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- Rick's first day.
- This is my first day.
2
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After how many months
of hanging around in the office?
3
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Exactly.
4
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It's the second chapter,
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so people will be learning
what this show is by this one.
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You're probably destroying more Jawas
than the whole...
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- All the nine episodes combined.
- Exactly.
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Cut! That's good.
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- It's gonna be great. Good luck.
- Thanks.
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- I'll see you soon.
- See you soon.
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This is what was causing all the fuss?
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What makes Star WarsStar Wars is that
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it's the cutting edge
of this technology,
14
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but it's used to bring things down
15
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to a personal and relatable
and human level.
16
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And so, you know,
when you talk about the mix of
17
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puppetry, animatronics, the volume
18
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and these great actors
that we all had to work with,
19
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it's like it's the mix of all of that
that makes everything feel real.
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One part doesn't dominate the other.
21
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Doesn't feel like
the technology is overwhelming,
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it doesn't feel like, "Well, that's quaint
and primitive, so I'm not buying it."
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It's the perfect marriage of that
and I've always felt that, for me,
24
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that's what always
made Star Wars different
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than most of the other
big-effects shows
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is that there was always
a real human, down-to-earth quality
27
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of how it was made and how it looks,
28
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so when I'm watching this
as an eight-year-old, I'm going,
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"This is real. This is a real world
and one day I'm gonna be in it."
30
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We come across R2-D2and C-3PO in the beginning of Star Wars.
31
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How did we get into this mess?
32
00:02:02,873 --> 00:02:07,920
They've already been around
for years, and R2-D2 is, like,
33
00:02:08,003 --> 00:02:11,965
he's dirty and dusty
and he's got scuff marks and stuff.
34
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We seem to be made to suffer.
It's our lot in life.
35
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There's this whole other history
that I'm unaware of
36
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when coming into the first movie.
37
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And I think it was a very smart moveto continue that in Mandalorian.
38
00:02:30,526 --> 00:02:34,530
There is a realism
to this series that exists
39
00:02:34,613 --> 00:02:38,450
because so much of what we shot
ended up being practical.
40
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The actors are not in mocap suits
just surrounded by green and blue,
41
00:02:44,790 --> 00:02:47,209
it's not just a totally imaginary world.
42
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Hold on. We bring it in alive.
43
00:02:51,672 --> 00:02:53,715
- That's pretty good.
- That's what I'm saying.
44
00:02:53,799 --> 00:02:55,801
Dave Filoni and I talk
a lot about, you know,
45
00:02:55,884 --> 00:02:57,719
like we're playing
with our Star Wars toys.
46
00:02:57,803 --> 00:03:01,139
You get your Boba Fett figure
and your Jawa and you get them to fight,
47
00:03:01,223 --> 00:03:04,560
or you pull out the sandcrawler
or the TIE fighter,
48
00:03:04,643 --> 00:03:07,312
and so, we're having a good time.
We're having a lot of fun,
49
00:03:07,396 --> 00:03:09,022
we're letting our imaginations fly.
50
00:03:09,523 --> 00:03:13,610
We're very much pulling in stuff
trying to use all parts of the buffalo.
51
00:03:13,694 --> 00:03:18,448
And then also taking charactersthat are the D-list from Star Wars,
52
00:03:18,532 --> 00:03:21,493
'cause the fans know and love them
and see a way to give them stories,
53
00:03:21,577 --> 00:03:23,579
like a Rosencrantz
and Guildenstern kind of way.
54
00:03:23,662 --> 00:03:27,040
As I was writing it,
I was like, "Uh, an Ugnaught."
55
00:03:27,124 --> 00:03:31,169
'Cause Ugnaught was sort of a secondary,
tertiary character in the background
56
00:03:31,253 --> 00:03:33,255
working for the Empire in Cloud City,
57
00:03:33,338 --> 00:03:35,275
but I said,
"Oh, make one of the characters that."
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I will help you.
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00:03:37,968 --> 00:03:39,219
I have spoken.
