WEBVTT 00:00:08.466 --> 00:00:11.553 I'm from the independent world, that's how my connection 00:00:11.720 --> 00:00:13.096 with George Lucas was, 00:00:13.388 --> 00:00:16.808 and just seeing that all of this had been created. 00:00:17.017 --> 00:00:20.937 What inspires me is that came from one guy sitting in a room with a pen, 00:00:21.271 --> 00:00:22.981 writing down The Star Wars. 00:00:24.607 --> 00:00:27.819 The ripple effects of that action, somebody just independently taking, 00:00:27.986 --> 00:00:31.197 betting on themselves causes... Is just awe-inspiring 00:00:31.448 --> 00:00:35.326 to see that one character that showed up briefly in Empire Strikes Back 00:00:35.702 --> 00:00:37.662 is yielding all this for this season 00:00:38.079 --> 00:00:39.873 and everything that Jon and Dave have done. 00:00:42.584 --> 00:00:46.129 It's super inspiring to know that it started from one person with an idea. 00:00:49.132 --> 00:00:53.470 Our responsibility is to be respectful to all of Star Wars. 00:00:53.553 --> 00:00:56.514 And that means the films I grew up with, 00:00:57.307 --> 00:00:59.601 to some extent, the Expanded Universe, 00:00:59.976 --> 00:01:02.353 as well as everything that's been established as canon. 00:01:02.604 --> 00:01:05.815 So, every time we discuss a storyline or character, we look at it 00:01:06.357 --> 00:01:10.070 from the perspective, it's almost like you hold it up, look at it through each facet 00:01:10.278 --> 00:01:11.946 and see what the implications might be. 00:01:12.072 --> 00:01:13.990 Here, the lightsaber boxes is a thing, 00:01:14.199 --> 00:01:16.284 and then Ahsoka has one in Clone Wars. 00:01:16.493 --> 00:01:17.952 So, maybe he just opens it 00:01:18.578 --> 00:01:20.080 -and takes it out. -Like this? 00:01:22.123 --> 00:01:24.167 It's so cool. 00:01:24.292 --> 00:01:26.294 It's all part of, you know, 00:01:26.377 --> 00:01:31.174 Jon and mine's philosophy of making this feel like one big connected galaxy. 00:01:31.424 --> 00:01:34.385 That's what Star Wars is. Where all the stories come together. 00:01:34.719 --> 00:01:37.931 In the beginning, the idea of somebody wearing Mandalorian armor 00:01:38.181 --> 00:01:39.808 is clearly influenced by Boba Fett. 00:01:40.141 --> 00:01:42.936 And coming into The Mandalorian with a new character 00:01:43.103 --> 00:01:45.313 with a different background, with a different armor, 00:01:45.814 --> 00:01:47.273 gave us, 00:01:47.941 --> 00:01:49.859 I think, a lot more creative latitude. 00:01:50.068 --> 00:01:53.488 It's almost like it were a sword, you'd lay your hand across. 00:01:53.655 --> 00:01:55.031 That's what we're sort of... 00:01:55.448 --> 00:01:57.117 -That's what we're emulating. -Yeah. 00:01:57.283 --> 00:02:01.037 At the end of the day, it was the image of Boba Fett that inspired 00:02:01.287 --> 00:02:02.372 the whole thing. 00:02:02.622 --> 00:02:06.334 Boba Fett was a Man with No Name kind of character. 00:02:06.751 --> 00:02:08.711 Lone gunslinger, when I was a kid. 00:02:08.920 --> 00:02:11.131 You didn't know his face, you didn't know who he was. 00:02:11.422 --> 00:02:14.843 That was always hinted at in the EU and stories were kind of shadowy 00:02:14.968 --> 00:02:18.429 in explaining maybe who he was. So it was kind of a bombshell 00:02:18.638 --> 00:02:22.058 when the prequels came out and it was explained that he was 00:02:22.350 --> 00:02:24.519 the clone of this bounty hunter, Jango Fett. 00:02:24.602 --> 00:02:26.271 That was completely new information. 00:02:26.437 --> 00:02:28.481 Hang on, son. We'll move into the asteroid field, 00:02:28.606 --> 00:02:30.650 and we'll have a couple of surprises for him. 00:02:31.109 --> 00:02:32.485 That's the interweaving 00:02:33.069 --> 00:02:36.781 that Star Wars had over the course of many, many years through the movies. 00:02:36.990 --> 00:02:39.659 And we're able to do that in a much more condensed time frame. 00:02:39.951 --> 00:02:43.746 So, bringing in Boba Fett and seeing the fans' reaction to it 00:02:43.955 --> 00:02:48.793 and the fun that we had collaborating, that was the inspiration for us to go 00:02:49.210 --> 00:02:52.755 and talk to everyone at Disney Plus and Kathy 00:02:52.922 --> 00:02:56.301 and everyone at Lucasfilm about if there was a potential to explore this 00:02:56.676 --> 00:02:57.927 as a series. 00:03:04.726 --> 00:03:08.062 In the firelight, he is helped by the warrior, 00:03:08.188 --> 00:03:11.024 and putting the final bits of the hardware on the weapon, 00:03:11.274 --> 00:03:13.401 he lifts his custom slender gaffi stick. 00:03:13.860 --> 00:03:15.987 He gives it a proficient twirl, 00:03:16.446 --> 00:03:19.073 then holds it in both hands across his thighs. 00:03:19.741 --> 00:03:24.287 He stares up into the stars as his new, transformed silhouette 00:03:24.412 --> 00:03:28.499 is etched into the horizon glow of the desert planet. 00:03:29.584 --> 00:03:30.835 He is a new man. 00:03:31.628 --> 00:03:33.796 He is no longer alone. 00:03:34.714 --> 00:03:37.717 He is a member of a tribe. 00:03:41.638 --> 00:03:44.724 Okay. I'm going to makeup. I'll see you in makeup. 00:03:49.395 --> 00:03:52.815 When George first spoke to me about Boba Fett, 00:03:52.899 --> 00:03:58.780 he immediately said, "I cast this amazing actor from New Zealand 00:03:59.197 --> 00:04:01.824 "called Temuera Morrison to play Jango Fett." 00:04:02.283 --> 00:04:07.580 He said, if you ever do Boba Fett, you should cast Temuera to play Boba 00:04:07.830 --> 00:04:09.999 because he's such a remarkable actor. 00:04:10.583 --> 00:04:14.295 MORRISON: Boba was the guy who was the only one that caught Han Solo. 00:04:14.379 --> 00:04:17.882 And that's what gave him the kudos. 00:04:17.966 --> 00:04:20.802 And the fact that he was mysterious. And the fact that you didn't 00:04:20.885 --> 00:04:23.513 see him too much, I think that worked in my favor. 00:04:23.638 --> 00:04:27.100 That we were able to sort of... Okay, well, let's give 'em a taste. 00:04:27.976 --> 00:04:30.561 Let's give the fans a taste of what he can actually do. 00:04:33.314 --> 00:04:36.276 For me, it was just a matter of getting those episodes 00:04:36.651 --> 00:04:39.404 in Season 2 of The Mandalorian right for me. 00:04:39.696 --> 00:04:45.660 And working hard and trying to make it as powerful and exciting as I could. 00:04:45.743 --> 00:04:48.788 And maybe something would come of it, so here we are. 00:04:49.038 --> 00:04:52.667 First day, let's go. Let's rock it. 00:04:52.917 --> 00:04:55.044 Tem Morrison is Boba Fett. 00:04:55.253 --> 00:04:58.715 'Cause he's so similar to the character himself in a lot of ways. He has 00:04:59.090 --> 00:05:01.634 such immense presence, yet a quiet softness to him. 00:05:01.884 --> 00:05:05.054 Kindness and generosity that can be really disarming. 00:05:05.722 --> 00:05:08.558 So, he brings all sides of himself when he plays the character. 00:05:09.225 --> 00:05:13.354 I'll have to ask the god of emotion to send me some emotions 00:05:14.605 --> 00:05:16.274 very shortly. 00:05:16.899 --> 00:05:18.693 I'm running out of time. 00:05:20.028 --> 00:05:23.865 But I'm blessed 'cause I draw on my Māori roots. 00:05:24.657 --> 00:05:27.452 We have the haka to draw on, that energy. 00:05:28.369 --> 00:05:31.831 We have the waiata tangi, the po, the pokeka. 00:05:32.457 --> 00:05:35.209 All these forms of song 00:05:36.794 --> 00:05:38.546 that come from our ancestors. 00:05:39.881 --> 00:05:43.051 that kind of put me in the right mode or mood. 00:05:58.399 --> 00:06:04.655 I'm cruising on my bantha On the sands of Tatooine 00:06:06.574 --> 00:06:12.789 Yes, I'm cruising on my bantha On the sands of Tatooine 00:06:16.292 --> 00:06:21.839 I'm heading for Mos Eisley The Pyke Syndicate's waiting for me 00:06:24.509 --> 00:06:26.636 Robert Rodriguez, take it away, brother. 00:06:29.931 --> 00:06:32.350 Robert and I get on quite well. We just clicked. 00:06:32.725 --> 00:06:35.269 We do a little training. He's got a little bit ahead of me 00:06:35.645 --> 00:06:39.565 in the press-up department, I might add, and his biceps 00:06:39.649 --> 00:06:41.943 have gone a little bit bigger than mine as well. 00:06:42.276 --> 00:06:44.737 Then after we did the weights, we'd pull out the guitars. 00:06:44.821 --> 00:06:46.823 -And away we go. -I like playing music 00:06:46.906 --> 00:06:49.617 with my actors and collaborators. It builds a creative trust. 00:06:50.034 --> 00:06:52.495 You have to be in sync with everyone, in a creative flow. 00:06:52.954 --> 00:06:54.789 Just like you need to be when you're filming. 00:06:55.123 --> 00:06:56.707 Keeps that fluid momentum. 00:07:04.340 --> 00:07:08.761 The Sarlacc Pit blues, yeah. 00:07:14.851 --> 00:07:17.895 Last year, when I was finishing my Season 2 episode, "The Tragedy," 00:07:18.438 --> 00:07:20.982 Jon and Dave both called me one day and said 00:07:21.482 --> 00:07:24.902 that they really liked what they were seeing and my approach to Boba Fett. 00:07:25.111 --> 00:07:28.281 They said they didn't want me just to come back and direct an episode or two, 00:07:28.406 --> 00:07:32.201 but to bring me on in a bigger capacity as an executive producer. 00:07:32.452 --> 00:07:34.704 It was one of the best phone calls you could ever get. 00:07:35.079 --> 00:07:37.540 I can't say enough of how important Robert was 00:07:37.665 --> 00:07:39.625 to the whole process of bringing Boba to life. 00:07:40.084 --> 00:07:41.586 He loves the character. 00:07:41.711 --> 00:07:44.464 He makes his own animatics with action figures sometimes. 00:07:45.047 --> 00:07:46.549 He's an expert. 00:07:46.757 --> 00:07:48.843 He's a Jedi. He knows his stuff. 00:07:49.135 --> 00:07:52.221 It's kind of cool that we hadn't seen you do this move before. 