:22:41,445
"I can't believe you said
this would happen, and it's happening."
437
00:22:41,528 --> 00:22:42,946
I'm like, "I know. Isn't it cool?"
438
00:22:43,030 --> 00:22:46,909
She's so great at playing
these type of gunslinger characters
439
00:22:46,992 --> 00:22:49,119
and she just is Bo-Katan to me.
440
00:22:51,580 --> 00:22:55,584
FAVREAU: Mercedes, or she's known
as Sasha Banksin her wrestling career,
441
00:22:55,667 --> 00:22:58,837
clearly her persona had a lot of flair,
442
00:22:58,921 --> 00:23:01,882
and I thought
it's really good for this show
443
00:23:01,965 --> 00:23:06,845
to have somebody playing a Mandalorian
who had all of that fierceness,
444
00:23:06,929 --> 00:23:10,390
and the energy, and also physicality.
445
00:23:10,474 --> 00:23:13,227
Because when you're
breaking a new character in,
446
00:23:13,310 --> 00:23:18,357
that doesn't have any roots or history
in any of the other Star Wars media,
447
00:23:18,440 --> 00:23:20,108
you wanna make a strong impression.
448
00:23:23,403 --> 00:23:30,244
Because it was an episode about Mando
seeing other Mandalorians in action,
449
00:23:30,327 --> 00:23:33,539
it was essential that
we delivered on that end.
450
00:23:34,998 --> 00:23:36,250
(LAUGHS)
451
00:23:36,333 --> 00:23:41,505
HOWARD: Mando's here,
and you come over to Mando.
452
00:23:41,588 --> 00:23:45,008
Have look at that
with the pattern fire in Lucas movement.
453
00:23:45,092 --> 00:23:48,637
And then he's gonna be reaching
the classic Star Wars pew-pew battle.
454
00:23:48,720 --> 00:23:49,888
-Then hide.
-Okay, let's see it.
455
00:23:49,972 --> 00:23:51,223
-That's my only trying to get away from.
-Let's see.
456
00:23:51,306 --> 00:23:52,724
Just an idea that was in my head,
457
00:23:52,808 --> 00:23:54,685
but this might evolve
into something cooler.
458
00:23:54,768 --> 00:23:56,895
If you see it and hate it,
we'll do it that way.
459
00:23:56,979 --> 00:23:58,021
FAVREAU: All right, good.
460
00:23:58,105 --> 00:24:00,357
SACKHOFF: Fire, fire. Three, four.
461
00:24:00,440 --> 00:24:01,483
PASCAL: Five.
462
00:24:01,567 --> 00:24:03,819
FAVREAU: If he sneaks in and shoots,
he's part of the crew.
463
00:24:03,902 --> 00:24:04,987
So, I think...
464
00:24:05,070 --> 00:24:07,114
-When they're shooting, he's not.
-Right.
465
00:24:07,990 --> 00:24:09,366
FAVREAU: We should try one that way.
466
00:24:09,449 --> 00:24:12,160
MAN: When he tries to sneak away?
FAVREAU: Pattern... He does.
467
00:24:12,244 --> 00:24:14,580
When they go pattern fire,
and they rush in.
468
00:24:14,663 --> 00:24:16,164
They all go, at the same time.
469
00:24:16,248 --> 00:24:18,125
If he's with them,
he's part of that crew.
470
00:24:18,208 --> 00:24:19,710
MAN: You wanna separate him from the crew?
471
00:24:19,793 --> 00:24:20,919
FAVREAU: He shouldn't be ready.
472
00:24:21,003 --> 00:24:23,046
When they jump out,
they're a machine. He's not.
473
00:24:28,927 --> 00:24:31,763
I have so much fun
on the set of Mandalorian.
474
00:24:31,847 --> 00:24:35,809
It's just the most incredible group of
475
00:24:35,893 --> 00:24:40,272
creatives, technicians, and performers,
476
00:24:40,981 --> 00:24:43,901
and all of us are obsessed with Star Wars.
477
00:24:43,984 --> 00:24:47,446
We're basically all
like six-year-olds in our backyard,
478
00:24:47,529 --> 00:24:49,323
like, playing Star Wars with one another.
479
00:24:50,657 --> 00:24:53,243
Like, the days on set
where I was having the most fun
480
00:24:53,994 --> 00:24:59,041
was when it was just me, Jon, and Dave,
and it was just so great.
481
00:24:59,124 --> 00:25:01,418
It was so much fun.
482
00:25:02,419 --> 00:25:06,423
And if you can reach into your pocket,
and you're gonna leave some.
483
00:25:07,049 --> 00:25:10,469
You're gonna pay the check. Yes, great.
Could she pay the check?
484
00:25:10,594 --> 00:25:11,720
MAN: Sure.
485
00:25:12,471 --> 00:25:14,097
'Cause ladies pay in my universe.
486
00:25:14,181 --> 00:25:15,807
(ALL LAUGH)
487
00:25:17,559 --> 00:25:20,896
All right. You guys all prepared
for greatness? Let's do it, folks.
488
00:25:22,689 --> 00:25:24,608
WEATHERS: Even though you say "Hi"
to her early,
489
00:25:24,691 --> 00:25:27,444
hold your reaction until she's here.
490
00:25:27,528 --> 00:25:30,364
Right? So cameras can see you,
and then come back to her.
491
00:25:30,447 --> 00:25:32,908
Let's try it one more time.
492
00:25:32,991 --> 00:25:35,619
Carl Weathers came back
to act again as Greef Karga,
493
00:25:35,702 --> 00:25:39,373
but also to direct episode four,
which is a rollicking adventure ride.
494
00:25:39,456 --> 00:25:44,419
I think having that first season
under our belts gave us a sense of
495
00:25:45,504 --> 00:25:49,299
the flow of the show,
and the flow of the stories.
496
00:25:49,383 --> 00:25:52,135
The more I got into it,
the more I was able to
497
00:25:53,428 --> 00:25:56,598
sort of wear my actor hat
when I'm in the scene
498
00:25:57,349 --> 00:26:02,145
and still be aware of, wherever camera
was set, what we were seeing.
499
00:26:02,563 --> 00:26:04,189
PASCAL: It's an incredible episode.
500
00:26:04,273 --> 00:26:05,607
I'm so proud of Carl,
501
00:26:05,691 --> 00:26:09,695
because what I was really struck with
was how great the action is.
502
00:26:12,573 --> 00:26:14,616
WATSON: Carl really understands action.
503
00:26:15,200 --> 00:26:17,703
Working with him was awesome.
He added another take on it.
504
00:26:17,786 --> 00:26:19,705
For stunt guys,
it's great to have a director
505
00:26:19,788 --> 00:26:23,458
that has physicality
and knowledge of physicality in film.
506
00:26:23,542 --> 00:26:25,711
WEATHERS: Regarding the action
in particular,
507
00:26:25,794 --> 00:26:29,298
that's something I've done
in front of the camera forever. (LAUGHS)
508
00:26:29,381 --> 00:26:32,926
And then, of course, I was an athlete
before that, a professional athlete.
509
00:26:33,010 --> 00:26:35,971
So I know how it feels to get hit,
510
00:26:36,054 --> 00:26:39,391
and I know how it feels
when you're inside a scene,
511
00:26:39,474 --> 00:26:41,310
and it's moving and doing certain things.
512
00:26:41,977 --> 00:26:44,688
Bang. Camera goes here,
sees me come in.
513
00:26:45,230 --> 00:26:46,648
Takes me to you guys.
514
00:26:46,732 --> 00:26:49,193
So, you both look off
when I say, "No need."
515
00:26:49,735 --> 00:26:52,529
GINA CARANO: Me and Carl
speak a special language, I feel.
516
00:26:52,613 --> 00:26:56,867
We've both been action actors for a while,
517
00:26:56,950 --> 00:27:00,495
and I just think that
he understands where I come from.
518
00:27:00,579 --> 00:27:04,374
He is an artist to his core.
519
00:27:05,459 --> 00:27:09,129
We're on the streets of Nevarro now,
rebuilt from season one.
520
00:27:09,213 --> 00:27:11,798
Season two, we're starting out.
I think we're in week three.
521
00:27:11,882 --> 00:27:13,926
As you can see, it's all refreshed.
522
00:27:14,009 --> 00:27:17,721
Cara Dune and Greef Karga
have cleaned up the town.
523
00:27:17,804 --> 00:27:19,890
Mando stops back here
to get his ship repaired
524
00:27:19,973 --> 00:27:21,475
and helps 'em on a brief adventure.
525
00:27:23,477 --> 00:27:29,691
It was so exciting to step into an episode
that gets back into a kind of ensemble
526
00:27:29,775 --> 00:27:33,111
with characters that we've met
and actors that I've been with.
527
00:27:33,195 --> 00:27:35,531
It was like being reunited with family.
528
00:27:35,614 --> 00:27:37,282
Your ship's not lookin' too good.
529
00:27:37,366 --> 00:27:39,243
THE MANDALORIAN: I had a run-in
with the New Republic.
530
00:27:39,326 --> 00:27:41,453
I love working with Gina.
531
00:27:41,537 --> 00:27:44,790
I think that
with this very tough exterior,
532
00:27:44,873 --> 00:27:48,919
there is such
a feeling and vulnerable person.
