All language subtitles for The Mandalorian Gallery s01e03 Cast.eng

The most important aspect
to a project like this

is the love of the world of Star Wars,

and to put that love
into the storytelling.

We all love special effects and fireworks

and visual experiences
that are incredible,

but what we care the most about
is relationships and characters.

It's also taking a chance
and certain risks

that have incredible rewards,

so that we can
actually achieve something new.

It's truly an adventure.

A Star Wars adventure.

When we talked
in the very beginning,

I was interested in working with you.

I mean, that was first.

But I always want to see the script, man.

I want to know,
"What am I asked to do?"

'Cause people have their agendas

or they have their ways
of seeing the world or...

As an actor,
what you're really doing is, you're...

You're somehow endorsing

what someone wants to say
about the world or in the world.

So I read the script, and I'm thinking,
"Damn, man, this is really good."

"I really like what I'm reading."

So all that is the context,
and when I walk there

and I look at the Mandalorian,

I know where this thing is going.

So now, it's for me
to sell where this is going

through my character,

regardless of whether
I can see his or her eyes.

There's something about the design of
that whole thing with the Mandalorian

- that has its own kind of mystery...
- It does.

We inherited that from George.

- It's cool.
- George really borrowed Boba Fett

from Man With No Name,
because if you think about it,

it still has that sort of breakdown
of Eastwood's straight brim like that.

Just kind of over the eyes.

And the poncho over the shoulder
and over the back,

and they put in a spur sound.

That was the gunfighter.
Deconstructed gunfighter iconography.

Mandalorian isn't a race.

It's a Creed.

I love the opportunity to make him
as human and as accessible as possible,

which is strange to say
because it's impossible to get to him

'cause he's covered in armor
from head to toe.

And yet, the idea is that, you know,
he's relatable.

We're all kind of covered in our own armor
and terrified of taking that armor off.

And that's the thing
that crosses him over into a character

that we're all gonna
really want to follow.

Have you ever
removed your helmet?

No.

Has it ever been removed
by others?

Never.

This is the Way.

This is the Way.

Mandalorians,
and as far as our Mandalorian is aware,

cannot reveal their faces.

Our Mandalorian subscribes to this.

If he ever reveals his face,
he can never put his helmet back on again.

You know, he cannot be
a Mandalorian anymore.

And he's wondering,

"Can I take off my helmet?
Can I be at peace?"

I wonder what you look like
under there.

Let's all see your eyes.

It is definitely a challenge

to try to really
get the emotional complexity

or to get very nuanced performance

when, obviously, the main character

is in full armor
and you can't see his face.

How do you convey that sense of connection
to someone that we can't see his eyes?

I, as a storyteller and an audience member
want to see that,

want to see what's behind the mask.

Working with, you know, the actor
to use the physicality, so it's just...

Even just the littlest head turn,
a lot of it was about stillness,

which was about,
like, staying very, very still

when something significant happens,

so you can feel that everything
stopped for a moment,

so when there's a gesture,
it's a very meaningful gesture.

So we were trying to really sort of use
the stillness of the character

so that any little gesture
really meant something

and to try to have that
to sort of show emotionally

how he's feeling and what he's thinking
without being able to see his eyes.

When you have a character like that,
you really sort of lean into his face more

because you want to get a peek inside
of what's behind there.

So every bit of who he is
becomes significant in a way.

And in some ways, as an audience,
I think we're going to be looking

to sort of project our own emotions
onto his experience.

- I think it's in the eighth episode...
- Yeah, final episode.

- When we slip the helmet off you.
- Like halfway through.

Just for a moment, goes back on.

I loved how you looked
under it, because...

- A mess.
- 'Cause when they... No, it is...

Well, there's that story.

- What?
- Which one?

- The trip to the hospital?
- Yeah.

It's very embarrassing.

I'm telling you, I have been
in the most dangerous circumstances.

To sell all my previous employers out,
I will tell you that none...