00:07:52.305 --> 00:07:54.849 You've been training with it, but we didn't see this part. 00:07:55.057 --> 00:07:57.685 I just thought Jon's story structure was really brilliant. 00:07:57.894 --> 00:08:00.980 And that it was telling a Boba story that went forward, 00:08:01.439 --> 00:08:03.816 continuing from where we left off last year. 00:08:04.108 --> 00:08:06.652 Yet, it flashed back to answer all our burning questions 00:08:06.986 --> 00:08:10.239 and fill in what happened to Boba after the Sarlacc Pit. 00:08:16.621 --> 00:08:19.790 One of the challenges for explaining how Boba Fett survived 00:08:20.082 --> 00:08:22.210 the Sarlacc Pit is really going back 00:08:22.335 --> 00:08:24.253 and doing the science ourselves, 00:08:24.337 --> 00:08:26.380 thinking logically, "How could he survive?" 00:08:26.797 --> 00:08:30.051 Maybe there's an air pocket in there or maybe he actually found 00:08:30.176 --> 00:08:31.552 a dead stormtrooper 00:08:31.636 --> 00:08:34.639 and was able to use his oxygen so he could kind of breathe. 00:08:35.014 --> 00:08:36.849 And then from there, how does he escape? 00:08:37.016 --> 00:08:40.061 'Cause the Sarlacc is a huge creature and he's, you know, 00:08:40.269 --> 00:08:42.104 dozens of feet underground. 00:08:42.480 --> 00:08:46.442 And so we started to think about, okay, logically, what would that be? 00:08:46.567 --> 00:08:48.027 How would that make sense? 00:08:48.277 --> 00:08:52.406 And I think Jon came up with the idea that literally he's just in his gut 00:08:52.615 --> 00:08:54.700 and it needs to be a very claustrophobic space. 00:08:54.825 --> 00:08:57.537 We had to make a bunch of stomach walls 00:08:57.620 --> 00:09:03.334 that looked very believable and veins and texture and intestine-type tubes 00:09:03.584 --> 00:09:06.963 and cover it with slime and bring that all together. 00:09:21.769 --> 00:09:26.023 I think the thing with Boba is once he goes down into the Sarlacc Pit, 00:09:26.232 --> 00:09:28.943 once he's in in the subterranean world, the underworld, 00:09:29.068 --> 00:09:34.365 that transitional moment changes someone. I mean, how could it not? 00:09:35.157 --> 00:09:39.370 And you have an opportunity for him to come out on the other side 00:09:40.037 --> 00:09:43.624 and make a choice about what kind of person he wants to be. 00:09:44.083 --> 00:09:46.085 These are mine. 00:09:46.544 --> 00:09:48.713 I will teach you how to ride. 00:09:50.798 --> 00:09:54.760 These help us stop the train. 00:09:55.094 --> 00:09:58.431 As much fun as it is to think about a character who has 00:09:58.681 --> 00:10:02.101 questionable morality blasting his way through the galaxy, 00:10:02.351 --> 00:10:03.728 that only goes so far. 00:10:04.061 --> 00:10:07.481 You can't really explore storylines. It sounds good, but when you actually 00:10:07.732 --> 00:10:10.443 zoom in and explore what's going on with that character, 00:10:10.943 --> 00:10:12.862 if that character is just a lawless character 00:10:13.029 --> 00:10:15.615 who is doing really cool action sequences, 00:10:15.865 --> 00:10:18.826 that's not Star Wars. Star Wars has to be about 00:10:18.951 --> 00:10:22.246 each character facing certain obstacles. 00:10:22.330 --> 00:10:26.792 Usually emotional ones as well as physical ones, you know? 00:10:26.876 --> 00:10:28.711 There may be a villain you're facing off 00:10:28.794 --> 00:10:31.505 but if there's no internal conflict going on with the character, 00:10:31.589 --> 00:10:34.091 you're losing half of what makes it impactful. 00:10:34.925 --> 00:10:39.555 And so, we found a way to hopefully preserve 00:10:40.431 --> 00:10:42.266 the edginess of the character. 00:10:42.350 --> 00:10:46.228 How good they are at what they do. That they were a top bounty hunter 00:10:46.312 --> 00:10:48.773 in the galaxy that was being hired by Darth Vader. 00:10:55.905 --> 00:10:57.198 How do you live up to that, 00:10:57.531 --> 00:11:01.160 but still show that that character has learned the lessons 00:11:01.285 --> 00:11:03.037 of time and of experience? 00:11:03.245 --> 00:11:06.165 I am proposing that all the families of Mos Espa 00:11:07.833 --> 00:11:10.044 join in a defensive alliance 00:11:12.046 --> 00:11:14.048 until the Pyke Syndicate is vanquished. 00:11:14.298 --> 00:11:18.302 Jon was really teeing off of a bunch of ideas 00:11:18.594 --> 00:11:20.763 of gangster films. 00:11:20.930 --> 00:11:23.724 We'd talk about the icon of Conan 00:11:24.016 --> 00:11:28.688 and what his journey is to become king and all those kind of very strong images 00:11:28.813 --> 00:11:32.108 that we've grown up with in different films like The Godfather. 00:11:32.233 --> 00:11:34.402 And since Boba was involved in the underworld, 00:11:34.485 --> 00:11:38.364 that was going to be his realm where his journey played out. 00:11:38.781 --> 00:11:43.202 By looking into the genre of gangster movies, you see that there are 00:11:43.411 --> 00:11:46.622 challenges of conscience that they go through, and political challenges 00:11:46.706 --> 00:11:50.209 and facing off with people who are more morally ambiguous, 00:11:50.334 --> 00:11:53.295 and what do you stand for in this world? 00:11:53.379 --> 00:11:57.133 Is it just the rise to power? Or is there also an examination 00:11:57.216 --> 00:12:00.886 of what the purpose of wielding such power is? 00:12:01.303 --> 00:12:05.182 You all accrued wealth and riches under Jabba the Hutt. 00:12:06.225 --> 00:12:09.645 You can again, if you listen to Boba Fett. 00:12:12.523 --> 00:12:14.108 A character like Boba is great, 00:12:14.400 --> 00:12:17.153 but you need another strong character to support him. 00:12:17.403 --> 00:12:19.613 And not just support, but sometimes lead on their own. 00:12:19.822 --> 00:12:23.534 That's when Jon and I decided Fennec could play a really big role in this. 00:12:23.743 --> 00:12:25.119 Especially because of Ming-Na. 00:12:25.411 --> 00:12:28.247 Ming-Na brings such an incredible swagger to her character. 00:12:28.456 --> 00:12:29.790 We played with that a lot. 00:12:29.874 --> 00:12:32.042 There was something I called "the Fennec look." 00:12:32.251 --> 00:12:35.629 Where sometimes I would design scenes to just end on her giving Boba 00:12:35.796 --> 00:12:37.381 a look that spoke volumes. 00:12:42.011 --> 00:12:45.765 Plus, she's a huge, huge Star Wars fan. 00:12:45.890 --> 00:12:49.268 You know, it's gonna take me a little bit to not geek out about 8D8 00:12:49.477 --> 00:12:52.062 when they start moving him. I'm just letting you know 00:12:52.229 --> 00:12:53.981 I might slip out of character a bit. 00:12:54.064 --> 00:12:56.734 I got to ride a bantha. 00:12:57.526 --> 00:13:04.158 You know, a bantha that moves its head, that actually travels 00:13:04.283 --> 00:13:06.202 and the back undulates. 00:13:06.786 --> 00:13:10.164 It's the best toys in the world. 00:13:10.372 --> 00:13:11.957 -That's a beautiful toy. 00:13:12.124 --> 00:13:13.292 We're back! 00:13:13.751 --> 00:13:17.421 I have to remind myself, or Tem reminds me to... 00:13:19.048 --> 00:13:22.009 To focus and stop being such a geek. 00:13:22.134 --> 00:13:23.886 I'm trying not to freak out here. 00:13:24.053 --> 00:13:26.889 We get on so well now and I've gotten to know her so well that 00:13:27.056 --> 00:13:28.599 even when I'm reading the script, 00:13:28.682 --> 00:13:32.394 I can always... I can hear her now. I can hear her voice. 00:13:32.812 --> 00:13:35.856 Because of the nice dynamic that we have. 00:13:36.065 --> 00:13:39.276 It's always good when the camera can capture a little bit of 00:13:39.360 --> 00:13:42.988 that vibe that happens between two actors when they're going at it. 00:13:47.326 --> 00:13:48.369 It's like a dance. 00:13:48.536 --> 00:13:49.620 Are we tangoing? 00:13:49.787 --> 00:13:52.665 The way the two of them work together, 00:13:52.832 --> 00:13:57.378 and the equal power and trust they both have 00:13:57.711 --> 00:14:00.047 for one another is really pretty remarkable. 00:14:00.464 --> 00:14:04.677 You just feel this sense that they've known each other forever. 00:14:04.969 --> 00:14:07.513 And that he really depends on her. 00:14:07.763 --> 00:14:08.889 If I may... 00:14:09.306 --> 00:14:10.599 Speak freely. 00:14:10.933 --> 00:14:14.228 In difficult times, fear is a surer bet. 00:14:17.940 --> 00:14:20.776 You're starting to get surrounded, you're already moving it. 00:14:21.318 --> 00:14:23.612 And raising it up in time to shoot. 00:14:23.696 --> 00:14:25.406 So, by the time you shoot, there's four. 00:14:25.614 --> 00:14:28.826 When you direct a pilot episode, you are establishing a lot. 00:14:29.159 --> 00:14:31.704 You're setting the style and tone for the whole series. 00:14:32.162 --> 00:14:34.915 And I wanted, for one thing, the level of action to live up to 00:14:35.124 --> 00:14:37.126 the promise of Boba from last season. 00:14:37.793 --> 00:14:41.171 But I also needed to establish how he'd conduct business in the palace. 00:14:41.839 --> 00:14:44.633 Would you be loyal to me if I were to spare you? 00:14:47.761 --> 00:14:50.222 I had to establish the flashbacks and how 00:14:50.306 --> 00:14:52.433 he works his way up to the ranks of the Tuskens. 00:14:52.766 --> 00:14:56.145 We wanted those Tuskens to look unlike any tribe we'd seen before. 00:14:56.270 --> 00:14:58.522 So, we went through a whole design process on that. 00:15:08.574 --> 00:15:12.536 My favorite original creature this year is the sand creature by far. 00:15:12.703 --> 00:15:16.081 But it's 'cause I've always wanted to make something with a four-arm creature. 00:15:17.416 --> 00:15:20.127 We were first designing all of this, it was early preproduction. 