533
00:27:49,002 --> 00:27:54,049
The way that she puts that into
Cara Dune's character, her backstory,
534
00:27:54,132 --> 00:27:57,261
I think just makes you
not be able to look away.
535
00:27:59,263 --> 00:28:01,974
CARANO: Season one,
Cara Dune was very fresh
536
00:28:02,057 --> 00:28:06,687
off of being kind of
just out on her own and alone.
537
00:28:06,770 --> 00:28:09,189
She doesn't want anything
to do with anybody.
538
00:28:09,273 --> 00:28:11,775
And then,
when we pick her up in season two,
539
00:28:11,859 --> 00:28:15,863
we find, all right,
now she's establishing herself.
540
00:28:15,946 --> 00:28:17,489
She started stepping up to the plate.
541
00:28:17,573 --> 00:28:19,575
Things have changed a lot around here.
542
00:28:19,658 --> 00:28:22,786
Cara Dune's character
is upgraded to a marshal.
543
00:28:22,870 --> 00:28:26,915
And because of that, I wanted
her costume to reflect a higher station,
544
00:28:26,999 --> 00:28:28,709
a higher responsibility.
545
00:28:28,792 --> 00:28:30,627
So I upgraded her armor a little bit,
546
00:28:30,711 --> 00:28:32,171
I gave her a new paint job.
547
00:28:32,254 --> 00:28:33,755
It still has some cuts and bruises,
548
00:28:33,839 --> 00:28:36,633
'cause she's a tough dame, and I love it,
and I wanted to make sure
549
00:28:36,717 --> 00:28:38,135
I was respecting that as well.
550
00:28:40,053 --> 00:28:43,015
WATSON: She brings a lot to the table
in terms of the power.
551
00:28:43,098 --> 00:28:45,100
I wanted to see more of her power
last season,
552
00:28:45,184 --> 00:28:47,186
so this season you definitely get it.
553
00:28:47,269 --> 00:28:50,981
She kicks people, headbutts people,
she uses more of what she's good at.
554
00:28:51,064 --> 00:28:52,566
(CARA GRUNTS)
555
00:28:56,236 --> 00:28:57,821
WEATHERS: I really love directing.
556
00:28:57,905 --> 00:29:01,909
That's been, you know, a passion
for a number of years now.
557
00:29:01,992 --> 00:29:04,995
And the more I do it,
it's just the more of it I wanna do.
558
00:29:05,078 --> 00:29:08,957
He'll make some more shots,
more shots offstage, right?
559
00:29:09,041 --> 00:29:11,710
Because we can't cover that mountain.
Offstage we hear,
560
00:29:11,793 --> 00:29:13,837
"What are you waiting for, an invitation?"
561
00:29:15,380 --> 00:29:19,426
It's just being able to, you know,
capture the large strokes,
562
00:29:19,510 --> 00:29:23,013
and then get the actors in there
to get some detail.
563
00:29:23,722 --> 00:29:24,848
Whoo!
564
00:29:25,349 --> 00:29:29,269
WEATHERS: I just find Horatio funny, man.
He's just funny.
565
00:29:29,728 --> 00:29:33,065
He's so quirky and so out there.
566
00:29:34,399 --> 00:29:35,776
Did a wonderful job.
567
00:29:37,194 --> 00:29:40,572
We're dealing with Star Wars,
and there is a level
568
00:29:40,656 --> 00:29:45,077
of expertise, a level of awareness
569
00:29:45,160 --> 00:29:47,955
about an audience that you have to have.
570
00:29:48,038 --> 00:29:50,624
It's another bit of work
that I'm really proud of.
571
00:29:50,707 --> 00:29:53,335
You have no idea
what's gonna come your way,
572
00:29:53,418 --> 00:29:57,756
when you start out on this journey
of being a filmmaker.
573
00:29:57,840 --> 00:30:02,219
But to have it come your way is like,
"Oh, thank you. Thank you."
574
00:30:03,637 --> 00:30:05,430
(MYTHROL AND GREEF KARGA SCREAMING)
575
00:30:17,609 --> 00:30:19,528
FILONI: Everything in this episode
is in the stage.
576
00:30:19,611 --> 00:30:21,280
It is in the Volume or the stage.
577
00:30:21,363 --> 00:30:24,199
But if you look at the story,
578
00:30:24,283 --> 00:30:26,451
it happens entirely outside.
579
00:30:26,535 --> 00:30:30,539
So, we're doing that
for various lighting reasons,
580
00:30:30,622 --> 00:30:33,208
and because the Volume
will offer fantastic results.
581
00:30:33,292 --> 00:30:37,337
But we have to get a sense of atmosphere,
of particles, to make,
582
00:30:37,421 --> 00:30:41,341
I think, this feel like
we truly were in this location.
583
00:30:41,425 --> 00:30:44,970
If you watch any Kurosawa film,
and the amount of wind that's blowing,
584
00:30:45,053 --> 00:30:48,432
and the sensibility it's giving the story,
that's just something to consider,
585
00:30:48,515 --> 00:30:52,603
that the environment itself should be
a big part of playing this story.
586
00:30:55,898 --> 00:30:59,610
Episode five, Dave Filoni took us
on a magical journey
587
00:30:59,693 --> 00:31:03,947
into a Kurosawa-esque samurai culture.
588
00:31:04,031 --> 00:31:08,035
If you watch the great sword fights
like in Samurai, Toshiro Mifune,
589
00:31:08,118 --> 00:31:10,495
any of them.
They're always measuring each other
590
00:31:10,579 --> 00:31:14,124
-because one wrong move and that's deadly.
-Yeah.
591
00:31:14,208 --> 00:31:18,462
Dave has got taste, he understands action,
performance, drama.
592
00:31:18,545 --> 00:31:20,797
That episode is beautiful.
593
00:31:23,300 --> 00:31:24,968
(MAGISTRATE GRUNTS)
594
00:31:25,052 --> 00:31:29,556
With Dave's episode, we really,
really start to get into nuance.
595
00:31:29,640 --> 00:31:36,188
It is something that tonally
I found particularly artful.
596
00:31:36,271 --> 00:31:38,190
And also amazing
597
00:31:38,273 --> 00:31:42,903
to see him bring in an animated
character of his into live action.
598
00:31:50,619 --> 00:31:53,997
RICHARD BLUFF: It was incredibly important
to Dave Filoni in particular
599
00:31:54,081 --> 00:31:58,335
that the audience
that has grown up with Ahsoka
600
00:31:58,418 --> 00:32:01,713
felt like that what we did
in The Mandalorian
601
00:32:01,797 --> 00:32:04,800
was respecting what had come before.
602
00:32:05,676 --> 00:32:08,846
FILONI: I intentionally did not do
anythingwith her in season one,
603
00:32:08,929 --> 00:32:10,472
because I didn't wanna mess it up.
604
00:32:13,517 --> 00:32:15,644
It's a character
that George and I created.
605
00:32:15,727 --> 00:32:18,397
She's one of the first things
I ever drew for Clone Wars.
606
00:32:18,480 --> 00:32:21,733
We cast Ashley Eckstein
to be the voice of the character,
607
00:32:21,817 --> 00:32:25,696
and she brought such a great energy
to Ahsoka in the animated series.
608
00:32:25,779 --> 00:32:29,283
People know this character.
They've watched her grow up,
609
00:32:29,366 --> 00:32:32,327
and the challenge was to
take all of the elements we had
610
00:32:32,411 --> 00:32:35,205
and evolve them
into this live action version.
611
00:32:35,289 --> 00:32:36,290
So cool.
612
00:32:37,374 --> 00:32:41,795
Ahsoka is such a defined
613
00:32:41,879 --> 00:32:44,339
prominent character,
614
00:32:44,423 --> 00:32:48,177
and Rosario is so brave, and I know how...
615
00:32:48,260 --> 00:32:52,806
I mean, she's gonna just fill those shoes
with aplomb.
616
00:32:52,890 --> 00:32:56,268
I think we'd just have the hood down
for this scene and this moment,
617
00:32:56,351 --> 00:32:58,562
and she would've put it down off-screen.
618
00:32:58,645 --> 00:32:59,646
WOMAN: Copy that.
619
00:32:59,730 --> 00:33:01,023
When we do attacks and kills,
620
00:33:01,106 --> 00:33:03,400
-you'll have it up then. It'll be cool.
-WOMAN: Okay.
621
00:33:03,483 --> 00:33:04,693
Already coming out with it?
622
00:33:04,776 --> 00:33:06,486
Already coming out
with the hood down.
623
00:33:06,570 --> 00:33:08,030
I like losing that business.
624
00:33:08,113 --> 00:33:12,701
This is so strong. Your face is so strong.
There you go. (LAUGHS)
625
00:33:12,784 --> 00:33:15,329
There are moments when I just stare at her
and I'm just like,
626
00:33:15,412 --> 00:33:17,080
"Wow, she just looks like..."
627
00:33:17,164 --> 00:33:18,999
-She came alive?
-"...this thing I've drawn."
628
00:33:20,000 --> 00:33:22,628
Rosario's done all the research,
like, she knows the character,
629
00:33:22,711 --> 00:33:24,671
but now she has to become it
630
00:33:24,755 --> 00:33:26,507
in a way that's never happened before.
