All language subtitles for The Mandalorian Gallery s01e02 Legacy.eng

So, here we are in a train yard
in Los Angeles.

We got our whole cast here,
and we're having a good time.

We're trying to draw
from, uh, all over from Star Wars.

It's really helpful for authenticity.

And the enthusiasm is infectious.

I'm a fan since I was little.

And now I'm surrounded by other fans, too.

And it's been a real treat.

There's a whole generation,
that was the age I was

when I saw the original trilogy
that were that age...

- Sure, for the prequels.
- When they saw the prequels.

And you were around for the prequels.
You were doing it...

- I was.
- That was super cutting-edge stuff,

just like the motion control stuff
was cutting-edge then.

Now it feels like that's nostalgic,
in a way,

- compared to what we're able to do now.
- Yeah.

You had to reengage with Star Wars

after people hadn't seen it for
how long since the original trilogy?

Return of the Jedi was, what, 1983?

And then we're '99.

I was in high school.

I was an usher at the RKO Keith's
in Flushing when that movie was playing.

I went from being a kid for the first one,

by the last one I was
with the Ewoks and everything,

I was sort of, uh,
It was no longer my main focus, you know?

I sort of moved on to the Mad Max movies

and The Road Warrior, that kind of stuff.

So, what was it like to...

Did you ever talk about these
things while working on that?

What was Star Wars?

Or was it always George's vision,
and he knew exactly what he wanted to do?

I was very inspired to enter the industry
because of Star Wars.

In fact, I was 14
when Star Wars came out

and started to think a little bit
about what am I gonna do with my career?

And, um, there was mechanical engineering
or maybe architecture and...

But then Star Wars came out,

and suddenly there was all this exciting
new stuff happening in entertainment.

And it was really energizing
and inspiring.

And that really pushed me over the edge
to want to go into the industry.

And so...

Then, all the steps that I took that
landed me at ILM were with the hope that,

"I want to work on something as big and
ambitious as a Star Wars movie someday."

And I just happened to be
in the right place at the right time

when George was starting to ramp up
new Star Wars films.

- Were you at ILM at the time?
- Yeah.

You were already there, and then,
"Everybody, we're gonna make Star Wars"?

That's kinda what happened?

Yes, in a way and...

Everybody who was working
at ILM loved Star Wars,

not thinking you're gonna do it again
and George enters and says,

"We'll make three more Star Wars movies."

We had company meetings
annually and, uh...

George would address everybody
and take questions,

and inevitably,
every year someone would ask...

"What about Star Wars?"

"Are you gonna do
more Star Wars movies?"

And...

The first few years I was there,
he was always noncommittal,

"Yeah, I don't know. Maybe someday."

And then I remember that one year,
somebody asked that same question,

and he went, "Hmm, yeah, maybe."

Well, I can speak to that,
'cause I was around

with the movies that were in between,
which is the Indiana Jones movies.

And I don't think he ever stopped thinking
about whether he would do more Star Wars,

and I think what happened during Indy was
that he was not on the floor directing.

He was not necessarily, you know,
"in it" making...

- Which was Steven.
- 'Cause it's primarily Steven.

- He was producing.
- Exactly.

I think with anybody like George,
and anyone who's a filmmaker,

they get antsy after a while

at not being able to be on that floor
telling stories, making movies.

And his love of pushing the technology,

obviously, we were doing
a certain amount of that

with each of the Indiana Jones movies.

But it wasn't like Star Wars.

And I think that each time
we would push the technology

in making those movies,

he got the bug to start thinking about
what that might mean for Star Wars.

I think Star Wars
is such a part of people's lives,

and it's something they see now
on a regular basis

that when you say
"George Lucas, he created it,"

I don't think people give enough
full value to what that means.

I like to think I do, but I work with him,
so I've seen him create it.

I've seen the person that comes up
with the lines and the dialogue

and understands
Anakin Skywalker and Luke Skywalker

in a very deep level,

because those characters
are a part of him.

And for my part, joining Lucasfilm,
I always respected that.

I never felt that Star Wars
is something that was mine.

I felt privileged
to be a part of telling the story.

I felt grateful that I got to do it
with George

and that I would write stories

and try and tell stories,
and he would say,

"Okay, well, that's not what I meant,"
or "that's not how that works."

and he would course-correct it,
because he should. It's his story.

He created the universe,
the Millennium Falcon, Chewbacca, Yoda.