00:15:20.252 --> 00:15:24.214 And it's COVID, and everyone's remote. So, you're limited to a Zoom call. 00:15:24.632 --> 00:15:28.719 So, how can you even communicate the idea on how this thing would look and move? 00:15:29.261 --> 00:15:32.598 So, once again, I had to go back to my homemade filmmaking 00:15:33.098 --> 00:15:35.267 roots of action figures and crude animatics 00:15:35.351 --> 00:15:40.064 and I made this quick little sculpture armature in order to demonstrate 00:15:40.230 --> 00:15:42.733 how this creature would look, how he'd move, 00:15:42.983 --> 00:15:45.611 how he'd go from being a bipedal creature 00:15:45.694 --> 00:15:49.114 and drop down into a centaur-type mode 00:15:49.573 --> 00:15:53.953 where his front arms were like legs, but they're still like hands. 00:15:54.036 --> 00:15:56.538 I had meant to quickly add clay and sculpt the rest of it, 00:15:56.664 --> 00:15:59.291 but then I thought filming it would be even faster. 00:16:06.715 --> 00:16:09.969 It was an amazing piece of reference for us to follow 00:16:10.052 --> 00:16:14.431 the feel of the sequence. He really wanted to feel like old-school, 00:16:14.807 --> 00:16:16.684 you know, the stop-motion days, 00:16:16.934 --> 00:16:19.436 Ray Harryhausen days, Clash of the Titans, 00:16:19.687 --> 00:16:21.271 all of that kind of thing. 00:16:21.647 --> 00:16:24.525 And the creature design lended itself perfectly to that. 00:16:25.526 --> 00:16:28.070 I wanted him to use every arm strategically in the fight. 00:16:28.696 --> 00:16:31.448 And if you manage to tie down even two of his arms with a chain, 00:16:31.573 --> 00:16:34.410 well, he still has two more. So that if he punches Boba, 00:16:34.660 --> 00:16:36.954 he actually punches him twice, one with each arm. 00:16:37.246 --> 00:16:40.541 You can see why none of the Tuskens have been able to bring this guy down. 00:16:40.749 --> 00:16:45.129 So, when Boba figures out a way to do it, he proves to the tribe that he's an asset. 00:16:54.847 --> 00:16:56.765 I think for Boba Fett, he's actually 00:16:57.141 --> 00:16:59.560 seen a new kind of light, a new kind of life, 00:16:59.810 --> 00:17:02.062 in terms of being nurtured by the Tuskens. 00:17:02.730 --> 00:17:05.733 In terms of having that family kind of feel, 00:17:05.899 --> 00:17:07.985 that community feel which he's never had. 00:17:08.277 --> 00:17:10.362 Warriors, prepare to fight! 00:17:10.529 --> 00:17:14.074 Warriors, prepare to fight! Riders, follow me! 00:17:14.867 --> 00:17:17.327 I made sure to watch Lawrence of Arabia, 00:17:17.661 --> 00:17:20.497 and A Man Called Horse for this particular episode. 00:17:20.622 --> 00:17:24.126 Because Lawrence of Arabia had those incredible train sequences. 00:17:24.293 --> 00:17:27.463 And there was some cinematography that Dean Cundey and I 00:17:27.629 --> 00:17:29.548 really studied from Lawrence Of Arabia. 00:17:29.757 --> 00:17:33.594 The task is always to take everything that's gone before, 00:17:33.802 --> 00:17:38.474 everything the audience has, you know, reacted to positively, 00:17:38.557 --> 00:17:42.644 and saying, "Now, how can I add my story 00:17:42.728 --> 00:17:45.314 "to that emotional element that they loved?" 00:17:46.148 --> 00:17:51.153 So, I think it's fascinating that Jon is able to, 00:17:51.236 --> 00:17:54.823 you know, instantly point to a vivid moment 00:17:55.574 --> 00:17:59.203 that is all about something the audience loved in another movie 00:17:59.661 --> 00:18:04.416 that applies to the world of Star Wars and in particular, Boba Fett. 00:18:04.833 --> 00:18:07.920 The imagery is very strong of trying to keep control 00:18:08.045 --> 00:18:09.922 and not let chaos escalate, 00:18:10.798 --> 00:18:13.759 even when you're doing things for the right reasons. 00:18:13.842 --> 00:18:17.429 So, I think that's what the whole show is about, is him trying to figure out 00:18:17.513 --> 00:18:20.849 how to control all of these overwhelming, intersecting forces. 00:18:21.433 --> 00:18:24.436 Jon's showing us this footage of Lawrence of Arabia. 00:18:24.520 --> 00:18:27.940 And for me, I'm watching it 'cause... Back in New Zealand, 00:18:28.065 --> 00:18:30.025 I watched these movies as a young boy. 00:18:30.359 --> 00:18:31.693 I loved Omar Sharif, 00:18:31.860 --> 00:18:35.614 and I'm seeing all my childhood actors. I loved Anthony Quinn. 00:18:35.697 --> 00:18:38.909 And there they all are. And I'm watching this and then 00:18:39.409 --> 00:18:42.121 we go out, we watch the previs, Jon tells us the background, 00:18:42.287 --> 00:18:46.083 and then away we go and start shooting. And there's sand, there's a train. 00:18:46.708 --> 00:18:50.587 And I feel like I'm in Lawrence of Arabia. But now, I'm Lawrence. 00:18:59.346 --> 00:19:02.891 He's a changed man. And as we all grow up, we mature. 00:19:02.975 --> 00:19:08.105 And as we get a little bit of maturity, sometimes we soften, we change, 00:19:08.230 --> 00:19:11.191 and I think that's what happened to Boba in a way. 00:19:11.275 --> 00:19:15.612 Off with the mask. A new man with a new tribe. 00:19:17.239 --> 00:19:18.615 He's not alone anymore. 00:19:18.699 --> 00:19:22.953 In the original script, Boba was accepted by the tribe. 00:19:23.328 --> 00:19:27.124 He sort of had a moment with the chief and then he stood holding his gaffi. 00:19:27.416 --> 00:19:31.795 And I remember early on, Jon, Dave, Robert, we were all talking 00:19:31.920 --> 00:19:33.672 about how we needed to do more. 00:19:33.755 --> 00:19:35.841 We needed something more powerful at the end. 00:19:37.551 --> 00:19:41.096 All right, here we go. Lock it up. Let's roll sound. 00:19:42.556 --> 00:19:44.892 Ready, and action. 00:19:46.018 --> 00:19:50.105 We worked with the fight choreographers. We worked with the stunt 00:19:50.898 --> 00:19:53.192 performers that were playing the tribe members 00:19:53.275 --> 00:19:54.902 and came up with this 00:19:55.819 --> 00:19:59.072 group movement that I think is really powerful at the end. 00:19:59.198 --> 00:20:04.036 And one, two, three, four, 00:20:04.203 --> 00:20:08.916 and tilt, and go, and go, go. 00:20:09.458 --> 00:20:14.630 I bring my Māori cultural stuff into it, that's more of an energy thing. 00:20:15.047 --> 00:20:20.010 And plus, I've been trained in some of what we call the taiaha, our staff, 00:20:20.594 --> 00:20:24.223 which has come in handy when I'm using the gaffi stick. 00:20:29.311 --> 00:20:31.897 A lot of the conversations that take place around Star Wars 00:20:32.064 --> 00:20:34.566 are how do you account for what's been shown already? 00:20:34.900 --> 00:20:37.653 You know, designs, characters, storylines, 00:20:37.861 --> 00:20:41.073 and this was opportunity for us not just to evolve Boba Fett, 00:20:41.156 --> 00:20:43.867 but to evolve the culture of Mos Espa. 00:20:43.992 --> 00:20:47.955 The only tribute I bear is a heartfelt welcome from the Mayor 00:20:48.121 --> 00:20:49.998 which I express in his stead. 00:20:50.749 --> 00:20:55.128 Every day on set was like Christmas. Because even while I was directing, 00:20:55.545 --> 00:20:57.589 new characters and props, 00:20:57.673 --> 00:21:00.175 or Legacy practical effects builds would show up. 00:21:00.384 --> 00:21:02.427 So, you'd be called away from the set to go see 00:21:02.678 --> 00:21:05.180 the Hammerhead Mayor showing up one day. 00:21:05.514 --> 00:21:08.433 That was amazing. Jon and Dave and I got to see him when he was 00:21:08.517 --> 00:21:10.185 all put together for the first time. 00:21:10.477 --> 00:21:14.106 You felt like you're at a space zoo. It looked so real. 00:21:17.234 --> 00:21:22.322 It has so much emotion in its strange, otherworldly shape. 00:21:22.739 --> 00:21:26.952 And it's one of the most iconic characters from the cantina. 00:21:27.452 --> 00:21:30.831 If you didn't remember anything else, you go, "That Hammerhead guy 00:21:31.415 --> 00:21:34.918 "was outstanding." It just left a mark and... 00:21:35.502 --> 00:21:41.049 I've seen it done several times in the different films and it's shocking how 00:21:41.216 --> 00:21:44.219 alive it feels when you're staring at it. 00:21:44.594 --> 00:21:46.680 Who is this who enters unannounced? 00:21:46.888 --> 00:21:49.016 I actually play inside of that character. 00:21:50.225 --> 00:21:53.812 We made a backpack to help support the weight of that character. 00:21:53.979 --> 00:21:57.733 We took a fiberglass shell and mounted that so I could wear it 00:21:57.816 --> 00:22:01.403 so that the weight would be distributed better. 00:22:01.653 --> 00:22:05.115 But it's figuring out what's it need to do? 00:22:05.198 --> 00:22:07.743 It needs to blink, it needs to have a brow. 00:22:07.826 --> 00:22:09.202 In the case of the Ithorian, 00:22:09.286 --> 00:22:13.915 you had these strange mouths on either side that are moving 00:22:14.207 --> 00:22:17.294 and he's speaking in whale speak, and then it's being translated. 00:22:17.377 --> 00:22:20.380 So he has a translator box on him. 00:22:20.589 --> 00:22:24.092 MOK: The Order of the Night Wind are not allowed to operate outside of Hutt Space. 00:22:24.176 --> 00:22:26.511 -Thank you for turning him in. 00:22:26.636 --> 00:22:29.806 I always find it funny, now that we're doing these live-action series, 00:22:30.057 --> 00:22:32.642 we run into a lot of the problems we did back on Clone Wars. 00:22:32.768 --> 00:22:34.561 'Cause now you're telling so many stories, 00:22:34.644 --> 00:22:36.980 "I'd like to have an Ithorian but I'd like it to talk. 00:22:37.064 --> 00:22:38.523 "We don't want to subtitle it." 00:22:38.857 --> 00:22:40.609 So how do we do that? There's a voice box. 00:22:40.859 --> 00:22:43.028 If you look at this episode of Clone Wars, we had it. 00:22:43.111 --> 00:22:45.364 Then they make it and I'm staring at it, I'm like, 00:22:45.489 --> 00:22:50.577 "Oh, my gosh, there's our voice box." It's so neat to see that still there. 