631
00:33:28,717 --> 00:33:31,803
SIPE: Her character was tricky
'cause it was walking that line
632
00:33:31,887 --> 00:33:36,099
of finding her look
between human-realistic
633
00:33:36,183 --> 00:33:41,563
and something that would satisfy
the fans for the Clone Wars graphic image.
634
00:33:55,744 --> 00:33:58,830
I loved working with her.
You know, because there are nerves.
635
00:33:58,914 --> 00:34:01,416
You wanna make sure
you get things right,
636
00:34:01,500 --> 00:34:05,128
and there's a lot of, like, heavy thinking
that goes on, and so
637
00:34:05,212 --> 00:34:08,757
she was able to really help me
kind of like, you know,
638
00:34:08,841 --> 00:34:11,593
forget what I was doing and just have fun.
639
00:34:11,677 --> 00:34:13,178
We get another scene together.
640
00:34:13,262 --> 00:34:15,305
Yeah, I know, it's great. Yeah!
641
00:34:20,644 --> 00:34:24,147
ROTH: We wanted something slender,
something really elegant for her sabers.
642
00:34:24,231 --> 00:34:27,109
Basically, it's a katana and a shoto.
We were also trying to work
643
00:34:27,192 --> 00:34:30,320
with the technology that we needed
to talk to our lighting console.
644
00:34:30,404 --> 00:34:32,990
So, with the batteries
and with the receivers,
645
00:34:33,073 --> 00:34:35,826
all the different wireless gak
we had to put inside of it,
646
00:34:35,909 --> 00:34:39,121
the saber kept getting bigger and bigger,
and Dave was just,
647
00:34:39,204 --> 00:34:41,456
"No. It can't look like this."
648
00:34:41,540 --> 00:34:43,125
We went through different iterations
649
00:34:43,208 --> 00:34:45,085
where we basically ended up
slimming it down
650
00:34:45,169 --> 00:34:46,712
and having to use an external battery
651
00:34:46,795 --> 00:34:49,047
to get to what we needed,
so it looked correct.
652
00:34:49,131 --> 00:34:50,799
-Stop.
-Yeah. As soon as we get 'em,
653
00:34:50,883 --> 00:34:52,259
-we'll get 'em to you.
-Exciting.
654
00:34:52,342 --> 00:34:54,344
-Looks good.
-What did you do today?
655
00:34:54,428 --> 00:34:58,015
The big advance that we had
with lightsabers over the past few years,
656
00:34:58,098 --> 00:35:00,225
of course, is getting
that interactive lighting
657
00:35:00,309 --> 00:35:01,643
on the characters in the shots.
658
00:35:01,727 --> 00:35:03,687
(BOTH GRUNTING)
659
00:35:04,146 --> 00:35:07,566
BLUFF: The DP can now frame based upon
660
00:35:07,649 --> 00:35:10,694
where the light is in the scene
coming from the lightsaber,
661
00:35:10,777 --> 00:35:13,447
so all of a sudden we can have
a really kind of moody scene,
662
00:35:13,530 --> 00:35:16,283
Ahsoka coming through the trees,
and play her in silhouette
663
00:35:16,366 --> 00:35:19,328
until she turns her lightsabers on
and it shapes her face.
664
00:35:22,164 --> 00:35:24,541
If you're going low... Yeah!
You will go get more...
665
00:35:24,625 --> 00:35:26,668
The lower you are, the more...
666
00:35:27,753 --> 00:35:30,214
WATSON: That's good.
LATEEF CROWDER: Beautiful. Beautiful.
667
00:35:30,297 --> 00:35:32,966
Rosario has this charisma and passion
668
00:35:33,050 --> 00:35:34,843
about whatever it is she's doing,
669
00:35:34,927 --> 00:35:36,720
-that she gets really into it.
-Up high.
670
00:35:36,803 --> 00:35:40,015
She focuses a lot. She looks at you,
she really wants to know,
671
00:35:40,098 --> 00:35:42,518
you're teaching her movements.
She's right behind you.
672
00:35:42,601 --> 00:35:45,479
Another step,
left foot goes forward. Yeah.
673
00:35:45,562 --> 00:35:49,483
And I come in... Hold it like this,
and then coming back up?
674
00:35:49,566 --> 00:35:51,193
CROWDER: In trying to honor the old films,
675
00:35:51,276 --> 00:35:53,654
he has to have that samurai feel,
it's based on them.
676
00:35:53,737 --> 00:35:56,532
Slash. Slash.
677
00:35:57,533 --> 00:36:01,745
Flowy movements. Flowing from one move
to another. Instead of... (GRUNTING)
678
00:36:01,828 --> 00:36:05,791
You know, it was more flow from the sword,
so it was still samurai,
679
00:36:05,874 --> 00:36:07,793
but it wasn't so clean.
680
00:36:15,634 --> 00:36:17,886
-MAN 1: All right, we're gonna go again.
-When he says,
681
00:36:19,680 --> 00:36:21,807
"I wished... I prefer if you took him."
682
00:36:21,890 --> 00:36:25,519
-Have Grogu look up at Dad like, "Really?"
-MAN 2: Okay.
683
00:36:25,602 --> 00:36:28,522
And then she's there talking,
and then have him look back to her.
684
00:36:28,605 --> 00:36:31,567
But this little moment, if my dad said,
"I prefer if you took him."
685
00:36:31,650 --> 00:36:33,402
MAN 2: You'd go,
"What're you talking about?"
686
00:36:33,485 --> 00:36:35,195
Yeah. Not like shocking, but just like...
687
00:36:35,279 --> 00:36:37,865
-No, but just kind of look... Yeah.
-MAN 2: Acknowledging each other.
688
00:36:37,948 --> 00:36:41,076
I don't like bringing characters in
unless there's a real value to it.
689
00:36:41,159 --> 00:36:43,787
So when I wrote the episode
with her in it this year,
690
00:36:43,871 --> 00:36:48,417
it really was about
how can we learn this child's name?
691
00:36:48,500 --> 00:36:50,669
Who would know these things?
692
00:36:51,378 --> 00:36:53,547
AHSOKA TANO: Grogu and I can feel
each other's thoughts.
693
00:36:55,674 --> 00:36:59,386
FILONI: What's fascinating is,
she's the first character we've met
694
00:36:59,469 --> 00:37:00,929
that really actually knew Yoda.
695
00:37:01,013 --> 00:37:03,348
So, it's bringing back
all these memories and things
696
00:37:03,432 --> 00:37:06,476
that aren't unlike
what the viewer experienced as well
697
00:37:06,560 --> 00:37:08,478
when they saw the Child
for the first time.
698
00:37:09,521 --> 00:37:12,482
I learned so much making that episode,
you know,
699
00:37:12,566 --> 00:37:14,902
and I hope to bring that
to future episodes.
700
00:37:14,985 --> 00:37:16,278
Never stop learning.
701
00:37:16,862 --> 00:37:19,364
That's the way of the Jedi,
never stopped learning.
702
00:37:20,490 --> 00:37:22,701
You wanna hold him?
You wanna hold the baby?
703
00:37:23,202 --> 00:37:26,663
-No. You're being mean.
-There you go.
704
00:37:26,747 --> 00:37:30,042
-WOMAN: Aw! I'm gonna die!
-This is it. Hold on a second.
705
00:37:30,626 --> 00:37:32,503
GEORGE LUCAS: Yeah. Yeah.
706
00:37:32,586 --> 00:37:34,838
WOMAN:
That's your great-great-great grandfather.
707
00:37:34,922 --> 00:37:37,007
-It is.
-(ALL LAUGHING)
708
00:37:47,601 --> 00:37:50,771
CARANO: Robert Rodriguez, like,
blew my mind.
709
00:37:50,854 --> 00:37:52,814
I worked with you for a day
710
00:37:52,898 --> 00:37:56,652
and you changed my perspective
on the universe. (LAUGHS)
711
00:37:57,486 --> 00:38:00,572
MING-NA WEN: He's so chill. You know,
he brings his guitar, he hangs out.
712
00:38:00,656 --> 00:38:02,908
But you know, in his head, it's non-stop.
713
00:38:05,369 --> 00:38:08,288
PASCAL: What I think is so cool
about Robert,
714
00:38:08,372 --> 00:38:12,835
is to bring his danger and grit
into an episode
715
00:38:13,252 --> 00:38:17,589
and usher in an iconic character.
716
00:38:20,342 --> 00:38:22,761
There wasn't anybody better than Robert
to bring that in.
717
00:38:22,845 --> 00:38:25,347
FILONI: Everybody loves Boba.
He's a great character,
718
00:38:25,430 --> 00:38:29,226
and it's about authenticity
and at times connectivity
719
00:38:29,309 --> 00:38:31,812
to other parts of Star Wars we know,
when it makes sense
720
00:38:31,895 --> 00:38:34,773
and where should that character appear?
Probably in this show.
721
00:38:39,695 --> 00:38:42,155
FAVREAU: Do you think
they all know it's a prediction,
722
00:38:42,239 --> 00:38:43,907
-are they gonna know it's Boba?
-Oh, yeah.
723
00:38:43,991 --> 00:38:45,033
Right... Instantly.
724
00:38:45,117 --> 00:38:48,537
But the debate will be,
they'll say, "No, that's..."
725
00:38:48,620 --> 00:38:50,747
-Mando?