There were so many things that shouldn't
have been happening for months at a time.

I was on tin roofs
in ruins in South America.

I was like, "One little slip

"and I'm definitely done
for the rest of my life."

- I was like, "We kept...
- China for five months.

- This way, he got hurt in his trailer.
- The Matthew Vaughn movies.

I stepped out of the makeup trailer
looking at my sides

- and walk into a piece of plywood.
- Yes.

Never gone to the hospital

- from work before.
- The bad part was this.

He was made up because it was the scene
after the explosion,

and he's bleeding out of his ears,
he's covered with blood.

- Yeah.
- Yes.

- So what's the real blood and what's...
- So he goes

to the emergency room,
they're like, "Let him in!"

- "Look at his condition."
- They're like,

"This guy's at death's door."

I was sitting
next to him in the makeup trailer

and they're adding blood, adding blood.
And then...

I come right back in
and blood's coming...

They call me for rehearsal,
I come out and I'm like,

"Damn, they did a really good job.
Like, this is so real."

And he was holding his nose.

- You had to get stitches.
- I had seven stitches.

- Seven stitches.
- It was so cool,

and this is, I think, pride points,

is you went to the hospital and came back.

- Oh, please. You guys had moved.
- That was like a hockey player.

- Come on. You guys moved.
- You went off the ice,

- and came right back.
- You moved...

- It was awesome.
- You moved mountains.

- A puck to the head, came back...
- You moved mountains,

I couldn't get
from the makeup trailer to a rehearsal.

What was good, though, is that the scene
was about somebody who...

- So it was perfect.
- Injured. It was perfect.

You were really in it. Method.

You were really in it.

I would be bragging about that story.
That's amazing.

- Yeah.
- Great story.

Can I just comment
on the helmet thing, though?

Oh, yeah.

I found it really a challenge.

When you're across from somebody,
they're throwing

- body language at you.
- Yes.

- And these two things here...
- Sure.

You can be saying one thing,

but these two things
tell me something different.

And I'm responding
to what you're throwing.

- You're hitting the ball this way...
- Right.

Whatever it's doing,
I have to adjust for it.

- And that helmet...
- It's a mask.

- Yeah.
- It is flat.

There is nothing.

So you have to...

I have to listen so acutely to the voice

and hope that that voice is gonna cue me
to what this person is.

Not just the words,

- but what they're really saying under it.
- Yes, yes.

And it's a challenge.

It makes you focus even more
and concentrate even more

and become even more still,
if that's possible.

You become a hummingbird.
It's like, "Okay, you better go to work."

I am third fiddle to two incredible guys,
Brendan Wayne and Lateef.

I'm modeling my performance
around their physicality in a lot of ways.

And I wouldn't be able to do it
without them.

Brendan knows how to handle a gun,

so the gunslinger aspect
of the Mandalorian

is taken care of on that side.

I got to pull guns.

I got to shoot guns.
I got to shoot grappling hooks.

It's fun. It's fun.

And then we have Lateef Crowder,

who is our capoeira, jujitsu warrior
who can basically do anything.

You know,
the secret is to always be ready.

I'm always training.
Whether it's martial arts,

whether it's stunt training,

whether it's weight training,
just physical fitness.

Always got to stay ready
and just be ready to adapt.

I'm a Mandalorian.

Thanks, guys.
That's a wrap for us as well.

- You worked with three different people.
- Yeah.

They're all the same mask.

But I know on film I can tell
slightly the difference.

Not just from the... Could you tell
the difference with each one?

- I could...
- All felt like the Mandalorian?

'Cause it comes off on film...

- All as one?
- Yeah, it feels...

- Yeah, yeah.
- So for me,

you all brought the physicality,
the incredible acting,

and the brotherhood
that I had in the other one.

So it was kind of you all make up

- the Mandalorian for me.
- Right.

And, um, I have such a good connection
with all of you guys.

You're very smart with your choices,
and you know what's going on in the scene.

And a lot of emotion
has to come through, just the voice.