00:22:50.786 --> 00:22:53.121 You know, and that it's... Again, that's what fans want. 00:22:53.288 --> 00:22:55.248 They want one connected universe. 00:22:55.374 --> 00:22:58.877 Running a family is more complicated than bounty hunting. 00:23:00.045 --> 00:23:01.171 Is that it? 00:23:01.588 --> 00:23:03.924 Go to Garsa's Sanctuary. 00:23:05.509 --> 00:23:07.010 You'll see what I speak of. 00:23:15.852 --> 00:23:20.440 For Garsa's, we had about 300 new costumes that had never been seen before. 00:23:20.690 --> 00:23:25.278 I have stacks of books written on anything to do with Star Wars. 00:23:25.779 --> 00:23:28.949 I even have Battlefront books. I just make sure that 00:23:29.199 --> 00:23:32.744 I stay within that aesthetic and stay within that world. 00:23:33.370 --> 00:23:35.497 So, that was a really fun challenge, 00:23:35.789 --> 00:23:38.291 to make sure there was a separation between all the peoples 00:23:38.458 --> 00:23:40.210 that we're meeting in this series. 00:23:40.752 --> 00:23:43.422 I think you've made your point. 00:23:43.964 --> 00:23:48.552 Garsa Fwip is the proprietor of the Sanctuary. 00:23:48.635 --> 00:23:51.972 And the Sanctuary is this extraordinary 00:23:52.347 --> 00:23:56.435 casino, cantina bar on Tatooine. 00:23:57.018 --> 00:24:00.939 So, if you can imagine, it's kind of like Rick's in Casablanca. 00:24:01.731 --> 00:24:03.066 And she's Rick. 00:24:03.650 --> 00:24:06.695 Or some mash-up between Rick and Beyoncé 00:24:06.945 --> 00:24:08.822 and Lauren Bacall, I guess. I don't know. 00:24:09.156 --> 00:24:11.074 I remember your years in the Pit. 00:24:12.242 --> 00:24:15.162 I've never seen a more impressive display of martial prowess. 00:24:15.454 --> 00:24:16.830 You were a legend. 00:24:17.372 --> 00:24:20.959 She can read whoever she's speaking with and be able to navigate 00:24:21.126 --> 00:24:25.005 and be able to stay alive, to be able to survive and thrive. 00:24:25.505 --> 00:24:32.262 But to be part of that legacy of strong female characters in this world 00:24:32.429 --> 00:24:34.556 is an unbelievable honor. 00:24:34.723 --> 00:24:36.391 So, what say you release this customer 00:24:36.475 --> 00:24:40.479 and let these fine folks get back to their fun and in return, 00:24:42.272 --> 00:24:44.191 I will wipe your debt off the books. 00:24:52.991 --> 00:24:54.201 It was worth a shot. 00:24:57.329 --> 00:24:58.538 Hey, mate. 00:25:00.582 --> 00:25:02.417 Looks like you could use a job. 00:25:04.127 --> 00:25:07.881 There have been a number of Wookiees like Krrsantan 00:25:08.215 --> 00:25:11.176 over the years in the Expanded Universe where people have said, 00:25:11.384 --> 00:25:14.513 "What if it's not Chewbacca, or like a dark version of Chewbacca." 00:25:14.971 --> 00:25:17.015 A Wookiee bounty hunter, a Wookiee Jedi. 00:25:17.140 --> 00:25:19.643 When you get to it, the first thing is 00:25:20.143 --> 00:25:23.271 how does a kid look at him and know it's not Chewbacca? 00:25:23.355 --> 00:25:28.276 It has to be visually striking in a way that's different immediately. 00:25:28.735 --> 00:25:32.948 Carey, what he brings to the performance, his posture, the way he stands, 00:25:33.031 --> 00:25:34.533 it's different than Peter. 00:25:34.908 --> 00:25:37.619 He's got, you know, these piercing eyes 00:25:37.953 --> 00:25:40.372 where Peter had very kind, gentle eyes. 00:25:40.455 --> 00:25:42.082 Take care of yourself, okay? 00:25:46.336 --> 00:25:47.629 Okay, okay. 00:25:50.090 --> 00:25:53.009 I had to create this attitude for this guy because 00:25:53.093 --> 00:25:57.180 he's always pissed. That's who he is. 00:25:57.264 --> 00:25:59.641 I wanted to make sure, even if I was standing there 00:25:59.808 --> 00:26:03.687 and I didn't have my face to show that, it came through the character in the suit. 00:26:05.730 --> 00:26:09.234 Robert Rodriguez had worked with Carey Jones before. 00:26:09.734 --> 00:26:13.572 Carey Jones actually used to work with me over at Stan Winston's years ago. 00:26:13.697 --> 00:26:16.825 But Carey really embraced the part, the role. 00:26:17.117 --> 00:26:20.161 And also being another practical effects guy, 00:26:20.412 --> 00:26:22.581 he knew what he was getting into. 00:26:24.499 --> 00:26:27.377 Legacy came up with this amazing system which... 00:26:28.378 --> 00:26:32.090 It blew my mind, right? So, whenever I would open up and articulate my mouth, 00:26:32.340 --> 00:26:35.552 it would actually open and close the jaw in Krrsantan. 00:26:35.802 --> 00:26:39.848 And even brow, if I wanted to scowl or raise them up, 00:26:40.015 --> 00:26:42.058 it would move and articulate the face. 00:26:42.183 --> 00:26:43.184 Which I love. 00:26:53.445 --> 00:26:57.032 They're trying to create a fight style for Boba. 00:26:57.115 --> 00:27:00.910 Whereas The Mandalorian is a gunslinger, slick gunslinger, 00:27:00.994 --> 00:27:04.539 I'm more like a Conan, and that was the reference. 00:27:04.623 --> 00:27:08.585 But in saying that, too, I also wanted to make it not look so bash-bash, 00:27:08.793 --> 00:27:12.922 one-dimensional. I wanted him to be quite precise, 00:27:13.089 --> 00:27:16.051 and we see a little bit of that when he's using the gaffi stick. 00:27:16.134 --> 00:27:19.220 So I did a bit of a research and I found out that the gaffi stick 00:27:19.304 --> 00:27:22.724 was actually based on a Fijian warrior weapon 00:27:22.891 --> 00:27:26.645 and is known as a totokia, and the thing is actually a bird beak. 00:27:26.728 --> 00:27:29.731 So, I took all that into account, that when I do strike, 00:27:29.898 --> 00:27:32.901 I actually use the proper parts of the weapon. 00:27:33.068 --> 00:27:38.156 Even when I haven't got the weapon, I still kind of use that knot. 00:27:38.323 --> 00:27:42.661 So, if I am punching or hitting, I use more of a twist motion 00:27:43.036 --> 00:27:46.039 to represent the knot in that gaffi stick, 00:27:46.289 --> 00:27:48.541 just to give it a little bit of a style of his own. 00:27:57.175 --> 00:28:00.053 I was really excited because my episode is picking up 00:28:00.720 --> 00:28:04.432 from Season 1, Episode 5, the one that Filoni did called "The Gunslinger." 00:28:04.516 --> 00:28:07.102 Where everyone was like, "My God, is that Boba Fett walking?" 00:28:07.310 --> 00:28:09.896 'Cause the second you heard the spurs, everyone was like, 00:28:10.188 --> 00:28:11.439 "We know who that is." 00:28:15.777 --> 00:28:19.948 We continue the story, so he rescues her, he takes her to a mod parlor. 00:28:20.115 --> 00:28:24.452 I get to establish how she got her cybernetic robot stomach. 00:28:24.619 --> 00:28:26.454 Which has been super fun for me. 00:28:26.705 --> 00:28:29.958 -We wanna see him put this... -Thought this T-brace was in this. 00:28:30.125 --> 00:28:32.001 We're definitely making that a loose piece. 00:28:32.252 --> 00:28:34.295 First of all, there was a lot of practicals. 00:28:34.546 --> 00:28:39.175 Because what they needed to do is sort of like a really cool magician's trick 00:28:39.718 --> 00:28:42.846 where I am in a box, 00:28:43.847 --> 00:28:48.852 and then they laid over it this prosthetic piece of me 00:28:49.477 --> 00:28:52.981 on top. So, it looks like I'm lying flat on the bed. 00:28:53.565 --> 00:28:58.153 And I joked, it's like the woman that gets sawed in half kind of trick. 00:28:58.236 --> 00:29:00.989 And then that way they can show 00:29:01.072 --> 00:29:05.785 the modifier operating on my belly, you could see the mechanics. 00:29:13.501 --> 00:29:14.961 Aren't you gonna close her up? 00:29:15.962 --> 00:29:17.839 And cover all that beautiful machinery? 00:29:18.506 --> 00:29:22.302 We introduced The Mandalorian, as somebody who was a very... 00:29:23.136 --> 00:29:25.013 Had very mixed feeling about droids. 00:29:25.305 --> 00:29:29.392 And now the next generation's actually installing droid parts into their body. 00:29:30.435 --> 00:29:34.314 It's the evolution of each generation, how their attitudes change 00:29:34.481 --> 00:29:35.774 compared to the previous ones. 00:29:36.649 --> 00:29:37.859 What did you do to me? 00:29:38.526 --> 00:29:41.821 I brought you to a mod parlor on the outskirts of Mos Eisley. 00:29:43.156 --> 00:29:46.367 I'm tired of our kind dying because of the idiocy of others. 00:29:47.494 --> 00:29:48.828 We're smarter than them. 00:29:50.163 --> 00:29:51.956 It's time we took our shot. 00:29:52.874 --> 00:29:54.209 We? 00:29:57.629 --> 00:30:00.006 Right from the beginning, Boba Fett felt like 00:30:00.089 --> 00:30:02.717 kind of The Addams Family version of The Mandalorian, 00:30:02.801 --> 00:30:05.303 where his droid was 8D8, 00:30:05.386 --> 00:30:08.306 that Matt Berry plays with this really sardonic voice. 00:30:08.515 --> 00:30:11.351 Their tortured squeals will send a piercing message 00:30:11.434 --> 00:30:14.229 to all potential challengers to your throne. 00:30:14.771 --> 00:30:17.732 The castle feels like a haunted castle, 00:30:17.816 --> 00:30:20.235 and the rancor, it's not there anymore, 00:30:20.318 --> 00:30:22.779 so we knew we had to figure out a way to get... 00:30:22.862 --> 00:30:25.281 To start populating his menagerie. 00:30:34.582 --> 00:30:36.751 It's quite the gift. 00:30:36.835 --> 00:30:38.795 There was a beautiful miniature build 00:30:38.878 --> 00:30:43.049 for the interior that the rancor... Like the rancor pit. 00:30:43.132 --> 00:30:46.094 It was actually quite a big model of the gates and the opening, 00:30:46.177 --> 00:30:48.346 and the rocks and the grating at the top. 00:30:48.429 --> 00:30:52.517 We like to be almost archeological in our precisions. 