I mean, all these things, Darth Vader...
all came out of his brain,

and you just need to tap into that
to stay true to kind of what this is

and do what George did,

which is constantly find new ways
to tell these stories.

I've always been in awe

of Star Wars and the magic of that.

What George has always done
is bring collaborators in

and see where you might go or take this.

He really understood that the characters

are meant to expand in ways
that George might not even predict.

And he's always been
inclusive in that way.

He's always wanted
to really push the story

in directions that includes
other storytellers.

That's good.

I really love Star Wars and obsessed
over it in many different ways.

And what was always cool about Star Wars
was that it was a galaxy,

and therefore as a kid growing up,

I always felt that there were stories
within that galaxy

that I could be a part of
and was a part of telling,

even if it was just me and my friends,

or me by myself with my action figures.

Okay, laugh.

And flames!

Whoa. Easy, easy.

It's fascinating
to experience that as a child.

You know, to have your imagination
so enriched by these stories.

There are such universal themes
in the Star Wars stories,

and ironically, I think people
feel that despite being fantasy,

it reflects the world we actually live in,

in its inclusiveness
and diversity and conflict.

Wars not make one great.

The spirit of Star Wars,

it's always been about
these young dreamers and hot rods

and everything else, and so...

What I feel is so great about the team
that's come together

is that everyone is coming
with their own experiences

to a universe and a galaxy
that can support it.

And I think Jon wants to see that,

and everyone's gonna have
their own different point of view

of what makes Star Wars special to them.

But I think that's exactly
why this show is so exciting,

because it can hold all of that,

because the galaxy
has always been that big.

Just like the good old days.

Yeah, just like the good old days.

Let's talk about George and all of...
Because I don't think people understand...

Let's rattle off all the breakthroughs...

- Jeez.
- That he had, starting...

- I'll start...
- We'll go around. Let's do a party game.

Everybody say one.

When I came in the company,
I was astounded to find out

that there were over 126 patents

literally new technology
that he had created.

- Astounding.
- Like Edison Lab.

So, let's start. Here, I'll do one.
First CG character.

- EditDroid.
- EditDroid was turned into Avid.

Motion control.

For the miniatures at Kerner?

Yeah. Well, first motion control system
on Star Wars, first film.

A good question that
you know the answer to is,

which Star Wars film has the most
practical miniatures in it

- of all the films. Including the new ones?
- Episode I.

- Phantom Menace.
- That's all miniature work.

Everybody's like, "That's CG."
No, that's real miniatures.

Models.

Yeah, models.
Beautiful and big models.

What else we got?

It's not a single type of thing,

but Jurassic Park was a massive sea change
for visual effects.

That was the tipping point.

Before that, you'd had the chrome T-1000.

People thought, "Okay,
that's suitable for computer graphics,

"it's a chrome dude.
It doesn't look like a real person."

There were other things
that were kind of...

The Abyss really started that,
and that was also ILM, right?

Abyss, then T2, and then Jurassic,

and that was when people saw
for the first time it was flesh and blood.

Not like someone else
was doing Abyss

and ILM jumped in to do Jurassic.

Back then, there were very few places.

When the dinosaurs come onto the screen
for the first time,

I sat up in my seat and I thought,
"I have to know how they did this,"

because I understand that the computer,
there's computer graphic involved.

I could learn how to do this.

I'll never be the world's greatest artist
at painting or drawing,

but I feel like I can learn
how to do this on the computer.

I can get a book, I can find people,
'cause this is gonna absolutely explode.

And that's how I started on my journey.

It was that moment, seeing that movie,
and seeing things I need to know.

It makes me think,
hearing you talk about this...

I'd be curious from all of you guys
because of what we all do

and what we all get excited about.

What your movie experience was,
when that light bulb went off,

and you're like, "I'm doing this"?

For me, it was the original King Kong.
I saw it on TV when I was six or seven,

and I was really unhappy
with the treatment of Kong

at the end,
so my mom helped me draft a letter

to the local TV station
who I held responsible, and...

Wow.

But it got me interested
in stop motion,

so I was doing stop motion
when Star Wars came out.

I was 13, and shooting
stop motion stuff with a Super 8 camera.

Star Wars came out and that broadened

my whole interest in visual effects.

Like, how Luke's speeder was done,
how the lightsabers were done,

the spaceships and everything else.
And so that kind of sealed the deal.

For over a thousand generations,
the Jedi Knights

were the guardians of
peace and justice in the Old Republic

before the dark times.