60
00:03:40,220 --> 00:03:43,265
With the Ugnaught,
it straddles in between,
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00:03:43,348 --> 00:03:47,436
you know, a performer in a prosthetic
and bringing animatronic,
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00:03:47,519 --> 00:03:51,523
I mean, that head,
you couldn't do it as a pure prosthetic.
63
00:03:51,607 --> 00:03:54,526
The Ugnaught is Misty Rosas.
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00:03:54,610 --> 00:03:56,570
Misty is a unique performer.
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She knows how to work in a suit,
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00:03:58,697 --> 00:04:03,202
knows how to perform, you know,
wearing elaborate masks or prosthetics.
67
00:04:03,285 --> 00:04:07,289
But I'm proud to say
that I paid out my clan's debt,
68
00:04:07,372 --> 00:04:10,542
and now I serve no one but myself.
69
00:04:13,295 --> 00:04:17,674
In a lot of ways, it's choreography.
It's fusing me,
70
00:04:17,758 --> 00:04:22,471
my puppeteer that triggers
when the talking happens,
71
00:04:22,554 --> 00:04:27,267
and then I have another puppeteer
that is working in doing the eyebrows,
72
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and then also hitting marks.
73
00:04:29,728 --> 00:04:35,943
So it was challenging 'cause they didn't
have the ability to hear during blocking.
74
00:04:36,026 --> 00:04:41,198
I would do my best
to try to give them physical cues
75
00:04:41,281 --> 00:04:44,826
so that they know when
I would want to say a certain line.
76
00:04:46,036 --> 00:04:48,080
It hasn't grown much.
77
00:04:48,163 --> 00:04:50,374
It's not easy to wear something like this,
78
00:04:50,457 --> 00:04:54,837
'cause you're inside
and you've got this whole face.
79
00:04:54,920 --> 00:04:56,755
Servers are going off in your head
80
00:04:56,839 --> 00:05:00,092
when you're trying
to hear the dialogue and perform.
81
00:05:00,175 --> 00:05:02,219
She's such a trooper
with all these things.
82
00:05:02,302 --> 00:05:05,597
They really don't like you
for some reason.
83
00:05:05,681 --> 00:05:10,561
Nick Nolte, who voices the character,
would do two to three takes
84
00:05:10,644 --> 00:05:12,646
varying the way he would read a line,
85
00:05:12,729 --> 00:05:15,858
and I'd, like, go through it
and listen and listen and listen.
86
00:05:15,941 --> 00:05:18,235
It was imperative to have that,
87
00:05:18,318 --> 00:05:22,781
to really be able to embody
the whole character simultaneously.
88
00:05:23,574 --> 00:05:26,743
I have a name. It is Kuiil.
89
00:05:26,827 --> 00:05:30,205
Most scenes were mixing
a combination of, sort of, like,
90
00:05:30,289 --> 00:05:35,669
the Mandalorian with a puppet
with live action, so it's a real balance.
91
00:05:35,752 --> 00:05:39,423
And directorially, working with them
as actors, it's really different.
92
00:05:40,132 --> 00:05:42,926
You're looking for these gestures
they do with their head
93
00:05:43,010 --> 00:05:46,805
to try to physicalize that emotion,
which is difficult sometimes
94
00:05:46,889 --> 00:05:49,016
to find the balance
without it getting big.
95
00:05:49,099 --> 00:05:53,103
It's quite a different approach,
depending on who the cast member is.
96
00:05:53,187 --> 00:05:54,813
Do you trust me?
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From what I can tell, yes.
98
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Then you will trust my work.
99
00:06:03,530 --> 00:06:07,659
Something for me
that I was really worried about
100
00:06:07,743 --> 00:06:11,747
was that with, kind of, all this
emerging technology and whatnot,
101
00:06:11,830 --> 00:06:15,292
that those kind of, like, essentially
practical effects would go away.