00:30:52.600 --> 00:30:57.480 There's researchers at ILM who are able to get us behind-the-scenes images 00:30:57.564 --> 00:31:00.525 from the original films and we're able to get very accurate. 00:31:00.692 --> 00:31:05.738 We did a scan and took the scan to be used actually on our LED volume, 00:31:05.822 --> 00:31:09.409 so that we could shoot the actors within this environment. 00:31:11.911 --> 00:31:12.996 In my mind, 00:31:13.746 --> 00:31:16.207 the part that makes the rancor most memorable 00:31:16.875 --> 00:31:21.546 was that the rancor trainer gets so sad when the rancor... 00:31:21.629 --> 00:31:26.217 When Luke ends up closing the gate on his head. 00:31:26.885 --> 00:31:29.304 And, you know, Luke's fighting for his life. 00:31:29.387 --> 00:31:31.723 So you're cheering for him, and then, 00:31:31.806 --> 00:31:36.895 you see this poor rancor keeper just really sad being reassured, 00:31:36.978 --> 00:31:40.773 I just found that really curious. Is it like dogs? 00:31:41.941 --> 00:31:45.194 The idea of bringing that dimension to it was really fun, 00:31:45.278 --> 00:31:48.156 and then, of course, I think the part that pulls it all together is 00:31:48.239 --> 00:31:49.657 you got the trainer. 00:31:49.741 --> 00:31:52.076 I don't trust anybody that don't like dogs. 00:31:53.328 --> 00:31:57.373 I think you have to be a dog lover to really appreciate the rancor. 00:31:57.457 --> 00:32:00.960 And he is just like, just a giant dog. 00:32:01.044 --> 00:32:06.299 And you can train him to be vicious, you can train him as a protector 00:32:06.382 --> 00:32:08.134 or you can train him to be a puppy. 00:32:11.012 --> 00:32:12.847 This is the spot, right? 00:32:12.972 --> 00:32:16.184 Is this the spot? Yeah. 00:32:16.267 --> 00:32:20.939 If he bonds with you, you know, if you're his guy, 00:32:21.022 --> 00:32:24.651 then it's like what you say goes, 00:32:24.734 --> 00:32:27.236 and Boba Fett really understands that. 00:32:27.320 --> 00:32:32.492 When I take off that hood and he's looking at Boba Fett, 00:32:32.575 --> 00:32:36.996 and he's sayin' okay, you know, 00:32:37.080 --> 00:32:41.000 my guy trusts you, so I'm gonna trust you. 00:32:41.751 --> 00:32:45.588 -Easy, boy. Easy. 00:32:45.838 --> 00:32:48.841 He's one of the most beloved creatures in Return of the Jedi. 00:32:49.050 --> 00:32:51.803 And when we had an opportunity to bring him back for Book of Boba, 00:32:51.886 --> 00:32:54.472 I had the biggest smile on my face when Jon said, "Okay, 00:32:54.555 --> 00:32:57.433 "let's try to find a sequence to, you know, honor that creature." 00:32:57.517 --> 00:33:01.270 And to honor that creature, we actually went back and looked at all the footage, 00:33:01.354 --> 00:33:03.064 we looked at all the original maquettes, 00:33:03.147 --> 00:33:04.857 because we wanted to capture the essence. 00:33:04.941 --> 00:33:07.610 It's not the same rancor, so it could be slightly different. 00:33:07.694 --> 00:33:10.029 But we wanted to preserve the charm of what we saw. 00:33:10.530 --> 00:33:14.325 And the charm came from this hand puppet built by Phil Tippett. 00:33:14.492 --> 00:33:15.868 It was a rubber monster. 00:33:15.994 --> 00:33:18.329 But the way it was photographed, the way it was lit, 00:33:18.413 --> 00:33:20.331 the way it was painted, was absolutely great. 00:33:20.415 --> 00:33:23.167 It didn't look absolutely photo-real. But that wasn't necessary. 00:33:23.251 --> 00:33:26.629 It was more the emotional impact. And that's what we wanted to capture. 00:33:29.716 --> 00:33:33.386 In Return of the Jedi, we had a huge practical hand that grabbed Luke. 00:33:33.469 --> 00:33:36.931 And so we thought, well, in this version, Boba Fett's gonna ride it. 00:33:37.390 --> 00:33:40.852 Do we want him to ride a giant blue-screen monster, 00:33:40.935 --> 00:33:44.772 or do we actually want him to ride a real rancor head? 00:33:44.856 --> 00:33:47.567 And I think the decision was, "Let's go all out." 00:33:55.366 --> 00:33:57.493 It's bringing back memories, isn't it? 00:33:59.037 --> 00:34:00.121 Back in the old days. 00:34:00.204 --> 00:34:02.832 It also went far beyond just having the head. 00:34:03.207 --> 00:34:07.503 Because what we ended up doing is using the practical head and the shoulders, 00:34:07.587 --> 00:34:10.631 and then building this CG arms off of the practical. 00:34:10.923 --> 00:34:14.343 So, depending on what shot you're looking at, it's either all CG, 00:34:14.427 --> 00:34:16.929 it's all practical, or it's a combination. 00:34:17.221 --> 00:34:19.807 And as soon as you get a full-size creature that might have 00:34:19.891 --> 00:34:22.769 a slight mechanical motion, you start to believe it a lot more. 00:34:22.852 --> 00:34:26.230 You had to almost tell yourself this isn't real. 00:34:26.314 --> 00:34:27.648 You know what I mean? 00:34:27.732 --> 00:34:31.903 I mean, because your... This thing is massive, it's moving, 00:34:31.986 --> 00:34:34.989 and it's, you know, like when... 00:34:35.073 --> 00:34:38.534 When you got an animatronic or whatever and it moves, 00:34:39.077 --> 00:34:41.079 this part moves, 00:34:41.370 --> 00:34:45.291 but when the neck muscles, when everything moves with it, 00:34:45.374 --> 00:34:47.043 it's like, wow. 00:34:48.211 --> 00:34:49.962 I want to learn to ride this one. 00:34:50.922 --> 00:34:51.923 You what? 00:34:53.424 --> 00:34:57.178 At the very beginning, Jon and I look at through all the season 00:34:57.261 --> 00:34:59.889 and Jon has a bunch of things he wants to accomplish, 00:34:59.972 --> 00:35:01.766 and, you know, we both like Mando, 00:35:01.849 --> 00:35:04.018 and we felt that it would be difficult 00:35:04.102 --> 00:35:06.521 for us to go a whole season without seeing him. 00:35:06.604 --> 00:35:09.023 And so, he's a friend of Boba's, 00:35:09.107 --> 00:35:11.609 so it makes sense to bring him back into the story. 00:35:11.692 --> 00:35:12.860 What's the bounty? 00:35:13.152 --> 00:35:15.321 No bounty. We need muscle. 00:35:16.322 --> 00:35:17.406 Boba Fett. 00:35:17.490 --> 00:35:18.950 He sure would appreciate it. 00:35:19.033 --> 00:35:24.664 Having The Book of Boba Fett come in the timeline and let everything settle, 00:35:25.081 --> 00:35:27.166 it allowed us to let some time pass 00:35:27.250 --> 00:35:29.627 to take a breather and meet The Mandalorian 00:35:29.919 --> 00:35:32.463 after he'd taken his helmet off 00:35:32.839 --> 00:35:35.591 and that The Child was no longer in his life. 00:35:35.675 --> 00:35:39.470 That father-child relationship that had developed was no longer there. 00:35:39.554 --> 00:35:42.473 And so his life, I think, would lose some of its meaning. 00:35:42.557 --> 00:35:44.684 That felt like fertile territory. 00:35:44.767 --> 00:35:46.727 I can bring you in warm, 00:35:48.146 --> 00:35:50.064 or I can bring you in cold. 00:35:50.148 --> 00:35:53.109 He's back to being a bounty hunter. He has the Darksaber. 00:35:53.192 --> 00:35:57.989 You know, you can feel that he's someone who is searching for his home... 00:35:58.406 --> 00:36:01.367 He's searching for his place in the galaxy. 00:36:04.787 --> 00:36:06.455 Early on in the episode, 00:36:06.622 --> 00:36:11.752 you see Mando make his way to the Armorer and Heavy and reconnect with them. 00:36:12.003 --> 00:36:16.299 And in that process, he is able to seek out training. 00:36:18.801 --> 00:36:20.887 There, feel it. 00:36:21.179 --> 00:36:24.390 -You are too weak to fight the Darksaber. 00:36:25.558 --> 00:36:27.685 It will win if you fight against it. 00:36:29.979 --> 00:36:32.273 You cannot control it with your strength. 00:36:32.356 --> 00:36:36.652 Exposition can always be a huge speed bump in the middle of the road. 00:36:36.736 --> 00:36:38.905 But in Star Wars, you're at the edge of your seat 00:36:38.988 --> 00:36:40.781 'cause you wanna know more about the lore. 00:36:40.865 --> 00:36:45.036 I always point back to the scene where the lightsaber comes out 00:36:45.494 --> 00:36:49.373 and Obi-Wan Kenobi starts talking about the Clone Wars and Luke's father. 00:36:49.457 --> 00:36:50.917 You fought in the Clone Wars? 00:36:51.167 --> 00:36:55.213 Yes. I was once a Jedi Knight, the same as your father. 00:36:58.382 --> 00:36:59.717 I wish I'd known him. 00:36:59.800 --> 00:37:02.511 He was the best starpilot in the galaxy 00:37:03.930 --> 00:37:05.139 and a cunning warrior. 00:37:05.556 --> 00:37:08.392 I understand you've become quite a good pilot yourself. 00:37:09.143 --> 00:37:13.356 So, to have the backstory of Mandalore show up now, 00:37:13.606 --> 00:37:15.524 three seasons into our storytelling, 00:37:15.983 --> 00:37:18.694 because people are so curious about what was The Purge, 00:37:18.986 --> 00:37:22.323 what was the Night of a Thousand Tears, the Songs of the Eons Past. 00:37:22.740 --> 00:37:24.909 And so we started to begin to show imagery. 00:37:24.992 --> 00:37:29.622 Now, that imagery had to be evocative of what George and Dave created 00:37:29.789 --> 00:37:32.500 in Mandalore and the animated shows. 00:37:32.708 --> 00:37:35.294 But this was our way to start to get into that. 00:37:36.087 --> 00:37:39.215 Those born of Mandalore strayed away from the path. 00:37:40.007 --> 00:37:42.551 Eventually, the Imperial interlopers destroyed 00:37:42.635 --> 00:37:46.847 all that we knew and loved in the Night of a Thousand Tears. 00:37:48.432 --> 00:37:50.685 The Purge of Mandalore was an interesting sequence. 00:37:50.768 --> 00:37:54.647 We looked at a lot of movie references for things, you know, like Jarhead, 00:37:54.730 --> 00:37:58.234 where, you know, they're out in the desert, the oil fields, 00:37:58.317 --> 00:38:01.696 and it's just silhouettes of soldiers with just destruction. 