-"Mando." And then they'll be like,
726
00:38:50,831 --> 00:38:53,792
"No, that's a Boba Fett sound,
they're messing with us."
727
00:38:53,876 --> 00:38:55,669
But they already said it's not Boba.
728
00:38:55,794 --> 00:38:57,337
Our guy had spurs, but not like that.
729
00:39:01,133 --> 00:39:04,219
You know, I was nine years old
when the first Star Wars came out.
730
00:39:04,303 --> 00:39:07,097
Saw it again and again,
all its re-releases,
731
00:39:07,181 --> 00:39:11,101
and I was already a huge Boba Fett fan
before Empire Strikes Back even came out.
732
00:39:11,185 --> 00:39:13,770
So Boba was a star
before the film ever premiered
733
00:39:13,854 --> 00:39:17,274
and had us kids just so excited
to see the movie,
734
00:39:17,357 --> 00:39:18,567
and to see him in it.
735
00:39:18,650 --> 00:39:21,612
And anything called a bounty hunter
back then was just cool.
736
00:39:21,695 --> 00:39:25,282
And the fact that you couldn't see
his face shrouded him in mystery.
737
00:39:25,365 --> 00:39:27,284
You know, he was the flipside to Han Solo.
738
00:39:27,367 --> 00:39:31,788
He had a jetpack, a cool ship,
really cool name.
739
00:39:31,872 --> 00:39:34,708
I just remember that time period very well
740
00:39:34,791 --> 00:39:38,086
of just the mystery of him, and he was
just always my favorite character.
741
00:39:38,170 --> 00:39:41,340
TEMUERA MORRISON: I feel real honored
tobring back this character
742
00:39:41,423 --> 00:39:44,092
and become the son of Jango.
743
00:39:45,677 --> 00:39:46,803
LANDO: Help!
744
00:39:48,639 --> 00:39:51,141
The last time we see him,
you know, after the barge,
745
00:39:51,225 --> 00:39:52,684
he falls into the Sarlacc.
746
00:39:52,768 --> 00:39:53,769
BOBA FETT: What the...
747
00:39:53,852 --> 00:39:54,895
(SCREAMING)
748
00:39:54,978 --> 00:39:58,982
SIPE: For us to think, "Okay,
he survived that,the belly of the beast."
749
00:39:59,942 --> 00:40:02,653
You know, with stomach acids
and stuff like that.
750
00:40:02,736 --> 00:40:07,324
Jon and Dave wanted something to show
that something really happened to him.
751
00:40:07,407 --> 00:40:09,535
The first makeup test
that we did was kind of like,
752
00:40:09,618 --> 00:40:10,869
"This is how far we can go."
753
00:40:13,497 --> 00:40:17,209
And then it got refined, so that
we can see a little bit more of him.
754
00:40:17,292 --> 00:40:19,711
Save some of the humanity,
so that it's still there.
755
00:40:19,795 --> 00:40:21,922
I think whatever it is,
it should be evocative
756
00:40:22,005 --> 00:40:23,507
of whatever people's memory is.
757
00:40:23,590 --> 00:40:26,176
-Take the one from Jabba's.
-MAN: The other way you held it.
758
00:40:26,260 --> 00:40:27,636
It's stock under arm, right?
759
00:40:27,719 --> 00:40:29,054
Try the stock under arm to see.
760
00:40:29,137 --> 00:40:31,640
-Yeah, like that feels like Boba to me.
-Like that.
761
00:40:31,723 --> 00:40:33,934
With that tilted down.
762
00:40:34,017 --> 00:40:35,185
Let's look it up.
763
00:40:38,063 --> 00:40:41,066
TRPCIC: What really makes it Star Wars,
and I've heard this from every actor
764
00:40:41,149 --> 00:40:42,192
that we've fit.
765
00:40:42,276 --> 00:40:45,863
When they put on the costume,
they're like, "This is it."
766
00:40:45,946 --> 00:40:49,157
Especially Tem, who plays Boba Fett.
767
00:40:49,241 --> 00:40:53,328
When he put on his costume,
his posture changed.
768
00:40:53,412 --> 00:40:55,831
You see the difference?
You see the perspective?
769
00:40:55,914 --> 00:40:57,624
(ALL LAUGHING)
770
00:40:57,708 --> 00:40:59,918
MORRISON: It's quite a dynamic feeling
to be in that armor.
771
00:41:00,836 --> 00:41:02,087
He's the kingpin.
772
00:41:02,171 --> 00:41:05,507
He's the kingpin of the galaxy.
You don't wanna mess with this guy.
773
00:41:05,591 --> 00:41:07,926
It's like when you walk
into those cowboy bars
774
00:41:08,010 --> 00:41:09,887
and the saloon doors open.
775
00:41:09,970 --> 00:41:11,638
The first thing
you're gonna find out is,
776
00:41:11,722 --> 00:41:14,224
who's the number one gunslinger
around here.
777
00:41:14,308 --> 00:41:15,809
Otherwise, you're dead, so...
778
00:41:16,393 --> 00:41:17,686
So, I'm that guy.
779
00:41:17,769 --> 00:41:18,896
(LAUGHS)
780
00:41:24,067 --> 00:41:26,570
I ended up turning
a three-page battle scene
781
00:41:26,653 --> 00:41:28,655
into a nine-minute battle scene
782
00:41:28,739 --> 00:41:32,993
because I was just that excited
to be bringing Boba back,
783
00:41:33,076 --> 00:41:35,996
and I had an idea, right away I told Jon.
784
00:41:36,079 --> 00:41:38,207
I've been waiting
to see this version of Boba Fett
785
00:41:38,290 --> 00:41:40,792
since I was a kid.
Boba has to be different,
786
00:41:40,876 --> 00:41:43,086
he can't just seem like another Mando,
you know?
787
00:41:43,170 --> 00:41:45,631
He has to move differently,
feel different,
788
00:41:45,714 --> 00:41:48,050
occupy completely different space,
789
00:41:48,133 --> 00:41:52,262
and have a weight and gravitas to him
that shows why he's such a legend.
790
00:41:52,346 --> 00:41:56,600
I wanted him to live up to his name
that we would whisper since we were kids.
791
00:41:57,768 --> 00:42:02,189
Be that mysterious character with a past
that makes you wanna knowmore about him.
792
00:42:02,898 --> 00:42:07,152
If Mando is a gunslinger,
Boba needs to be a barbarian.
793
00:42:07,236 --> 00:42:10,572
So, to illustrate
what I was talking about,
794
00:42:10,656 --> 00:42:13,825
I took my Boba Fett
and stormtrooper Halloween costumes
795
00:42:13,909 --> 00:42:17,287
and put them on my sons
and went into the backyard
796
00:42:17,371 --> 00:42:18,997
and filmed Boba's arrival.
797
00:42:25,671 --> 00:42:27,798
And since I didn't have stuntmen
at my disposal,
798
00:42:27,881 --> 00:42:30,092
I used my Star Wars action figures
799
00:42:30,175 --> 00:42:33,345
'cause a picture's worth a thousand words
and helped me just communicate
800
00:42:33,428 --> 00:42:35,931
what I was going for with a crew.
801
00:42:36,014 --> 00:42:38,642
And when I first showed it to Jon
and Dave Filoni, Dave said,
802
00:42:38,725 --> 00:42:41,812
"Wait a minute. Were those
just action figures I saw?"
803
00:42:41,895 --> 00:42:44,940
And I said, "Well, yeah,
I didn't have anything else on hand."
804
00:42:45,023 --> 00:42:49,027
And he said, "No, you don't understand.
That makes it the coolest animatic ever."
805
00:42:49,111 --> 00:42:51,864
And I just thought, "These are my people!"
806
00:42:55,409 --> 00:42:59,162
Another thing about this character, Boba,
you know, the actual fight,
807
00:42:59,246 --> 00:43:00,831
and the way he fights,
808
00:43:00,914 --> 00:43:05,043
I'm actually drawing a lot
on my Māori traditional side.
809
00:43:05,127 --> 00:43:11,049
Thing called the Haka. "Ha" is the breath.
"Ka" is fire. "Fire breath."
810
00:43:13,594 --> 00:43:17,514
Temuera happened to show Jon
his traditional Māori dance,
811
00:43:17,598 --> 00:43:21,560
which is a lot of spinning of the stick,
stomping, the tongue out and everything.
812
00:43:21,643 --> 00:43:23,770
And Jon saw that, and he asked me
813
00:43:23,854 --> 00:43:26,440
if we could do anything with that style
and make it fit.
814
00:43:26,523 --> 00:43:30,402
After we talked about it, we told Josh
to start making this Māori weapon.
815
00:43:30,485 --> 00:43:34,114
ROTH: Temuera specifically requested
his own gaffi stick.
816
00:43:34,198 --> 00:43:36,950
He wanted one that was longer
and one that was more slender.
817
00:43:37,034 --> 00:43:39,411
If you look at the other ones
from the earlier films,
818
00:43:39,494 --> 00:43:42,372
it's much more...
The shaft if just thicker and wider.
819
00:43:42,456 --> 00:43:45,792
It didn't lend itself to the choreography
that he wanted for his fight.
820
00:43:45,876 --> 00:43:47,836
We wanted to make sure
we had something specific
821
00:43:47,920 --> 00:43:50,422
that he could have the action.
The action's pretty brutal.