Star Wars was a big influence on me,

'cause it came out in '77.
I was born in '66,

so I was right at the right age
for that thing to hit.

I don't remember a commercial,

I remember seeing
a picture in the newspaper,

like The New York Post, about the movie.

And I saw the picture
of Chewbacca and Han Solo.

Whatever the headline was,
I was intrigued.

And I went to see it,
and then it was just, like...

It just pinned my ears back
just looking at that thing.

And I was just mouth agape.

So my tastes formed
around George Lucas's Star Wars.

I remember, very vividly,

scoring tickets to Return of the Jedi.

It felt like the golden ticket

for getting into Willy Wonka's
chocolate factory.

That's right, R2.
We're going to the Dagobah system.

I have a promise to keep,

to an old friend.

It's so funny the way
a child's imagination works,

because I remember, so specifically,

knowing we had tickets
to the 3:00 p.m. showing

and staring at the poster,

and I'm pretty sure
it was Luke Skywalker's hand

holding the lightsaber.

It felt like a movie moment,
like the camera should have been there,

close on my face, on the hand
and everything with Star Wars music,

and I went,
"I'm finally going to see this movie."

Welcome, young Skywalker.

I have been expecting you.

So, when these kinds of movies
come into your imagination as a child,

it really shapes a lot

and sets a certain standard
of entertainment

that is hard to match.

He's all yours, bounty hunter.

As I became
more of a student of filmmaking

I really began to appreciate
the brilliance of Star Wars,

and what Lucas had created.

And then I, of course,
started to read more.

And the hero's journey
and all those kinds of books

and began to really
appreciate Joe Campbell

and what he was saying,
and understand a lot more.

Luke,

you do not yet realize your importance.

You have only begun
to discover your power.

Join me,
and I will complete your training.

It was beyond being groundbreaking,
Star Wars was.

It was, in its own way,
like a crack into some other universe

that I hadn't been exposed to.

The Force is
what gives a Jedi his power.

It's an energy field
created by all living things.

It surrounds us and penetrates us.

It binds the galaxy together.

So it was pretty phenomenal.

Not only what it was at the time,
but what it has become.

I, for one, I celebrate your success.

Because it is my success as well.

And something that I didn't
really appreciate till later in life,

was in Empire Strikes Back,
and that's Luke's training.

Like, I think that
all of that stuff with Yoda,

it went over my head when I was a kid

And it freaked me out
when he goes into that cave

and he sees his face in the mask,
and I was like, "What is this movie?

"It isn't like the last."

Yeah.

But that darkness and all of the messages,

and I think my favorite
of all of the lines...

And definitely in that film
was when, um, you know,

when he's trying
to get the ship out of the swamp.

And he can't do it, and then...

Then Yoda brings the ship out,

all the way out, floats it over
and then puts it down,

and Luke says, "I don't believe it."

And he goes, "That's why you fail."

That's so good.

I just got chills when you said that.

That, that's really...

Yeah, totally.

You're right,
you appreciate that scene

when you go back to it.

You go back to it and you go,

"Oh, there's so many deep themes..."

Especially in terms of spirituality and...

Even just how he introduced himself.

Luke thinks he's looking
for this great Jedi, and it's...

- "Wars don't make one great."
- Yeah.

I thought it was special
the way they mixed creatures

and the Henson stuff with live action.

And I don't think anyone's
done it quite like that.

Um, so, like, the training scene for that,

when I was trying to do the montage

with the Ugnaught
trying to teach IG to walk,

that tone was actually
really difficult to find,

'cause it... In three,
it had been very clear

it was very clear it was a Western,
it was Yojimbo.

So it was a very clear tone,
and that was lyrical and poetic.

And it was mixing,
and trying to actually deliver something

- quite with a lot of gravitas...
- Yes.

With a droid and an animatronic,
you know, Ugnaught, which is...

That's teaching him.

- That's...
- It's great...

But that's what's special. Nothing else...

There's no other series
or world that does that.

- And we talked about this.
- It's hard to do that.

Like the Piet�
of him holding the droid.

'Cause what we had to do
was take the droid that was just terrible,

and was gonna actually shoot the bounty.

And he took him out.

And he wasn't...
He didn't really have a personality.

And Mando hated droids
because of what he had experienced.

And then
this specific droid is really bad.

And then, what could you do
to redeem that thing?

And part of it was set up
by this beautiful, lyrical prologue of...