I can bring you in warm...

Or I can bring you in cold.

I think that's perfect.

It's interesting doing voiceover.

We get to really improvise
our way through it.

Lower your blaster.

Have them lower theirs.

I'm in the Guild!

Me and Jon and Dave
doing some rewriting on the spot

- and finessing to get it right.
- Boom!

I want my next job.

Do a round of this one,
and we'll jump to that scene.

Wait. Just wait.

The trick with this episode
is for us to plant the seed

so that when you change your mind,
it feels earned.

This is the Way.

This is the Way.

- That's good. That one's really good.
- Yeah, that's great.

We never talked about your career
as a professional fighter.

So I just knew you...

I liked you from Haywire.
I liked your other work, Deadpool.

We know Soderbergh through the Guild.

He's got really good taste.

I was like, "He picked you out
and got you?"

And then... Great job.

And I was like,
"She could be good for this part."

Then I just started watching tape on you,
and you remember, it wasn't an audition.

- No.
- It was a phone call.

Thank God, because I don't know...

I'm starting to get better at auditions.

You were
in the story illustrations

within my first meeting with these guys.

- That was...
- In the room of pictures.

And I don't know if they had
spoken to you yet, but you were in it.

- I trust my... Yeah.
- And they were like,

"I don't know if you know."

I said, "Gina Carano from Haywire."

- Oh, my gosh.
- Absolutely.

Oh, my gosh. Well, I'm completely,
like, overwhelmed by...

Because I don't feel
like the regular actress,

and I don't think I'm ever gonna be
very Hollywood.

So I just feel
like the people that find me,

like you, Soderbergh,
are people that, um...

- See a little bit of your soul?
- Yes, thank you for that.

I, for this job, physically...

I was myself.

Jon wanted to put a woman that looks like
she can take care of business in armor,

and he actually, through this job,
has helped me learn to love what I am.

I think when everybody realized
I was strong...

was a scene
where I have to pick up Mando,

and I have to drag him
into the common house.

And I went out there,
and I got behind him,

and I picked him up from behind
and I drug him in.

When she is carrying Mando,

she really carried him.
That wasn't a stunt double.

That was Gina just strong-arming him
and just dragging him across that.

It was crazy.

It's awesome being a young woman
in this industry

and seeing other women being portrayed
in a really heroic, badass light.

Gina is a perfect example of that.

Gina lights up
when she is doing the action stuff.

Like, you can tell she loves
being that character in this world.

And also, her expressions
when she's in those fight scenes,

- that's not easy to do.
- Yes.

The way she takes a hit,
that's what made Harrison Ford a star,

he knew how to take a punch
as Indiana Jones.

His hand would hurt when he punched.

He was very human.
He didn't play it like a superhero.

He played it vulnerable,
and you experienced it through his eyes.

And I think Gina, also partially
'cause of her background, right?

She's actually punched people,
and she's been punched.

And I think that's a huge difference.

Like, I mean, it's like when you see...

When you're doing a fight scene
and you actually haven't experienced that,

it's like
you're just at a huge disadvantage.

And she is, you know, she was
a professional fighter for so many years.

I love it, too, 'cause it's...
You know...

George Lucas was referencing
an older generation.

You know, he was a baby boomer,

he was referencing
the Greatest Generations films.

So he was referencing World War II films
and the movies he grew up with.

And he...

And the way he would treat action was
the way that those films treated action.

The way they would
cast action heroes back then

would be people who really, like...

Especially with Westerns,
they would go at Gower Gulch.

There'd be real cowboys, and people

who really knew how to ride and rope,
knew how to fight and knew how to shoot.

And it was all very authentic.

That's how people
became movie stars sometimes.

They were people
who actually had that background.

It's almost like what we do
with martial arts now, those films,

that people become actors
out of that skillset.

So having her there,
it was a bit of a throwback to me.

And to me, there's so much...
There's so...

I don't know, there's something
so relatable about her in that role,

and she's playing the type of role
that I would have...