00:38:01.779 --> 00:38:03.781 It looks like hell on earth behind them. 00:38:04.240 --> 00:38:06.325 You know, they're in amongst this debris, 00:38:06.409 --> 00:38:09.870 and as you see the robots coming towards you, 00:38:09.954 --> 00:38:12.665 we used K-2SO droids, which is really interesting. 00:38:13.165 --> 00:38:15.960 We used probe droids, again very interesting, 00:38:16.043 --> 00:38:17.461 you know, to see those back, 00:38:17.545 --> 00:38:21.424 coming through the fire and silhouetted against all of this rubble, 00:38:21.674 --> 00:38:24.010 and it's really strong imagery. 00:38:24.093 --> 00:38:28.723 Only those that walked the way escaped the curse prophesized in the Creed. 00:38:28.806 --> 00:38:32.393 And now, we're learning more about the covert and what the rules are. 00:38:32.476 --> 00:38:35.771 And how much it hurts him to be a pariah 00:38:35.855 --> 00:38:39.233 because he broke the one rule that he understood he can never break. 00:38:39.317 --> 00:38:42.862 Din Djarin, have you ever removed your helmet? 00:38:42.945 --> 00:38:44.280 I have. 00:38:46.115 --> 00:38:49.327 Then, you are a Mandalorian no more. 00:38:49.410 --> 00:38:53.039 I beg you for your forgiveness. How can I atone? 00:38:53.122 --> 00:38:55.249 Leave, apostate. 00:39:00.796 --> 00:39:02.173 I got your message. 00:39:02.631 --> 00:39:03.966 Message? What message? 00:39:04.050 --> 00:39:06.886 You said you found me a replacement for the Razor Crest. 00:39:06.969 --> 00:39:09.305 Yeah, that's right, that's what I said, that's what I do. 00:39:09.388 --> 00:39:11.891 I've been working my * off, yeah. Did you bring the cash? 00:39:15.811 --> 00:39:17.938 The N-1 is very dear to me 00:39:18.022 --> 00:39:20.691 because I originally designed that for Phantom Menace. 00:39:20.775 --> 00:39:23.235 You know, it was supposed to be Anakin's speeder. 00:39:23.319 --> 00:39:28.449 It was designed specifically to look like an F1 version of an X-wing. 00:39:28.532 --> 00:39:31.744 George and I kind of really figured out the nuances of that, 00:39:31.827 --> 00:39:33.412 and it's a very distinct style. 00:39:33.496 --> 00:39:36.248 It's a very handcrafted piece of machinery. 00:39:36.540 --> 00:39:40.378 Jon basically said, you know, let's treat it like a classic vintage car. 00:39:40.461 --> 00:39:44.757 Let's bring it back out of mothball as if, you know, Peli found it in a garage 00:39:45.091 --> 00:39:47.426 and presented it, and now they're fixing it up, 00:39:47.510 --> 00:39:50.096 they're hot-rodding it together, they're retrofitting things, 00:39:50.179 --> 00:39:53.057 updating it, keeping the aesthetic of what was there, 00:39:53.140 --> 00:39:54.767 but now turning it into something new. 00:39:54.850 --> 00:39:59.438 Great news. I found you a turbonic venturi power assimilator. 00:39:59.522 --> 00:40:01.732 You're gonna be the fastest ship in the Outer Rim. 00:40:03.150 --> 00:40:04.693 In the '50s or the '60s, 00:40:04.777 --> 00:40:06.987 when George Lucas had set American Graffiti, 00:40:07.071 --> 00:40:11.325 they were driving around Deuce Coupes or three-window '32 Fords 00:40:11.409 --> 00:40:14.620 and they would take those and chop parts off of it 00:40:14.703 --> 00:40:16.497 and throw on speed modifications. 00:40:16.997 --> 00:40:19.166 And so, we wanted to keep that spirit alive, 00:40:19.250 --> 00:40:22.753 so the idea of creating an N-1 starfighter 00:40:22.837 --> 00:40:24.505 in a garage with a mechanic, 00:40:24.588 --> 00:40:27.007 building your own customized version of that. 00:40:27.091 --> 00:40:28.717 That's part of what Star Wars is about. 00:40:28.801 --> 00:40:31.178 You're both fully in it and stoked. 00:40:31.262 --> 00:40:34.974 So it's not like, "Where is the vapor manifold?" 00:40:35.057 --> 00:40:38.853 So, it's really... It's like, "What, she's got something up her sleeve." 00:40:38.936 --> 00:40:40.104 And indeed she does. 00:40:47.445 --> 00:40:50.239 This design was first drawn over 23 years ago. 00:40:50.322 --> 00:40:53.325 And I remember I sat in it 23 years ago in Leavesden, London, 00:40:53.409 --> 00:40:55.035 when we were shooting that film. 00:40:55.911 --> 00:40:59.540 I had an opportunity to actually sit in this new version 23 years later, 00:40:59.623 --> 00:41:03.252 and it just made me smile because it was like, you know, I never grew up. 00:41:03.335 --> 00:41:04.628 This was always there. 00:41:04.712 --> 00:41:06.881 That is so sweet. 00:41:13.804 --> 00:41:17.558 Jon started talking about, you know, having this training sequence with Luke 00:41:17.641 --> 00:41:21.520 because we knew the audience is gonna wonder what's happening to Grogu, 00:41:21.604 --> 00:41:24.315 and how do we want Luke to be as a teacher? 00:41:24.398 --> 00:41:25.816 The symmetry 00:41:25.900 --> 00:41:31.489 of being trained by that species, and then taking one 00:41:31.572 --> 00:41:36.660 of the same kind to train was very satisfying. 00:41:36.994 --> 00:41:42.333 Luke has to suppress his sentimental side 00:41:42.416 --> 00:41:45.669 and be as professional as he can 00:41:45.753 --> 00:41:51.383 to try and imbue his student with the values that he's going to need 00:41:51.467 --> 00:41:53.385 if he's going to be a Jedi Master. 00:41:54.011 --> 00:41:56.597 I've always felt with Luke 00:41:56.722 --> 00:42:01.435 that he is a step more on the Qui-Gon Jinn path, 00:42:01.519 --> 00:42:03.646 even though he didn't really know Qui-Gon. 00:42:03.729 --> 00:42:10.152 But if you go, Qui-Gon taught Obi-Wan, Obi-Wan taught Luke, 00:42:10.236 --> 00:42:13.948 you can get that kind of methodology there. 00:42:14.031 --> 00:42:16.700 It's also interesting because Qui-Gon taught Obi-Wan, 00:42:16.784 --> 00:42:18.035 Obi-Wan taught Anakin. 00:42:18.118 --> 00:42:22.039 So Obi-Wan teaches father and son, which I find compelling. 00:42:22.581 --> 00:42:26.085 And then father teaches Ahsoka, very compelling. 00:42:26.168 --> 00:42:29.338 I admit Ahsoka is a little rough around the edges, 00:42:29.630 --> 00:42:33.300 but with a great deal of training and patience, 00:42:33.467 --> 00:42:34.969 she might amount to something. 00:42:36.095 --> 00:42:38.305 The biggest thing was putting her on-screen with Luke. 00:42:38.389 --> 00:42:41.892 It's a strange relationship they have because she was taught by his father, 00:42:41.976 --> 00:42:43.644 he never really knew his father. 00:42:43.727 --> 00:42:47.147 So, they can provide some context for each other in a beautiful way. 00:42:47.231 --> 00:42:48.691 So much like your father. 00:42:48.774 --> 00:42:52.027 Star Wars has always been unique in the sense that, 00:42:52.111 --> 00:42:53.529 strong female characters. 00:42:53.612 --> 00:42:56.448 The Princess was no shrinking violet. 00:42:56.532 --> 00:42:58.284 Into the garbage chute, flyboy. 00:42:59.076 --> 00:43:01.996 You know, she stood face to face with Vader and, you know, 00:43:02.079 --> 00:43:03.747 sassed right in his face. 00:43:03.831 --> 00:43:07.501 And with Ahsoka, you know, here you have a Jedi woman 00:43:07.585 --> 00:43:09.920 with this complicated backstory. 00:43:10.004 --> 00:43:12.298 It's just thrilling. 00:43:12.381 --> 00:43:15.759 I've seen what such feelings can do to a fully trained Jedi Knight. 00:43:17.261 --> 00:43:18.304 To the best of us. 00:43:21.056 --> 00:43:23.225 I will not start this child down that path. 00:43:23.601 --> 00:43:26.645 And of course Rosario is just delightful. 00:43:26.729 --> 00:43:29.690 Well, it was really funny... This is a funny moment with Rosario. 00:43:29.773 --> 00:43:33.319 She didn't realize 'cause her script said Plo Koon. 00:43:34.612 --> 00:43:37.031 She didn't know until the day we were shooting 00:43:37.489 --> 00:43:39.491 that she wasn't gonna meet Plo Koon. 00:43:40.159 --> 00:43:42.328 So I'm doing all of my scenes, like, 00:43:42.953 --> 00:43:45.998 okay, like that's gonna be really interesting, like, Master Plo Koon. 00:43:46.081 --> 00:43:48.417 I'm a little confused by that, but, like, okay, 00:43:48.500 --> 00:43:51.128 that could be interesting, like, how is it jumping around? 00:43:51.211 --> 00:43:53.255 I don't know. I was like, it's gonna make sense. 00:43:53.339 --> 00:43:55.591 When I get to the set, I'll ask all the questions 00:43:55.674 --> 00:43:56.717 and, like, figure it out. 00:43:56.800 --> 00:43:58.677 And then comes Mark Hamill. 00:43:59.053 --> 00:44:01.889 I just... I couldn't believe I was standing there in front of him 00:44:01.972 --> 00:44:03.474 and we're working together, like... 00:44:03.557 --> 00:44:06.143 Again, I've got lightsabers, 00:44:06.393 --> 00:44:09.063 and there is, like, a baby Yoda 00:44:09.855 --> 00:44:11.857 and actual Luke Skywalker in front of me. 00:44:11.940 --> 00:44:14.026 Like, I can't believe I didn't faint that day. 00:44:14.109 --> 00:44:17.154 I can't believe that they kept that secret from me even on the day... 00:44:17.237 --> 00:44:19.031 Up until I was on set with him. 00:44:19.114 --> 00:44:20.783 Will I see you again? 00:44:23.077 --> 00:44:24.286 Perhaps. 00:44:26.455 --> 00:44:28.123 May the Force be with you. 00:44:30.501 --> 00:44:32.211 The key was having Mark there 00:44:32.920 --> 00:44:36.799 because you get how much it means to him. 00:44:37.257 --> 00:44:38.592 This character. 00:44:38.676 --> 00:44:41.637 You understand that as you see him there and... 00:44:42.179 --> 00:44:46.308 And just the look in his eye when he would watch Graham performing, 00:44:46.392 --> 00:44:49.561 this sense of, I think, pride that he had 00:44:50.145 --> 00:44:53.524 in watching that committed performance and that he was a part of it. 00:44:53.607 --> 00:44:57.152 I say, "He once said to me, while not looking at him, 00:44:57.236 --> 00:44:58.445 "Size matters not." 00:44:58.529 --> 00:45:01.156 And I feel that makes an imprint on Grogu. 