102
00:06:15,375 --> 00:06:20,380
Like, Stan Winston and everything
that Legacy is doing and whatnot,
103
00:06:20,464 --> 00:06:24,384
it's really incredible,
because it is the experience...
104
00:06:24,468 --> 00:06:28,055
You get to have the experience live
105
00:06:28,138 --> 00:06:30,766
of what the audience experiences
when they're watching a movie.
106
00:06:30,849 --> 00:06:33,393
You're like, "Oh, my gosh,
that's a baby."
107
00:06:33,477 --> 00:06:35,854
I don't... Yeah,
how do we describe baby?
108
00:06:35,938 --> 00:06:37,731
I don't know how to talk about baby.
109
00:06:37,814 --> 00:06:41,360
Or that's a dinosaur,
or a sea creature, whatever that is,
110
00:06:41,443 --> 00:06:44,530
but it's real.
It's bringing that magic to life,
111
00:06:44,613 --> 00:06:46,949
right here and now,
and you're just capturing it.
112
00:06:47,032 --> 00:06:48,742
It's not rendered afterwards.
113
00:06:48,825 --> 00:06:53,830
And so the fact that baby was a huge part
of this and that there were animatronics
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00:06:53,914 --> 00:06:55,749
and I was getting to work with a team
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00:06:55,832 --> 00:06:58,919
who I've, as an actor,
worked with many times,
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00:06:59,002 --> 00:07:05,884
was so perfect, because
it's the convergence of the art form,
117
00:07:05,968 --> 00:07:08,679
of a very old art form
with a very new art form.
118
00:07:08,762 --> 00:07:11,223
And it's like keeping it a part of this
119
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and allowing it to evolve
and not be like,
120
00:07:13,350 --> 00:07:16,395
"Oh, we're gonna do everything
on computer from here forward."
121
00:07:16,478 --> 00:07:20,023
That's awesome. I was so happy about that.
122
00:07:20,107 --> 00:07:24,528
Probably the best and the weirdest moment
was when I was shooting three
123
00:07:24,611 --> 00:07:28,907
and I was doing a scene in the safehouse
with Werner and the baby,
124
00:07:28,991 --> 00:07:32,327
and it was one of the weirdest
and best things that ever happened,
125
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where Werner,
he was acting against the baby,
126
00:07:34,830 --> 00:07:36,456
which was the puppet, obviously.
127
00:07:36,540 --> 00:07:39,585
And I think at some point,
he forgot that it was a puppet,
128
00:07:39,668 --> 00:07:44,131
and he got so into the baby that
he started directing the baby directly
129
00:07:44,214 --> 00:07:46,258
as though he was talking to a person.
130
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I'm trying to direct Werner,
who's now directing the puppet,
131
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and the puppeteers seemed to...
132
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He doesn't realize the puppeteers
are actually the ones.
133
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And then he fell in love with it.
134
00:07:56,143 --> 00:07:59,855
And then Jason Porter and I,
when we went to do the plate shot,
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00:07:59,938 --> 00:08:04,193
he basically was
calling us cowards and telling us
136
00:08:04,276 --> 00:08:07,321
that we need to commit to the magic
and don't give them the plate shot.
137
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Make them use the puppet.
And it was amazing.
138
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Turns out he was right.
139
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- He was right.
- He was right.
140
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We use the puppet all the time.
141
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Even when we have a CG version of it,
we have them match what the puppet can do.
142
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- Yeah.
- We don't have them do things
143
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that the puppet can't do.
144
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Filmmaking now, all of a sudden,
is back to almost "old school."
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Technology becomes invisible,
and that's a great thing.
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Yoda baby, beautiful,
and it moves in there, too.
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The guys who are moving
the eyes and the lips
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and the facial expressions, phenomenal.
149
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And they filmed it one-on-one.
It was heartbreakingly beautiful.
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Yes, yes, yes, yes.
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Fantasy has no bounds.
152
00:09:03,293 --> 00:09:08,882
There's no boundaries in what you can
do here with the new technologies.
153
00:09:09,675 --> 00:09:13,554
It's simply extraordinary,
very much to my liking.