The type of action figure
I'd have wanted the most.

Cara Dune here was a veteran.

She was a drop soldier for the Rebellion,

and she's gonna lay out a plan for you,
so listen carefully.

Open fire.

When it came to the costume
and the look and everything,

Kathy Kennedy said,

"The thing about Star Wars characters,
they always have a silhouette."

You can see them from a distance,
and you know who they are.

You know if Han Solo
is walking towards you

versus Obi-Wan Kenobi.

Hello there.

You just know the difference
'cause there's a silhouette.

And you see Gina 50 feet away
and she's backlit, and you know it's her.

She looks like a warrior.

There's no other way to put it.
She looks like a warrior.

Cara is an ex-shock trooper.

She comes from the planet Alderaan,

which is a very peaceful planet,
and it obviously gets blown up.

So she left there,

so she was a bit of a different character
on her planet.

She was the rebellious one.

She was like,
"I'm interested in war and fighting.

"Interested in things
that get your adrenaline going."

I feel like
this is the first time

I've actually, like, genuinely
gotten into character.

Come to Mama.

There's a certain way
that you carry your body.

There's a certain way that you play...
A certain confidence you hold.

So many actors show that they're tough.

Tough people that I know

don't show they're tough.
They know that they're tough.

And then the status comes out
just through the attitude.

And that comes from knowing
that you've been in situations

and you've handled it, you know.

I know 'cause I can see it
'cause I'm not that way.

I know that I'm not.

Let's talk about the other side
of the spectrum.

- Wait, you are...
- So, Pedro...

Let's talk about the dorks
that get the gig.

Wait, can I just say something about...
Carl was, uh... Jon...

I don't know.
The emotional intelligence...

I feel like you get
the way I think and feel,

what I've been through in my career
without...

I've never even had dinner with you.
We've just met in these office buildings.

- We've been working a lot together.
- That.

You spend a lot of time here.

You really get it.
There's a genius in that.

I completely, 100% believe that.

He would tell me, when Carl was on film,
he would bring me back,

and every time I needed to see something
and be educated of something,

he'd be like, "Come here.
Let me show you something.

"Listen to him. Watch him.

"He is a superstar.
This is what a superstar is.

"Listen to his voice,
listen to the way..."

When he turns it on, it is so incredible.

It was so beautiful to watch you, Carl.
Your voice is...

I mean, your voice
is so powerful and so beautiful,

it just sounds like a song,
everybody can hear it in the room.

And we all looked around
and thought to ourselves,

"That is a superstar."

And you have been a superstar,
and I'm so honored

- to have those scenes with you.
- Good Lord. Thank you, Gina.

I, for one, I celebrate your success.

Because it is my success as well.

There's something
about this character

that reminds me of a combination
of John Huston and Orson Welles.

There is this largesse about him,

there is this commanding
sort of presence about him

that he doesn't try to do,
but that's just who he is.

When he walks into a space, not a room,
any space, he fills that space.

How do I know I can trust you?

Because I'm your only hope.

You can paint a character
as an antagonist, as the bad guy,

and I've never
approached roles that way, ever.

I find tremendous flaws in human beings.

And at times,
those flaws can lead a person astray,

lead them to the dark side.

So the story of Greef
is that he is tempted.

Carl Weathers is somebody that you
just love to see and love to watch,

because he commands presence.

And he taught me a lot about that
just by watching it.

And he'd also tell me on the side,
you know...

I remember one time
I couldn't get something right,

and I was just, like, you know,
kind of upset with myself.

And he was reading a paper,
and he was like, "Happens to all of us."

I was like, "All right, yup,
I'm over it now. Like, thanks, Carl."

Um...

But just a precious, precious human.

Carl wasn't supposed to be
in the whole show.

Carl was in episode one
and then got knocked off in episode three.

- Three, yeah.
- He got knocked off?

- I didn't know.
- Originally.

He was gonna be in full prosthetics...