00:45:01.240 --> 00:45:04.785 Grogu stops, and I feel that. And then I turn around. 00:45:04.868 --> 00:45:08.706 We would do takes with Mark, and then we would do takes with Graham, 00:45:08.789 --> 00:45:12.251 and it was always one camera because we had what's called a flux rig 00:45:13.419 --> 00:45:17.172 on our camera, which is basically two small IR cameras 00:45:17.256 --> 00:45:19.925 on either side of our taking lens 00:45:20.092 --> 00:45:24.430 and, you know, and Graham has infrared invisible dots on his face. 00:45:24.513 --> 00:45:27.391 Some visible, some invisible. And it works really well. 00:45:27.474 --> 00:45:29.852 But ownership of that character belongs to Mark. 00:45:29.935 --> 00:45:33.605 Mark and Graham, they really had to fuse and become Luke, 00:45:33.689 --> 00:45:37.109 and Mark had to share all his knowledge of what it means to be Luke. 00:45:37.192 --> 00:45:39.361 Just very special for all of us. 00:45:39.445 --> 00:45:41.196 "Size matters not." 00:45:42.364 --> 00:45:43.824 That's the way he'd talk. 00:45:43.949 --> 00:45:45.284 He would speak in riddles. 00:45:45.909 --> 00:45:48.245 Have you heard anyone talk like that back home? 00:45:48.829 --> 00:45:51.665 It's a process that's new to both of us. 00:45:52.124 --> 00:45:56.545 So, we're just trying to give the filmmakers everything they need. 00:45:56.837 --> 00:46:01.675 I've done all aspects, theater, radio, television, movies. 00:46:02.134 --> 00:46:05.721 Each one of them has its specific requirements. 00:46:05.804 --> 00:46:09.183 But this is a completely new aspect. 00:46:09.266 --> 00:46:12.060 I'm wondering if there's... I'm changing the timing of, 00:46:12.144 --> 00:46:13.979 "Wait before you take it." 00:46:14.062 --> 00:46:16.356 Because I think earlier I laid it out. 00:46:16.440 --> 00:46:17.483 Yeah. 00:46:17.566 --> 00:46:19.276 And then he was gone again, I go "Wait." 00:46:19.359 --> 00:46:22.321 With this, it's a composite performance. 00:46:23.614 --> 00:46:28.911 Not just from the stunt double, but input from the director and what's on the page, 00:46:29.119 --> 00:46:31.079 all of these elements coming together 00:46:31.163 --> 00:46:34.249 so that it's an ongoing learning experience. 00:46:34.333 --> 00:46:36.502 So there and there. 00:46:36.585 --> 00:46:37.586 Yeah, there. 00:46:37.711 --> 00:46:41.673 I think one of the most fun things about working on this show 00:46:41.757 --> 00:46:48.138 is Jon and Dave and Robert are so supportive of trial and error. 00:46:48.639 --> 00:46:54.019 And this is something that we really have to have a safe space to try, and retry, 00:46:54.102 --> 00:46:57.523 and learn and improve with the technology like this. 00:46:57.606 --> 00:47:01.860 One of the most satisfying aspects of the work that we did with Luke 00:47:01.944 --> 00:47:02.986 was the progression. 00:47:03.070 --> 00:47:05.948 Where we started at the end of Season 2 00:47:06.031 --> 00:47:08.408 was a place where we gained a lot of experience. 00:47:08.492 --> 00:47:12.204 So, for Season 2, we partnered with the visual effects artists at Lola. 00:47:12.287 --> 00:47:14.206 And of course, through that process, 00:47:14.289 --> 00:47:18.377 they were using deepfake to understand what the likeness needed to be 00:47:18.460 --> 00:47:21.004 for our Luke Skywalker face swap. 00:47:21.129 --> 00:47:24.633 At the time, we weren't able to use them in the final product 00:47:24.800 --> 00:47:27.052 because the technology was still developing. 00:47:27.135 --> 00:47:28.804 We couldn't get the resolution required. 00:47:28.887 --> 00:47:30.347 For Book of Boba Fett, 00:47:30.514 --> 00:47:34.184 we knew that we needed to do 10 times the amount of work. 00:47:34.268 --> 00:47:36.728 The character really had to carry the episode. 00:47:37.145 --> 00:47:40.607 And because of the stunt work required, we also needed a CG head. 00:47:40.816 --> 00:47:43.694 So it was that point that we knew what we wanted to do 00:47:43.777 --> 00:47:46.113 was talk to John Knoll and ILM to see 00:47:46.196 --> 00:47:49.575 how could we combine all of the new technologies that are out there, 00:47:49.658 --> 00:47:54.037 as well as a CG head, to solve the problem on Book of Boba Fett. 00:47:54.162 --> 00:47:57.749 Landis continued his developments with the deepfake work and, of course, 00:47:57.833 --> 00:48:01.336 we worked with Dave Klein on running many, many, many tests ahead of the shoot. 00:48:01.420 --> 00:48:05.257 We shot plates on the backlot outside in different times of day. 00:48:05.465 --> 00:48:07.217 We shot it on the LED volume, 00:48:07.301 --> 00:48:09.720 different tests of Graham moving his head around 00:48:09.803 --> 00:48:11.638 at different angles on cranes 00:48:11.722 --> 00:48:14.516 with a variety of different LED volume loads, 00:48:14.933 --> 00:48:17.436 and we had to figure out where it breaks. 00:48:17.936 --> 00:48:20.939 The level of progression continued to develop. 00:48:21.023 --> 00:48:23.275 So, once the work was turned over to ILM 00:48:23.358 --> 00:48:26.987 and Pete Demarest got hold of the high-res material 00:48:27.070 --> 00:48:29.573 and started cranking everything up to 11, 00:48:29.656 --> 00:48:32.451 the improvement continued to grow. 00:48:32.534 --> 00:48:35.871 And, I think, for ILM, that continued to advance 00:48:35.954 --> 00:48:37.664 when they hired Sam Head. 00:48:37.748 --> 00:48:40.042 Someone, of course, that's very familiar to people 00:48:40.125 --> 00:48:42.878 that have followed the progression of deepfake work, 00:48:42.961 --> 00:48:44.588 in particular of this character. 00:48:44.838 --> 00:48:49.134 He came in and was able to offer advice and guidance, 00:48:49.217 --> 00:48:53.639 and it was really a collaborative effort between Pete Demarest, and Sam, 00:48:53.722 --> 00:48:58.352 John Knoll, Landis, and the many, many, many other artists that allowed this work 00:48:58.435 --> 00:49:01.104 to achieve the heights that it did. 00:49:02.022 --> 00:49:06.360 Jump, and as you do, feel the Force flow through you. 00:49:11.698 --> 00:49:14.701 You're trying too hard. Don't try. 00:49:15.410 --> 00:49:16.411 Do. 00:49:16.495 --> 00:49:19.831 When working on visual effects, we're obviously working on the back end 00:49:19.915 --> 00:49:23.335 and more often than not, there's this thought process of, like, 00:49:23.418 --> 00:49:25.921 "That is gonna be really hard to do practical." 00:49:26.004 --> 00:49:28.924 Having this baby swing around, do flips, 00:49:29.383 --> 00:49:31.468 and I think we internally kind of 00:49:31.551 --> 00:49:34.846 prepped ourselves for a lot of digital recreations. 00:49:34.930 --> 00:49:38.058 We didn't have to do a great deal, actually, to make that work. 00:49:38.141 --> 00:49:39.893 Look at you. 00:49:42.604 --> 00:49:45.565 -The breakout star. 00:49:45.857 --> 00:49:49.778 Oftentimes you would find Mike Manzel and his team 00:49:49.861 --> 00:49:53.365 in a stage with Grogu on the end of a rod, 00:49:53.448 --> 00:49:55.409 trying to figure out how to do backflips. 00:49:55.492 --> 00:50:00.038 And to try to see how real that they could make it with landings. 00:50:00.122 --> 00:50:03.709 And I think that every now and again they would invite Jon and Dave in, 00:50:03.792 --> 00:50:05.877 of course, to see those rehearsals. 00:50:05.961 --> 00:50:07.045 And I think at that point, 00:50:07.129 --> 00:50:09.798 you could see that Dave was checking off in his mind 00:50:09.881 --> 00:50:12.050 how he could potentially edit that sequence. 00:50:12.134 --> 00:50:14.594 It's really simple beats, and I think at the end, 00:50:14.678 --> 00:50:18.015 you know, we'll just have a moment where the camera sits on him. 00:50:18.098 --> 00:50:19.891 When Luke is training Grogu, 00:50:20.308 --> 00:50:22.185 you have to make the audience believe 00:50:22.394 --> 00:50:25.814 that it actually might be better for Grogu to be with Luke 00:50:26.857 --> 00:50:29.192 than it is to be with Mando. 00:50:29.651 --> 00:50:30.944 That's the whole trick. 00:50:31.028 --> 00:50:33.071 Of course, we want him to be with Mando. 00:50:33.155 --> 00:50:34.573 But is that the right thing? 00:50:34.656 --> 00:50:37.909 And I don't think Luke is presenting an argument either way. 00:50:38.869 --> 00:50:42.247 Because I think Luke also, of any Jedi in the galaxy, 00:50:42.330 --> 00:50:46.543 understands what it would be like to be with the person you care about most. 00:50:46.918 --> 00:50:48.545 To be with your father figure. 00:50:48.628 --> 00:50:53.592 So I think Luke is a really, really good mentor for Grogu. 00:51:08.899 --> 00:51:12.527 Jon turned in the script for Episode 7, the season finale, 00:51:12.611 --> 00:51:14.988 which was just a long, dense script. 00:51:15.072 --> 00:51:19.326 More like a double episode that was just massive and had everything in it. 00:51:19.409 --> 00:51:23.580 Mando, baby Yoda, Scorpeneks, Krrsantan unleashed, 00:51:23.663 --> 00:51:27.209 Cad Bane, Boba riding atop a rancor, 00:51:27.292 --> 00:51:31.171 all the Gotras and factions fight in the city streets. 00:51:31.254 --> 00:51:34.382 That episode alone was like a Star Wars greatest hits package. 00:51:34.466 --> 00:51:37.135 Just overflowing with all things cool. 00:51:37.260 --> 00:51:39.137 And I wanted to do it so badly, 00:51:39.221 --> 00:51:42.307 but I thought for sure Jon would wanna direct that one himself 00:51:42.390 --> 00:51:44.810 'cause he hadn't committed to any other episodes. 