And it's sort of silly, but it's also,

that kinda makes it, to me,
when it's right on that edge,

I find it really compelling.

- And I love how he's cradling it...
- Yeah.

And the speech that Nick Nolte gives
about how he found him

and he nursed him back to health,
and taught him the ways of this and that.

And you see
all the things you shot that...

And the camera's flowing

- from one to the next...
- Very poetic and different.

His animation's great.
We've been working so long on that stuff,

just to get it right to fit that tone.

And then finally he comes out of it,

and everybody's won over,
but Mando doesn't know what to think.

And it's not till the end
when you, you know,

make that act of self-sacrifice.
He doesn't want you to go.

So that whole flip, to earn that
over the course of two episodes,

and take that character,
it gives Mando an arc.

And it also gives IG an arc.

So you're taking all these characters
that are fun and cool,

and, you know,
action movie, shoot-'em-up,

and then it turns into something
with a heart to it.

That's part of what makes
a Western also,

that there's a deep emotion
running through it,

even though you think it's about
the shootouts in the O.K. Corral,

and jumping from the horse to the wagon,

but really it's about humanity.

And you capture it

- with two not-human characters.
- Yeah.

- And you kill 'em both, Jon.
- Yeah.

- That's very true.
- That's true.

- Poor Ugnaught.
- That's part of it, too.

That's part of it.
If you don't, that doesn't matter.

This is an extension
of what mythology is,

which is you're telling stories
to the generation that's coming of age,

to teach them the lessons of life
through entertainment.

In our culture, you do it through movies.

Size matters not. Look at me.

Judge me by my size, do you?

At first, you kind of say it

'cause that's what the filmmakers
you look up to say.

But the more you learn about them,
you realize that it's really powerful.

Story is still important,
and story with progression,

and the idea of sacrifice and perseverance
and evolution through challenge.

And all of the little specificities
that come along with it.

When one chooses to walk
the Way of the Mandalore,

you are both hunter and prey.

I guess inside of all of us,
there's that hero that's on that journey.

And in search of
and the connection to father,

and to the father at large,
the greater father, you know.

The connection to all that is
and how we access that

and how we utilize that,

and ultimately how that informs us
in how we continue our journey

as a result of that information,
and sometimes how we fight against it.

And that very fight is the thing
that creates a kind of conflict in us

that doesn't allow us
to continue the journey.

I can't kill my own father.

Then the Emperor has already won.

You were our only hope.

It's kind of remarkable
that a creative force

has the foresight and the understanding
of something that I didn't quite get,

you know, when I was in my early 20s.

I think I was in search of something
that already existed,

but for many of us, I guess,
the more we studied or grew,

or became maybe a little more evolved,

we could then relate to what George Lucas
was saying in a movie.

That was about so much more
than what that movie appeared to be about.

I'll not leave you here.
I've got to save you.

You already have.

Prequels were almost an impossible task.

How do you tell a story we've all grown up
with, imagining who Anakin Skywalker was?

You saw things in Phantom Menace that
you just imagined, like the Jedi council,

and none of it really was
what I had expected,

but I know now that
that's just how creative George is.

He just sees it differently,
and he's laying it down.

I love the fight with Darth Maul,

not because it's a lightsaber fight,
but because George is so good

at crafting why that fight's important...

- Mmm.
- Every time.

Like, the Obi-Wan-Darth Vader fight

isn't the most wonderfully staged combat
that you're ever going to see,

but there's so much at stake.
It's so meaningful when Obi-Wan dies,

that we all feel like Luke.

In Phantom Menace,

you see these two Jedi in their prime
fight this evil villain.

Maul couldn't be more obviously
the villain. He's designed to look evil.

And he is evil,
and he expresses that from his face

to the type of lightsaber he fights with.

What's at stake
is how Anakin is gonna turn out

'cause Qui-Gon is different
from other Jedi,

you get that in the movie.

Qui-Gon is fighting because he knows
he's the father that Anakin needs.

Qui-Gon hasn't given up on the fact
that Jedi are supposed to actually care

and love, and that that's not a bad thing.

The rest of the Jedi are so detached
and they've become so political

that they've lost their way.

And Yoda starts to see that
in the second film.

But Qui-Gon is ahead of them all.

That's why he's not part of the council,
so he's fighting for Anakin.

So it's the Duel of the Fates.
The fate of this child.

And depending on how this fight goes,
Anakin is gonna...