822
00:43:50,506 --> 00:43:52,257
He's gonna go
after some stormtroopers.
823
00:43:52,341 --> 00:43:54,510
I'm pretty excited about that.
(CHUCKLES)
824
00:43:56,845 --> 00:43:59,139
We had to take the show to location
for the first time
825
00:43:59,223 --> 00:44:01,767
because of its scope, really.
826
00:44:01,850 --> 00:44:04,978
You know, the Volume's incredible,
but it has limitations.
827
00:44:05,062 --> 00:44:06,980
ANDREW L. JONES:
Direct sunlight over a large area,
828
00:44:07,064 --> 00:44:11,276
that's difficult to do, that particular
lighting condition in the Volume.
829
00:44:11,360 --> 00:44:14,530
KLEIN: Whenever we're going to do
direct sun,we usually go to the back lot.
830
00:44:14,613 --> 00:44:16,490
And the back lot
wasn't big enough for this.
831
00:44:16,573 --> 00:44:17,824
So we ended up in Simi Valley.
832
00:44:19,117 --> 00:44:20,661
The terrain was so difficult.
833
00:44:20,744 --> 00:44:24,289
Everything we wanted to take up
onto those rocks, we had to hand carry.
834
00:44:24,373 --> 00:44:27,125
It's dry up there in Simi Valley.
We couldn't have any fire.
835
00:44:27,209 --> 00:44:28,252
You know, no explosions.
836
00:44:28,335 --> 00:44:31,380
Except for when Fennec's
running on the rock.
837
00:44:31,463 --> 00:44:33,674
Those were practical.
Those were practical explosions,
838
00:44:33,757 --> 00:44:36,093
and I think it's because
they were far enough away
839
00:44:36,176 --> 00:44:38,136
from everything that was combustible.
840
00:44:38,220 --> 00:44:40,973
And the fire department's there
when you do that sort of thing.
841
00:44:41,056 --> 00:44:44,560
The special effects guys, they all have
fire extinguishers all over the place.
842
00:44:44,643 --> 00:44:46,645
And it's very safe, but obviously,
843
00:44:46,728 --> 00:44:49,481
the bigger explosions,
those were all visual effects.
844
00:44:51,149 --> 00:44:52,860
(ALL GRUNTING)
845
00:44:57,030 --> 00:44:58,907
MING-NA WEN: I love doing physical stuff.
846
00:44:59,950 --> 00:45:02,244
Every day we're running, jumping, we're...
847
00:45:02,327 --> 00:45:04,997
We were parkouring
up these Rocky Mountain peaks.
848
00:45:08,041 --> 00:45:12,838
There was one point when
we were really high up in the rocks,
849
00:45:12,921 --> 00:45:16,884
and I'm watching the cameraman carrying
these 50 pound, I'm trying to traverse,
850
00:45:16,967 --> 00:45:18,677
and we're trying to avoid poison oaks,
851
00:45:18,760 --> 00:45:21,722
and we're trying to avoid rattlesnakes
and divots and stuff.
852
00:45:21,805 --> 00:45:24,141
I was like, "Okay,
let's go back to the Volume."
853
00:45:26,560 --> 00:45:30,147
RODRIGUEZ: My approach was to pretend
that this is the only other time
854
00:45:30,230 --> 00:45:33,066
or episode we'll even see Boba Fett.
855
00:45:34,443 --> 00:45:35,652
And it needs to satisfy.
856
00:45:35,736 --> 00:45:36,987
I don't wanna take for granted
857
00:45:37,070 --> 00:45:39,198
that he'll show up again
later in other episodes.
858
00:45:39,281 --> 00:45:41,992
He needs to be all things
right here, right now.
859
00:45:42,951 --> 00:45:44,912
That's what Boba Fett is all about.
860
00:45:44,995 --> 00:45:47,414
This episode needed to say,
861
00:45:47,497 --> 00:45:51,627
"Boba is back,"
and that was my main personal mission.
862
00:45:51,710 --> 00:45:54,880
(SINGING) And with Rodriguez, yeah
863
00:45:54,963 --> 00:45:59,384
Making season two of The Mandalorian
864
00:45:59,468 --> 00:46:00,719
(EXCLAIMS)
865
00:46:01,428 --> 00:46:02,429
Oh, yeah
866
00:46:02,513 --> 00:46:06,934
We got The Mandalorian blues
happening right here
867
00:46:07,017 --> 00:46:08,977
On the sands of Tatooine
868
00:46:15,776 --> 00:46:19,029
It's an interesting process
that happens on the show
869
00:46:19,112 --> 00:46:23,116
because Jon is a writer
and does a lot of the writing
870
00:46:23,200 --> 00:46:26,119
and Dave and I, I think,
are the only ones
871
00:46:26,203 --> 00:46:29,665
other than Chris Yost,
who've written on the show.
872
00:46:30,499 --> 00:46:34,127
Part of the process
was the refining of the script
873
00:46:34,211 --> 00:46:39,216
as different ideas came together
and different things started to gel.
874
00:46:39,299 --> 00:46:43,387
BILL BURR: Rick has it all in his head.
He's so cool and laid-back.
875
00:46:43,470 --> 00:46:47,808
You know what I mean?
If you watch the episodes that he's done,
876
00:46:47,891 --> 00:46:50,894
you think that he'd be like this guy
on his toes and really like that.
877
00:46:50,978 --> 00:46:53,689
He's just totally chill. He's like,
"Now we're gonna do this.
878
00:46:53,772 --> 00:46:56,567
"Now we're gonna do that."
And then he just puts...
879
00:46:56,650 --> 00:46:58,902
The way he puts it together,
yeah, is amazing.
880
00:46:58,986 --> 00:47:00,696
WOMAN 1: Moving on, you guys.
Let's clean it up.
881
00:47:01,405 --> 00:47:02,406
CARANO: Where are we now?
882
00:47:03,031 --> 00:47:06,326
I really appreciated
and I love working with Rick.
883
00:47:06,410 --> 00:47:07,536
He's my...
884
00:47:08,161 --> 00:47:09,872
I'd work with Rick
any day of the week.
885
00:47:09,955 --> 00:47:11,623
Let's go! I've got a job for you.
886
00:47:11,707 --> 00:47:15,460
If you wanted to try something
as a character he'd be like,
887
00:47:15,544 --> 00:47:17,337
"All right, yeah. Well, you can try it."
888
00:47:17,421 --> 00:47:21,466
And a lot of directors
like to take control and just, like,
889
00:47:21,550 --> 00:47:23,051
"Be what I want you to be."
890
00:47:23,135 --> 00:47:25,929
And Rick is like,
"All right. What you got in there?"
891
00:47:26,013 --> 00:47:29,308
FAMUYIWA: He comes right after with the
"Weren't you two the transport..."
892
00:47:29,391 --> 00:47:32,436
He would notice where
you were discovering things
893
00:47:32,519 --> 00:47:34,897
and, in recognizing that,
he would lean towards it.
894
00:47:34,980 --> 00:47:38,233
And that was cool.
'Cause Rick's episode is the first time
895
00:47:38,317 --> 00:47:39,943
that Mando takes his helmet off.
896
00:47:40,027 --> 00:47:42,905
It's the first time we see his face
in season two.
897
00:47:42,988 --> 00:47:45,532
And then I think the very first...
No, I'm sure.
898
00:47:45,616 --> 00:47:48,368
The very first time another human being
sees his face
899
00:47:48,452 --> 00:47:50,495
since he first put on the mask.
900
00:47:51,538 --> 00:47:54,583
You the tank troopers
who delivered the shipment of rhydonium?
901
00:47:55,167 --> 00:47:57,252
-Yes, sir.
-Yes, sir.
902
00:47:59,129 --> 00:48:01,590
PASCAL: It's very economical
and subtle storytelling
903
00:48:01,673 --> 00:48:04,051
and all about risking it all,
904
00:48:04,134 --> 00:48:07,095
the value system, the Creed,
and everything to save the Child.
905
00:48:07,804 --> 00:48:13,018
"Do we end this, you know,
sort of recon mission right here,
906
00:48:13,101 --> 00:48:16,605
"or am I going to do the thing
I said I'd never do?"
907
00:48:16,688 --> 00:48:20,817
But I think, for him
at this point, he is deciding
908
00:48:20,901 --> 00:48:24,112
what his code really means for him
and protecting
909
00:48:24,196 --> 00:48:27,699
this child is at the center of it.
910
00:48:28,534 --> 00:48:32,704
I like the idea that inside of Star Wars,
911
00:48:32,788 --> 00:48:35,582
which is gonna be filled
with a lot of big action,
912
00:48:35,666 --> 00:48:38,919
that you could have
this quiet, tense scene
913
00:48:39,002 --> 00:48:43,507
between these people
who have competing agendas,
914
00:48:43,590 --> 00:48:45,467
who are trying to figure each other out.
915
00:48:45,551 --> 00:48:47,928
All heroes of the Empire.
916
00:48:48,011 --> 00:48:53,725
A fun and different break to take
within the world of Star Wars and Mando.
917
00:48:58,605 --> 00:49:02,150
Nobody's ever seen what goes on
inside that ship when it rotates.
918
00:49:02,234 --> 00:49:04,027
-Reorients.
-We've only seen the outside.
919
00:49:04,111 --> 00:49:05,237
-Yeah.