- Yeah.
- As a different alien race.

- Yup.
- And then we switched it up,

and after he did it...

It was a favor.
I said, "Come in and do this one..."

He said, "Fine.
I don't really act much more, but fine."

So Carl's supposed to come in,
he's gonna be in 101 and then 103...

- Out.
- He gets shot, he's out.

So, "Okay, I'll do it as a favor."

- Then we start seeing that it's him...
- But then he came in and talked,

and we were like,
"How can we cover his face?"

So the first thing was,
he can't be an alien.

Yeah, no way. Come on.

Like, how you gonna cover that?

'Cause they did a drawing with Carl
with the makeup on, and I'm like...

I said to Carl, I said,
"We can't cover you up."

He's like, "I figured as much."

He didn't even...

Look, man, I was... The reason why...

I'll tell you why I went with it.

I went with it because there was
no reason to argue yet.

I thought, "Okay, let's try it, man.

"I've never done it before,
it sounds good to me."

But then, I swear to God,
I walk away and I'm thinking,

"Okay, why would you do that?"

Because people are gonna tune in
if you got the name.

- Why not have the face?
- Yep.

It's like, "Come on.
You take it off eventually, right?"

- Well...
- Can you imagine...

In their well-researched
sort of casting investigation,

- they were like...
- Hey, man.

"People are really ready
to stop looking at this guy."

- There it is.
- "Put a helmet on his head."

Doesn't work that way. We thought,

"Who would be cool with a great voice?"
And then you start to say, "Well, look,"

we start talking
in a meeting with him, it's like,

Carl, we gotta have him on camera.

- He belongs...
- I'm so happy.

- He feels like...
- That camera test moment

where you and I were shooting some stuff,
and we were testing the cameras,

and then we had a couple people
in big masks and different prosthetics,

- we were trying...
- You were there.

Some simple directing for it
in a scene,

and it was set up in the bar,
I was sitting there, and I was nervous.

- He had never directed.
- Never directed live action.

This was a test.

He's like, "Okay, go ahead. You go.
You go, you go do it."

It's a guy with four eyes
and a giant mask, and he can't see.

- He's bobbling. I go up...
- We had somebody wearing the Mando...

- You came, but you weren't in the test.
- Yeah.

I'm trying to give a little direction,
and I'm thinking,

"Okay, I got to set this up right
'cause Jon's watching."

I give the direction,
"I want you to be here,"

and, "You're cutting the drink off, okay.
You got it, you got it."

And the guy is, like,
in the mask like this.

And I'm like, "Oh, my God,
what is happening?"

And I'm thinking, like,
"I could draw this so much faster.

"I could draw this. Why am I doing this?"

- We watched on the monitor.
- Watched on the monitor,

and coach watches it,
and he's like, "Okay, okay."

He goes, "Okay, let me go."

So he goes in. Now the first team goes in.

You know, the punt team came off.
First team goes in.

He goes direct, he comes back,
and he's, "Okay, watch."

And we watch it.
It was better, but it wasn't great.

- It was still clunky.
- We're sitting there like,

"Maybe these masks are a big mistake."

We were like,
"They can't see, can't do anything."

They couldn't see, couldn't do anything.
We're like,

- "We sold everybody on this vision."
- Yeah.

Then we're doing the scene, I'm like...

It's good that we...

A blessing we get to see this thing.

We couldn't even get Mando

to sit down in the booth
because of his gear.

And like, he's got the armor on
and the hip pads,

he tries to sit...

- It was a prototype costume.
- Clunk, clunk, clunk, clunk.

I'm just like, "In animation,

- "he'd glide."
- I'll tell you.

Remember now, when he showed up,

- put the helmet...
- It fit.

- And it was like...
- Yeah, then I relaxed.

- It was like butter.
- Then I relaxed.

When you have someone...

- So the trick is, it's not just people...
- Yeah.

In costumes that you guide around.

Whoever's in there, has to be an actor.

Yeah.

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