His life will be dramatically different.
So Qui-Gon loses, of course.

The father figure...

'Cause he knew what it meant

to take this kid away from his mother
when he had an attachment,

and he's left with Obi-Wan.

Obi-Wan trains Anakin at first
out of a promise he makes to Qui-Gon,

not because he cares about him.

When they find Anakin on Tatooine,
he says,

"I feel like we've found
another useless lifeform."

He's comparing Anakin to Jar Jar.

And he's saying, "This is a waste of time.
Why are we doing this?

"Why do you see importance
in these creatures like Jar Jar Binks

"and this 10-year-old boy?
This is useless."

So he's a brother to Anakin, eventually,
but he's not a father figure.

That's a failing for Anakin.
He doesn't have the family that he needs.

He loses his mother in the next film.

He fails on this promise he made,
"Mother, I will come back and save you."

So he's left completely vulnerable.

And Star Wars ultimately is about family.

So that moment in that movie,
which a lot of people diminish as,

"Oh, this is a cool lightsaber fight."

But it's everything that the entire
three films of the prequels hangs on,

is that one particular fight.
And Maul serves his purpose,

and, at that point, died before George
made me bring him back.

But he died, showing you how the Emperor
is completely self-serving.

He doesn't care, he's using people,
and now he's gonna use this child.

That falls all the way through to the line
which terrified me as a kid,

when the Emperor tells Luke,
"You, like your father, are now mine."

And the idea, when I was a little kid,

watching that movie of some evil person
possessing my father,

making him do things
or making him be evil was terrifying.

That was like a thought that was horrible.

It's amazing when you watch
Return of the Jedi

that Luke has never done anything
that indicates bad character.

He has a tendency to be dark
and people wanted Anakin,

"He should have been
darker as a character."

It's not true at all. I believed
Luke would turn to the dark side

in Return of the Jedi,
I believe that was on the table.

I believed that he would kill the Emperor.

The way George arranges the story,
I knew that was the wrong thing to do.

When he's saying, you know,
"You want your weapon,"

"Strike me down. I am defenseless,"

he wants him to give in
to his anger and his hate,

and the fear, the structure
George laid out in all the movies,

is coming to fruition now,

and the only thing that's gonna save him
is not his connection to the Force,

it's not the powers he's learned.

It's not all these things
that are an advantage,

that's gotten him to the table.

But what saves Luke
is his ability to look at all that

and look at his father and say, "No,

"I'm gonna throw away this weapon.
I'm not gonna do that.

"I'm gonna let that go and be selfless."

And he says, "I am a Jedi
like my father before me."

But what he's really saying,
and why we connect...

I connect to it 'cause he's saying,
"I love my father

"and there's nothing you can do
that's gonna change that."

The Emperor
can't understand that connection.

"Why won't you take from
the power of the galaxy?

"Why won't you take this?"

And Anakin, in that moment,
has to be the father that he's never had.

He has to give up
all the power in the galaxy

and save his son.

And that's the selfless act
that he does in return for his son.

And that's what saves him in turn...

Son saves the father,
the father saves the son

and it works out perfectly,

and I draw that line all the way
from The Phantom Menace to Jedi.

That's the story of Star Wars.

So when he pops the helmet...

When he pops the helmet off,
and that moment was part of the...

- Yeah...
- fated arc?

It's all part of the fated arc
and why it works and why we care.

It's not about X-wings,
it's not all about all these...

The things we we decorate Star Wars in.
It's important, it's part of the genius.

But we soulfully react, like...

We don't just want an action movie,
we want to feel uplifted.

And Star Wars is an adventure
that makes you feel good, you know?

It makes me feel like,
"Wow, I want to be a part of that."

So that's what I always
go back to with Star Wars,

is this selfless act
and this family dynamic,

which is so important to George,

so important to the foundation
of Star Wars.

That's in us, and what I like about it is,

it is saying
there's a lot of hope out there,

that we fundamentally
want to be good people,

that we can be driven
to do terrible things,

but that we can persevere
through selfless action.

So George has this hopeful story,

and it's something that he's reiterated
most times I've seen him,

you know, after we've been
making things without him is,

"Remember to make these stories hopeful.

"Remember to give that to kids
because they really need it."

And so that's just something
to keep in mind.

- Did I bring us down? Or did I lift us up?
- Yeah.

- Beautiful, that was beautiful.
- I think we're done.

- It's hopeful for me.
- Yeah.

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