-So that's...
920
00:49:05,320 --> 00:49:07,906
That was one of the inspirations
for doing it on this stage.
921
00:49:07,990 --> 00:49:09,867
Taking advantage
of what this stage could do.
922
00:49:09,950 --> 00:49:10,993
Spinning's a good trick.
923
00:49:11,076 --> 00:49:12,870
(BOTH CHUCKLE)
924
00:49:13,453 --> 00:49:17,291
The ship has this condition
where it rotates when it takes off.
925
00:49:17,374 --> 00:49:19,877
It starts off flat,
and then it goes like that.
926
00:49:19,960 --> 00:49:23,589
So, the pilot sits on his back,
when it takes off, it rotates,
927
00:49:23,672 --> 00:49:27,009
now he's sitting upright.
But down below is the navigation room,
928
00:49:27,092 --> 00:49:31,013
and as the ship takes off
and it rotates into its flying condition,
929
00:49:31,096 --> 00:49:33,765
that part of the ship stays level.
930
00:49:33,849 --> 00:49:36,560
BLUFF: Instantly I knew that was
something we'd try in the Volume.
931
00:49:36,643 --> 00:49:39,271
And it got me incredibly excited
because I think it's something
932
00:49:39,354 --> 00:49:42,983
that kids back in the day
would've played with that ship
933
00:49:43,066 --> 00:49:46,195
and wondered what it would be like
on the inside when it rotates through.
934
00:49:47,821 --> 00:49:51,366
JONES: It was a bit of a challenge to
see if this would work on screens.
935
00:49:51,450 --> 00:49:54,036
But to do that
with traditional special effects,
936
00:49:54,119 --> 00:49:55,120
you can imagine.
937
00:49:55,204 --> 00:49:57,497
It would be this huge, complicated rig.
938
00:49:57,581 --> 00:50:00,542
So we built an elevated deck
with some seats on it,
939
00:50:00,626 --> 00:50:03,212
and there's a console as well.
But that's the set.
940
00:50:03,295 --> 00:50:05,756
All of the rest of the vehicle
is on the content.
941
00:50:05,839 --> 00:50:06,840
MAN: Action.
942
00:50:06,924 --> 00:50:10,802
BLUFF: We got to ultimately shoot it
on the stage against the LEDs.
943
00:50:10,886 --> 00:50:13,138
And boy, oh, boy, was everybody excited.
944
00:50:13,222 --> 00:50:15,766
I think that was the moment on season two
945
00:50:15,849 --> 00:50:19,770
that mimicked the hyperspace
being turned on in season one.
946
00:50:19,853 --> 00:50:22,689
It got everybody excited,
everybody knew where we were,
947
00:50:22,773 --> 00:50:25,317
and everybody felt like a child again.
It was wonderful.
948
00:50:26,735 --> 00:50:28,237
Never gets old.
949
00:50:36,954 --> 00:50:39,873
BLUFF: One of the exciting things
that we did on season two
950
00:50:39,957 --> 00:50:43,919
is we built a five-foot long
light cruiser miniature model.
951
00:50:47,297 --> 00:50:53,011
GOODSON: This part slides out,
and that will access the front rod mount.
952
00:50:53,095 --> 00:50:56,265
But what's inside this
is this little TIE fighter bay.
953
00:50:56,348 --> 00:50:58,100
And this is where
the TIE fighter bay fits.
954
00:50:58,183 --> 00:50:59,643
It's right back in here.
955
00:51:04,940 --> 00:51:08,235
BLUFF: John Knoll used
his motion-control rig
956
00:51:08,318 --> 00:51:11,655
to shoot a number
of miniature shots for that.
957
00:51:12,656 --> 00:51:15,742
It's a classic sort of
Star Destroyer-ish ship,
958
00:51:15,826 --> 00:51:18,745
but in a unique design with
interior lighting. It's just gorgeous.
959
00:51:18,829 --> 00:51:22,749
We were all giddy as school children
when we saw the first takes come through.
960
00:51:23,750 --> 00:51:28,088
It looks like we're transported right back
to the late '70s or early '80s,
961
00:51:28,172 --> 00:51:32,009
doing exactly the same George did,
and we have that characteristic.
962
00:51:32,092 --> 00:51:36,013
It takes me back to when I was a kid,
when I wanted it. I want that model.
963
00:51:36,096 --> 00:51:37,306
It's pretty spectacular.
964
00:51:42,519 --> 00:51:46,356
JONES: Also, we've been using miniatures
in a little bit different way.
965
00:51:46,440 --> 00:51:48,901
We make the miniature,
and instead of filming on it,
966
00:51:48,984 --> 00:51:51,695
it gets scanned,
and then put up on the screens.
967
00:51:51,778 --> 00:51:54,990
In episode seven,
the miniature model maker
968
00:51:55,073 --> 00:51:59,453
built 12, 15 TIE fighter balls
and this wonderful table top set
969
00:51:59,536 --> 00:52:01,663
to be visualized on the screen.
970
00:52:01,747 --> 00:52:04,708
That's an example
of taking the practical models
971
00:52:04,791 --> 00:52:07,336
and bringing it into today's technology.
972
00:52:07,419 --> 00:52:11,089
There's something about the hand.
You know, actually physically making it.
973
00:52:11,173 --> 00:52:14,635
It gives it a look
that is uniquely Star Wars.
974
00:52:15,928 --> 00:52:16,929
(INDISTINCT CONVERSATION)
975
00:52:17,012 --> 00:52:22,434
At the heart of what I wanted to do
with this episode was that, you know,
976
00:52:22,518 --> 00:52:28,023
I think where we see Star Wars
sometimes in stark ways.
977
00:52:28,106 --> 00:52:30,943
You know, there's the lightand the dark,
978
00:52:31,026 --> 00:52:33,862
and there's the Rebels or the Empire.
979
00:52:33,946 --> 00:52:38,534
What I really wanted to do was just kind
of have this conversation about that,
980
00:52:38,617 --> 00:52:42,663
and that these things aren't always
as black and white,
981
00:52:42,746 --> 00:52:44,456
and that there's so much gray,
982
00:52:44,540 --> 00:52:48,085
and especially when we're talking
about power,
983
00:52:48,168 --> 00:52:50,796
and the use of power,
and the transfer of power.
984
00:52:50,879 --> 00:52:55,259
For me, I felt like, let's see how far
we can keep pushing things
985
00:52:55,342 --> 00:52:58,595
and how much bigger
we can tell these stories.
986
00:52:58,679 --> 00:53:00,180
To the Empire.
987
00:53:03,559 --> 00:53:06,562
Bang against the floor,
and then looking at it,
988
00:53:06,645 --> 00:53:10,107
and then almost surprising yourself.
(EXCLAIMS) I think I got it.
989
00:53:10,649 --> 00:53:12,109
(GRUNTS)
990
00:53:12,985 --> 00:53:14,319
(CHUCKLING)
991
00:53:15,696 --> 00:53:16,780
REED: Let's cut it.
992
00:53:16,864 --> 00:53:18,699
-Cut.
-(ALL LAUGHING)
993
00:53:19,992 --> 00:53:22,536
As an almost lifelong Star Wars fan,
994
00:53:23,745 --> 00:53:25,581
I don't think
I could have lived with myself
995
00:53:25,664 --> 00:53:27,749
if I turned down doing that finale.
996
00:53:27,833 --> 00:53:32,462
That was an exciting thing, to have Mando
at the center of this rescue mission.
997
00:53:32,546 --> 00:53:35,632
And then to have Bo-Katan
and to have Koska,
998
00:53:35,716 --> 00:53:39,136
and then to have Fennec and Cara
making their way
999
00:53:39,219 --> 00:53:42,598
through this Imperial ship.
That was fantastic.
1000
00:53:42,681 --> 00:53:45,225
When I read the script,
I was like, I'm dying to do this.
1001
00:53:45,309 --> 00:53:48,103
Pivot into that position here.
1002
00:53:48,187 --> 00:53:51,106
And then I'll cue, ding!
Door will open and...
1003
00:53:51,190 --> 00:53:52,316
CARANO: Okay.
1004
00:53:54,234 --> 00:53:57,070
REED: When you do an episode of
Mandalorian you're like, "Which characters
1005
00:53:57,154 --> 00:53:58,989
"are gonna be in my episode?
1006
00:53:59,072 --> 00:54:00,699
"What are the sequences like?"
1007
00:54:00,782 --> 00:54:03,368
And in 208,
Moff Gideon has the Darksaber,
1008
00:54:03,452 --> 00:54:07,206
and now Mando has this beskar staff.
1009
00:54:07,289 --> 00:54:09,875
And what happens if those two weapons
go up against each other?
1010
00:54:09,958 --> 00:54:12,336
That's not gonna be
just another lightsaber duel.
1011
00:54:12,419 --> 00:54:14,213
It's gonna be
something different entirely.
1012
00:54:14,296 --> 00:54:15,297
What does it look like?
1013
00:54:18,634 --> 00:54:21,553
HICKEL: The Darksaber
was enormously difficultto get right.
1014
00:54:21,637 --> 00:54:26,225
Because this is something that
Dave and George came up with together.
1015
00:54:26,308 --> 00:54:30,312
Dave has a real sense of propriety
over that object
1016
00:54:30,395 --> 00:54:32,314
and what it should look like, feel like
1017
00:54:32,397 --> 00:54:33,398
to audiences on screen.