00:51:44.893 --> 00:51:48.772 So, I went to him and made a whole case for why I should be the one to direct it. 00:51:48.855 --> 00:51:50.941 And he said "Hmm..." 00:51:51.024 --> 00:51:52.609 And he just scratched his chin, 00:51:52.692 --> 00:51:54.486 just long enough to give me a heart attack, 00:51:54.569 --> 00:51:57.155 and then he said, "Okay, you can direct it." 00:51:58.490 --> 00:52:04.496 I still don't understand how he got it all in the can, 00:52:04.579 --> 00:52:05.872 like, how did he capture? 00:52:05.956 --> 00:52:10.502 You watch this episode where the rancor attacks Mos Espa. 00:52:10.919 --> 00:52:15.924 It's like a major movie, like... And we're just on our little backlot here, 00:52:16.007 --> 00:52:18.802 and Robert's running around with the camera and the team, 00:52:18.885 --> 00:52:21.012 and, you know, his energy is in every frame. 00:52:21.388 --> 00:52:23.849 Show us the knife, you get ready to leave, 00:52:23.932 --> 00:52:26.643 and as you're leaving, just give them, like, one last look. 00:52:28.228 --> 00:52:32.899 Staging of the final battle in Episode 7 was massive. 00:52:32.983 --> 00:52:35.193 Even though we attacked it early on in preproduction 00:52:35.277 --> 00:52:37.988 by crafting very specific animatics and previs 00:52:38.071 --> 00:52:41.408 that I was able to edit down into a pretty tight construction. 00:52:41.491 --> 00:52:44.744 I do that because I knew we'd be out on real sets, out in the sun, 00:52:44.828 --> 00:52:46.580 we weren't gonna be on the volume. 00:52:46.663 --> 00:52:49.624 So, I'd be free to invent a lot of action on the fly, 00:52:49.708 --> 00:52:52.961 which is when I'm really in my element, and I love that. 00:52:53.044 --> 00:52:56.423 Where you just get a wide-open playground with some cool characters, 00:52:56.506 --> 00:52:58.049 and we'll just go to town. 00:53:10.478 --> 00:53:14.065 Cad Bane was a character that came up in The Clone Wars 00:53:14.149 --> 00:53:17.402 that Dave was a big part of bringing to the world. 00:53:17.485 --> 00:53:19.613 Your hat sure makes you stand out. 00:53:21.114 --> 00:53:24.117 I don't like to hide under a helmet. 00:53:24.201 --> 00:53:27.037 I didn't know how we'd pull it off. But Legacy, you know, 00:53:27.120 --> 00:53:29.789 came up with a concept where the... 00:53:29.873 --> 00:53:32.667 It gets so tight on the face of the actor here 00:53:32.751 --> 00:53:35.212 that what you're seeing is his real mouth moving. 00:53:36.630 --> 00:53:42.177 Boba Fett is a cold-blooded killer who worked for the Empire. 00:53:42.260 --> 00:53:45.138 We created and sculpted those pieces here. 00:53:45.222 --> 00:53:47.682 One of my key sculptors, Jason Matthews, did that 00:53:47.766 --> 00:53:53.146 and really crafted the look to match the character 00:53:53.230 --> 00:53:56.149 in the animated series of Cad Bane. 00:53:56.233 --> 00:53:58.360 Great actor, Dorian Kingi, 00:53:58.443 --> 00:54:02.155 who is a perfect body type for Cad, plays it. 00:54:02.239 --> 00:54:06.451 Without giving away all the tricks, we made some very intricate teeth 00:54:06.826 --> 00:54:09.788 that would make his mouth protrude 00:54:09.871 --> 00:54:13.917 to get that bone structure of Cad. 00:54:14.000 --> 00:54:17.003 This isn't the first time I beat you out on a job. 00:54:18.213 --> 00:54:20.882 The face, that actually came together really quickly. 00:54:20.966 --> 00:54:24.594 The hardest, I think, was the hat. We had to get the hat just right, 00:54:24.678 --> 00:54:28.682 and I sent them many pictures of Lee Van Cleef. 00:54:28.765 --> 00:54:34.104 'Cause in the backstory of Cad Bane, when George created this character, 00:54:34.187 --> 00:54:36.356 he created the name Cad Bane, and he said 00:54:36.439 --> 00:54:40.777 this is kind of the Lee Van Cleef to Boba Fett's Clint Eastwood. 00:54:40.860 --> 00:54:43.488 I'm still faster than you. 00:54:44.864 --> 00:54:46.199 That may be, 00:54:47.158 --> 00:54:48.868 but I have armor. 00:54:50.203 --> 00:54:51.913 Let's find out. 00:54:53.832 --> 00:54:57.210 Wearing that armor gives you a sense of power, 00:54:57.294 --> 00:55:00.005 and soon as you put it on, you kind of feel... 00:55:00.255 --> 00:55:03.133 You feel it, too. You feel it from the inside. 00:55:03.216 --> 00:55:07.262 So, you feel a little bit more powerful and stronger. 00:55:09.889 --> 00:55:12.851 And it's interesting to note that even when I've got the helmet on, 00:55:12.934 --> 00:55:16.062 you know, and Robert's watching a lot of the cuts in the edit, 00:55:16.146 --> 00:55:20.775 he still feels the character coming through the helmet as well, 00:55:20.859 --> 00:55:22.694 you know, just the little things that... 00:55:22.777 --> 00:55:25.322 Just the way the helmet might only move a little bit, 00:55:25.405 --> 00:55:28.658 but you kind of get a sense of what I'm doing underneath the helmet, 00:55:28.742 --> 00:55:30.076 and it's still oozing through. 00:55:30.160 --> 00:55:32.412 I can't abandon Mos Espa. 00:55:32.912 --> 00:55:34.539 These people are counting on me. 00:55:38.960 --> 00:55:43.006 The idea that the rancor would be loose in Mos Espa 00:55:43.089 --> 00:55:44.841 with all the domes and the towers, 00:55:44.966 --> 00:55:50.680 and that you can get into, like, this kaiju-scale battle, like King Kong, 00:55:50.805 --> 00:55:53.224 -with this character that already feels 00:55:53.308 --> 00:55:56.061 kind of stop-motion or Harryhausen-ish anyway. 00:55:56.186 --> 00:55:59.564 And to have that character on the loose. 00:56:03.777 --> 00:56:07.280 And then, of course, to have Grogu be able to step in 00:56:07.864 --> 00:56:13.787 with his loving spirit and to help end that sequence in a way 00:56:13.870 --> 00:56:16.081 that's hopefully unexpected, but heartfelt. 00:56:17.374 --> 00:56:19.084 It felt very right. 00:56:21.002 --> 00:56:24.214 I wanted it to feel like his powers have evolved in a subtle way. 00:56:24.297 --> 00:56:27.092 So if you notice, I made sure he didn't close his eyes 00:56:27.175 --> 00:56:29.427 when he was using his powers at that moment. 00:56:29.511 --> 00:56:31.096 I wanted to keep them open, 00:56:31.179 --> 00:56:36.017 almost as if he's just sending love and calm and empathy to the beast. 00:56:36.101 --> 00:56:39.062 It's the first time you see him use the Force without closing his eyes. 00:56:39.145 --> 00:56:40.522 Not till the very end of the shot 00:56:40.605 --> 00:56:43.858 does he close them to finish putting the rancor to sleep. 00:56:44.651 --> 00:56:46.736 What did he learn from Luke? 00:56:46.820 --> 00:56:53.576 It's not about this power to destroy, to become an expert swordsman. 00:56:53.910 --> 00:56:57.038 But it's a simpler power to calm something down, 00:56:57.122 --> 00:57:01.543 to abate something's rage, its anger, its fear. 00:57:01.876 --> 00:57:05.463 Grogu takes that away, makes it calm down, 00:57:05.547 --> 00:57:09.342 and thus we're right back into being what a Jedi and the Force is all about. 00:57:18.685 --> 00:57:21.229 The nature of these storylines are baked into the cake 00:57:21.312 --> 00:57:23.231 when you're dealing with the hero's journey, 00:57:23.314 --> 00:57:26.943 because it's about becoming part of something larger than yourself. 00:57:27.026 --> 00:57:28.820 That's what heroism really is. 00:57:28.903 --> 00:57:34.576 Heroism is putting your own individual needs aside 00:57:34.659 --> 00:57:38.204 and making them subservient to, well, something bigger than yourself. 00:57:38.288 --> 00:57:40.623 And that thing bigger than yourself could be, 00:57:40.707 --> 00:57:43.793 in the case of The Mandalorian in the first season, 00:57:43.877 --> 00:57:49.048 creating a family and being a father to this orphaned child. 00:57:49.132 --> 00:57:53.595 Or in Boba Fett, it could mean, after losing his tribe, 00:57:53.678 --> 00:57:58.057 creating a tribe or a community of his own with what he's learned. 00:57:58.808 --> 00:58:03.229 He's a little bit changed, and I think he can always 00:58:03.313 --> 00:58:04.939 revert back to those ways, 00:58:05.023 --> 00:58:07.692 but now, along with finding Fennec 00:58:07.775 --> 00:58:11.863 and seeing that she was in the same place that he was, 00:58:11.946 --> 00:58:15.492 so I think he's really seeking more family kind of comforts 00:58:15.575 --> 00:58:17.494 and understanding it a little bit more, 00:58:17.577 --> 00:58:19.662 and those are the things that Boba never had. 00:58:19.746 --> 00:58:23.875 So, that's been part of his emotional journey. 00:58:23.958 --> 00:58:25.793 Why must everyone bow at me? 00:58:25.877 --> 00:58:27.921 It's better than shooting. 00:58:28.713 --> 00:58:30.798 Are those my only two choices? 00:58:30.882 --> 00:58:32.717 When you run the town, it is. 00:58:32.800 --> 00:58:35.428 For me, The Book of Boba Fett is so many full circles. 00:58:35.512 --> 00:58:39.349 You know, getting to work with my favorite Star Wars character, Boba Fett. 00:58:39.432 --> 00:58:43.478 Getting to work and play in this world created by George Lucas who, you know, 00:58:43.561 --> 00:58:47.106 is really the guy that personally shared secrets of the future of filmmaking 00:58:47.232 --> 00:58:51.694 with me early in my career that set me on the path that put me right here. 00:58:53.738 --> 00:58:55.907 When I walk around this studio, 00:58:55.990 --> 00:59:00.537 there are amazing people that are invested in bringing these characters to the screen 00:59:00.620 --> 00:59:03.331 and it means something to them. 00:59:03.414 --> 00:59:05.250 And Jon and I, we want it to mean something 00:59:05.333 --> 00:59:06.709 to people that are working on it. 00:59:06.793 --> 00:59:10.171 It is my great, great honor to say 00:59:10.255 --> 00:59:14.801 that is a season wrap on Book of Boba Fett, y'all. 00:59:14.884 --> 00:59:17.637 -Congrats. We did it! 00:59:17.720 --> 00:59:22.308 I think we've got some really good Jedi working on this series. 00:59:22.392 --> 00:59:24.060 We're really lucky to have 'em.