1018
00:54:33,482 --> 00:54:34,483
I commissioned this.
1019
00:54:34,566 --> 00:54:35,567
It's silver.
1020
00:54:35,651 --> 00:54:38,862
Yeah. That's the new change.
Yeah, it can be silver.
1021
00:54:38,946 --> 00:54:40,405
-Why not? He can paint it.
-Stop it.
1022
00:54:40,489 --> 00:54:45,202
There was a lot of time put into
getting the energy effect just right
1023
00:54:45,285 --> 00:54:47,204
that you see along the blade.
1024
00:54:47,287 --> 00:54:49,706
REED: I think we landed on a look
that's really spectacular
1025
00:54:49,790 --> 00:54:51,250
and feels different,
1026
00:54:51,333 --> 00:54:53,669
and yet still feels
like a Star Wars movie.
1027
00:54:53,752 --> 00:54:56,171
This is where it's going.
1028
00:54:57,214 --> 00:54:59,550
This season we do a lot of fighting
with the Darksaber.
1029
00:54:59,633 --> 00:55:02,010
We had to re-engineer
and re-design how we did it.
1030
00:55:02,094 --> 00:55:06,682
This is a full aluminum machine hilt
to give us more structural integrity.
1031
00:55:06,765 --> 00:55:08,308
It's intense, man. It's feeling good.
1032
00:55:08,392 --> 00:55:12,938
Moff Gideon is not a master swordsman.
He feels more like a bureaucrat.
1033
00:55:13,021 --> 00:55:16,483
But what he does have is
he has the Darksaber in his possession,
1034
00:55:16,567 --> 00:55:18,819
and he also has this rage.
1035
00:55:18,902 --> 00:55:22,239
And we almost got into trouble
1036
00:55:22,322 --> 00:55:26,118
by running through
too many prop Darksabers. (LAUGHS)
1037
00:55:26,201 --> 00:55:28,996
Josh, the prop master, was...
He wasn't thrilled, but he was there.
1038
00:55:29,079 --> 00:55:30,247
He was totally prepared.
1039
00:55:30,330 --> 00:55:33,959
But Giancarlo just had this fury
as he came in there,
1040
00:55:34,042 --> 00:55:36,211
and it shows in the finished episode.
1041
00:55:36,295 --> 00:55:37,921
-(EXCLAIMS)
-Oh, my God!
1042
00:55:38,005 --> 00:55:40,632
Giancarlo brings the greatest energy ever.
1043
00:55:40,716 --> 00:55:42,176
MAN: Yeah. Hell yeah!
1044
00:55:42,259 --> 00:55:43,802
Yeah. Keep it going. Keep moving.
1045
00:55:43,886 --> 00:55:45,429
-(MEN GRUNTING)
-Yeah.
1046
00:55:45,512 --> 00:55:47,431
CROWDER: It actually brings up
my skill set as well.
1047
00:55:47,514 --> 00:55:49,725
If he's coming
with a lot of energy and heart,
1048
00:55:49,808 --> 00:55:51,810
I have to really be on point, too,
1049
00:55:51,894 --> 00:55:54,354
and everything is gonna look strong
and on point.
1050
00:55:54,438 --> 00:55:57,107
So, you know, we're literally fighting.
1051
00:55:57,191 --> 00:55:59,109
(IMITATES LIGHTSABERS)
1052
00:56:00,402 --> 00:56:01,737
CROWDER: It's gonna add to the scene,
1053
00:56:01,820 --> 00:56:04,364
and people are gonna be blown away
by that.
1054
00:56:04,448 --> 00:56:05,699
REED: Your attitude's right, too.
1055
00:56:05,782 --> 00:56:06,992
-Thank you.
-Yeah, man.
1056
00:56:11,246 --> 00:56:12,998
REED: Still, still, still.
1057
00:56:15,292 --> 00:56:19,838
Okay, front two, we're getting ready
to do the arm raise in three, two, one.
1058
00:56:21,715 --> 00:56:22,925
Lock it.
1059
00:56:23,008 --> 00:56:26,345
One of the exciting parts
about the Dark Trooper designs
1060
00:56:26,428 --> 00:56:27,971
was that Jon,
1061
00:56:28,805 --> 00:56:31,225
as always, wants to photograph something.
1062
00:56:31,308 --> 00:56:34,186
Not do it as a full CG version.
1063
00:56:34,269 --> 00:56:37,314
He would have us, very specifically,
1064
00:56:37,397 --> 00:56:42,277
look at the way that the surfaces
on Darth Vader would reflect the light.
1065
00:56:42,361 --> 00:56:44,404
You look at the shoulder pads
or the helmet,
1066
00:56:44,488 --> 00:56:47,241
it's not a perfect surface.
With a 3D model,
1067
00:56:47,324 --> 00:56:51,245
you'll get a perfect surface
unless it's engineered and modeled in
1068
00:56:51,328 --> 00:56:53,247
from the artist to not be perfect.
1069
00:56:53,330 --> 00:56:58,544
And so what was important to Jon
was that we photographed actors in-camera.
1070
00:56:58,627 --> 00:57:00,754
For the live-action version, we knew
1071
00:57:00,838 --> 00:57:02,798
that they had to be
performed by stunt actors.
1072
00:57:03,549 --> 00:57:06,635
And that demanded that we couldn't modify
the portions too much,
1073
00:57:06,718 --> 00:57:11,056
and yet we still had to make sure that
it looked like the original inspiration.
1074
00:57:13,267 --> 00:57:17,479
To really highlight the fact
that there isn't a human inside the droid,
1075
00:57:17,563 --> 00:57:19,356
what we're doing in visual effects
1076
00:57:19,439 --> 00:57:22,150
is adding in all the pistons
around the neck
1077
00:57:22,234 --> 00:57:24,778
or the jointing around the elbows
or the knees,
1078
00:57:24,862 --> 00:57:26,864
the ankles or the shoulders,
1079
00:57:26,947 --> 00:57:28,365
and they have to be seamless.
1080
00:57:29,700 --> 00:57:30,701
REED: Tweezers.
1081
00:57:30,784 --> 00:57:33,161
No, he always had two. It's weird.
1082
00:57:33,245 --> 00:57:35,581
You don't see it, but he has
one wrapped around this way
1083
00:57:35,664 --> 00:57:38,792
-and the other through the back. Yeah.
-REED: The bottom as well.
1084
00:57:38,876 --> 00:57:42,087
MATTHEW WOOD: Those are so gross.
These little things. And they're ticklish.
1085
00:57:42,171 --> 00:57:43,964
(ALL LAUGHING)
1086
00:57:44,047 --> 00:57:45,048
They're ticklish.
1087
00:57:45,132 --> 00:57:48,385
BLUFF: Jabba's palace, we were desperate
to put that on the Volume.
1088
00:57:48,468 --> 00:57:52,931
The challenge with Jabba's palace is
we simply couldn't find a good seam
1089
00:57:53,015 --> 00:57:56,643
for where we could go from practical
to the digital walls.
1090
00:57:56,727 --> 00:57:59,771
It had to match exactly
from the blueprints
1091
00:57:59,855 --> 00:58:02,107
of the original movie,
the Return of the Jedi.
1092
00:58:03,483 --> 00:58:06,862
The intention is to
just get that feel back
1093
00:58:06,945 --> 00:58:08,238
you got when you first saw it.
1094
00:58:10,991 --> 00:58:12,242
(SPEAKS HUTTESE AND THEN ENGLISH)
...my Lord.
1095
00:58:13,577 --> 00:58:17,497
JONES: There's a lot of little nooks
and cranniesaround the back of that one.
1096
00:58:17,581 --> 00:58:21,210
It wasn't a shape that suited
breaking down into a Volume set.
1097
00:58:21,293 --> 00:58:24,338
So we built that physically.
And got it very accurate.
1098
00:58:24,421 --> 00:58:28,467
So cool. And this is like,
we look through here with pictures.
1099
00:58:28,550 --> 00:58:33,805
Crack for crack,
a re-creation of Jabba's palace.
1100
00:58:35,057 --> 00:58:38,685
You go on, and it's like,
"Oh, wow. We're in the palace,
1101
00:58:38,769 --> 00:58:42,856
"and there's that weird mobile
hanging down the stairs
1102
00:58:42,940 --> 00:58:44,816
"where Carrie Fisher hits her head."
1103
00:58:44,900 --> 00:58:46,360
Every detail is...
1104
00:58:46,443 --> 00:58:48,737
Because everybody has
a personal relationship
1105
00:58:48,820 --> 00:58:50,864
with every frame of those movies.
1106
00:58:50,948 --> 00:58:52,991
And you walk on the set,
and that thing's there.
1107
00:58:53,075 --> 00:58:54,409
It's exactly the same.
1108
00:58:54,493 --> 00:58:57,329
FILONI: When we do recreate things,
like Jabba's palace,
1109
00:58:57,412 --> 00:58:59,081
we show it the proper respect,
1110
00:58:59,164 --> 00:59:02,918
and not just the respect for
making it look like the place,
1111
00:59:03,001 --> 00:59:04,586
like when we did the cantina,
1112
00:59:05,921 --> 00:59:07,673
but for the people that worked on it.
1113
00:59:07,756 --> 00:59:10,634
For the people that were a part
of the legacy at Lucasfilm
1114
00:59:10,717 --> 00:59:12,511
that are the reason we have jobs.
1115
00:59:13,387 --> 00:59:18,141
Living up to that expectation
and living up to that creativity.
1116
00:59:18,225 --> 00:59:21,061
AMANDA SERINO: From Return of the Jedi
to where we are today,
1117
00:59:21,144 --> 00:59:25,858
we knew it was years after
that Bib Fortuna took over.
1118
00:59:25,941 --> 00:59:28,443
So we tried to figure out,
"Okay, what would have changed?
1119
00:59:28,527 --> 00:59:29,820
"What would've been the same?"
1120
00:59:29,903 --> 00:59:33,198
We obviously put the throne in there,
where I think in the original,
1121
00:59:33,282 --> 00:59:35,284
they had the band
and they were mid-partying.
1122
00:59:35,367 --> 00:59:37,744
It was just a different,
little more lighthearted.
1123
00:59:37,828 --> 00:59:38,912
We took it a bit darker,
1124
00:59:38,996 --> 00:59:40,956
a bit seedier,
that kind of feel in there.
1125
00:59:41,039 --> 00:59:42,457
(LAUGHING)
1126
00:59:42,541 --> 00:59:44,918
-Jabba the Hutt, I get that that's him.
-Yeah.
1127
00:59:45,002 --> 00:59:46,920
But whenever they say
there's other Hutts...
1128
00:59:47,004 --> 00:59:49,214
-Yeah...
-They're all fat, big too.
1129
00:59:49,298 --> 00:59:52,134
-Yeah, yeah.
-But there is something that you become...
1130
00:59:52,217 --> 00:59:53,552
Gluttonous. It's the gluttony.
1131
00:59:53,635 --> 00:59:57,598
It changes. It's like with the...
How the ring makes you gaunt.
1132
00:59:57,681 --> 01:00:00,350
Is there some...
It's a metaphor for, like, gluttony.
1133
01:00:00,434 --> 01:00:03,312
CHIANG:
You know, what if he has the big fat.
1134
01:00:03,395 --> 01:00:06,064
To where he, like, he gets
that second embellishment.
1135
01:00:06,148 --> 01:00:07,149
FAVREAU: Yeah. Yes.
1136
01:00:07,232 --> 01:00:09,860
FILONI: I think if you accent that
under there that would really help.
1137
01:00:09,943 --> 01:00:11,653
FAVREAU:
Underneath, that's what happens.
1138
01:00:11,737 --> 01:00:13,864
CHIANG: Okay. Got it. Okay.
So you wanna pursue this?
1139
01:00:18,785 --> 01:00:21,663
Inside Bib Fortuna costume is Matt Wood.
1140
01:00:22,414 --> 01:00:24,541
He comes from the sound department,
1141
01:00:24,625 --> 01:00:27,044
and we were working with him
on season one.
1142
01:00:27,127 --> 01:00:30,547
And Dave has worked with him
on Clone Wars for a long time.
1143
01:00:30,631 --> 01:00:32,007
Big staple at Lucasfilm.
1144
01:00:32,090 --> 01:00:36,011
But the real thing here
is that you played him...
1145
01:00:36,094 --> 01:00:38,847
WOOD: I did, yeah.
For Phantom Menace and the prequels.
1146
01:00:38,931 --> 01:00:40,182
You were born to do this.
1147
01:00:40,265 --> 01:00:42,643
Yes, right. Yeah, I know.
George had me do it in '97.
1148
01:00:42,726 --> 01:00:44,478
Never thought I'd do it again.
It's great.
1149
01:00:44,561 --> 01:00:46,355
SIPE: Matt Wood. Looking back.
DMITRIEW: Matt Wood.
1150
01:00:46,438 --> 01:00:49,358
He was trooper, he was way into it,
which was really cool.
1151
01:00:49,441 --> 01:00:52,402
It was two big tentacles,
a cowl, a big face piece.
1152
01:00:52,486 --> 01:00:54,363
He wore contacts, he wore the teeth,
1153
01:00:54,446 --> 01:00:57,533
he had all of the big finger cups
and wore a big fat suit.
1154
01:00:57,616 --> 01:01:00,244
-Another cool thing is this staff.
-I love the staff.
1155
01:01:00,327 --> 01:01:03,413
This is something that was not
in the films, but actually was...
1156
01:01:03,497 --> 01:01:05,249
Could you talk about the backstory?
1157
01:01:05,332 --> 01:01:08,669
Well, yeah. As a kid, I even had
the Bib Fortuna action figurine
1158
01:01:08,752 --> 01:01:11,338
that Michael Carter played,
and to have the staff
1159
01:01:11,421 --> 01:01:14,299
that was part of the action figure
that was never seen in the movies.
1160
01:01:14,383 --> 01:01:16,385
-And here it is.
-(LAUGHS)
1161
01:01:16,468 --> 01:01:18,595
I don't know if I've ever seen
anybody happier
1162
01:01:18,679 --> 01:01:20,639
while wearing such an enormous costume.
1163
01:01:20,722 --> 01:01:24,393
But to be standing there
in Jabba's palace...
1164
01:01:24,476 --> 01:01:27,729
It's one of those moments
where you just sort of pinch yourself,
1165
01:01:27,813 --> 01:01:30,440
and you're thinking about the fact
that you're there on a set
1166
01:01:30,524 --> 01:01:33,902
that's recreated from almost 40 years ago.
1167
01:01:33,986 --> 01:01:37,406
Not only do people want to
see it in the story,
1168
01:01:37,489 --> 01:01:40,576
it almost demands
and it deserves being revisited.
1169
01:01:45,622 --> 01:01:47,207
(INDISTINCT CONVERSATION)
1170
01:01:55,591 --> 01:01:58,343
REED: By the time you get
to the end of season two,
1171
01:01:58,427 --> 01:02:03,849
you could see on the page
the potential for this extreme emotion.
1172
01:02:03,932 --> 01:02:05,559
And that was really the challenge,
1173
01:02:05,642 --> 01:02:08,312
is to kind of like
bring all these elements together,
1174
01:02:08,395 --> 01:02:11,106
and I felt an extreme sense
of responsibility
1175
01:02:11,190 --> 01:02:12,608
to get this episode right.
1176
01:02:13,525 --> 01:02:14,526
-Yeah.
-Yeah.
1177
01:02:16,820 --> 01:02:20,616
HOWARD: Getting to be a part of
The Mandalorian
1178
01:02:20,699 --> 01:02:24,453
in general is amazing.
1179
01:02:24,536 --> 01:02:27,623
You know, 'cause we didn't know
whether or not it was gonna work.
1180
01:02:27,706 --> 01:02:31,043
PASCAL: For it to materialize
in such a specific way,
1181
01:02:31,126 --> 01:02:33,629
in such visually familiar ways,
1182
01:02:33,712 --> 01:02:38,675
it continues to have
this very surreal relationship
1183
01:02:38,759 --> 01:02:41,762
to the actual child that you were
1184
01:02:41,845 --> 01:02:44,473
and these movies that you saw
in the movie theater.
1185
01:02:44,556 --> 01:02:48,310
FILONI: It's not just about the recreation
of a set location
1186
01:02:48,393 --> 01:02:49,978
or characters that we've seen before.
1187
01:02:50,062 --> 01:02:52,940
It's what we're doing with them,
how we're executing them.
1188
01:02:53,023 --> 01:02:54,942
That's all part of the magic.
1189
01:02:56,401 --> 01:03:00,405
FAMUYIWA: It is this mix
of incredible talent
1190
01:03:00,489 --> 01:03:04,409
that come from so many different places,
but everyone just bringing it
1191
01:03:04,493 --> 01:03:05,994
week after week.
1192
01:03:06,078 --> 01:03:08,080
CARANO: When you get a call
to be on Star Wars,
1193
01:03:08,163 --> 01:03:10,082
you're like,
"I believe. I believe. I'm in.
1194
01:03:10,165 --> 01:03:12,000
"I'm gonna give everything I have."
1195
01:03:12,084 --> 01:03:16,380
And every department
gives everything they have.
1196
01:03:16,463 --> 01:03:18,090
WEATHERS: It's a true team.
1197
01:03:18,173 --> 01:03:20,717
And every one of them
contributes something.
1198
01:03:20,801 --> 01:03:22,386
(ALL CHEERING)
1199
01:03:24,388 --> 01:03:27,140
I think why it's resonated so deeply
with the audience
1200
01:03:27,224 --> 01:03:30,060
is that it's just the level of surprise
that comes.
1201
01:03:30,143 --> 01:03:33,230
It's all the tropes put together
in a completely new way
1202
01:03:33,313 --> 01:03:37,025
that's very George Lucas.
I think it feels just very true
1203
01:03:37,109 --> 01:03:41,572
because Jon and Dave really had that
in mind. They wanted to make something
1204
01:03:41,655 --> 01:03:44,283
that felt true to the roots
of what George was doing.
1205
01:03:45,242 --> 01:03:49,121
FAVREAU: It's all there. And hopefully,
this is an opportunity
1206
01:03:49,204 --> 01:03:54,543
to bring all the different groups of fans
together for one experience.
1207
01:03:55,586 --> 01:03:56,753
MANDALORIAN: This is the Way.