154
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We all, I think, had a vision
for what bad version of it was.
155
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And what was written in there
was just that it was
156
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a little baby of Yoda's species.
157
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When Dave first read it, I know he did
a little drawing on the flight home.
158
00:09:29,486 --> 00:09:31,738
And then that went over to Doug Chiang,
159
00:09:31,822 --> 00:09:34,116
and Doug started doing some works
on not the baby,
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but the pram, that egg-shaped pram.
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The reaching in, the kind of Michelangelo,Sistine Chapel, ET imagery,
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which started to develop.
163
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At the same time,
the look for the baby itself,
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the look of the big ears,
we had inherited that from Yoda,
165
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and I had already been preoccupied
with the look of big eyes
166
00:09:55,721 --> 00:09:57,347
and using ears for motion
167
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'cause I had been working on a VR project
called Gnomes and Goblins for many years.
168
00:10:01,226 --> 00:10:04,771
And so, the idea of the face
not being that expressive,
169
00:10:04,855 --> 00:10:08,692
but everything was about the eyes
looking at you and about the ears moving
170
00:10:08,775 --> 00:10:10,819
was something that I had wanted to try.
171
00:10:11,737 --> 00:10:14,656
And we got lots and lots of drawings.
172
00:10:14,740 --> 00:10:16,658
Some of them were too cute,
some too ugly,
173
00:10:16,742 --> 00:10:18,410
some were the wrong proportions.
174
00:10:18,493 --> 00:10:22,164
But they were all informing,
as we gave notes on each drawing,
175
00:10:22,247 --> 00:10:24,416
Dave and I started zeroing in
on what it was.
176
00:10:24,499 --> 00:10:27,586
And then finally, it was one image
that Chris Alzmann did
177
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that had him wrapped up
178
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in what looked like a piece of a flight
jacket, we didn't know,
179
00:10:32,508 --> 00:10:33,759
and his eyes were weird.
180
00:10:33,842 --> 00:10:36,178
He looked out of it,
something a little off with it.
181
00:10:36,261 --> 00:10:41,016
But we found it charming, and that became
the rallying image that we said,
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"This is good."
183
00:10:42,726 --> 00:10:44,228
And it developed from there.
184
00:10:44,311 --> 00:10:48,023
And then, once we had that,
then they started to do maquettes of that,
185
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but the maquette wasn't cute.
186
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We started to work through it,
187
00:10:51,360 --> 00:10:53,695
and that's when the people
from Legacy came in.
188
00:10:53,779 --> 00:10:55,989
That's really when it became the baby.
189
00:11:01,954 --> 00:11:04,206
- We'll start with left. Ready?
- Good.
190
00:11:04,289 --> 00:11:06,250
Left. Right.
191
00:11:06,333 --> 00:11:07,960
Left. Right.
192
00:11:08,043 --> 00:11:14,091
The team at Legacy probably spent
at least three months on it, building it.
193
00:11:14,174 --> 00:11:15,676
They wanted it to be great.
194
00:11:15,759 --> 00:11:18,512
And it started
to take on a life of its own.
195
00:11:18,595 --> 00:11:20,889
Yeah! I'm very happy with that.
196
00:11:20,973 --> 00:11:23,976
It's like a highchair.
Oh, my God. That's great.
197
00:11:24,059 --> 00:11:27,938
It's totally captivating,
and takes your breath away.
198
00:11:28,021 --> 00:11:31,108
All of us that are on set,
the puppeteers,
199
00:11:31,191 --> 00:11:33,193
we go into our performing mode,
200
00:11:33,277 --> 00:11:34,862
because it won't be any good,
201
00:11:34,945 --> 00:11:38,699
no matter how beautifully it's painted
or sculpted, if it can't perform.
202
00:11:39,783 --> 00:11:44,454
But it had a little extra spark
that just happens sometimes.
203
00:11:44,538 --> 00:11:46,999
You can't always explain it.
204
00:11:47,082 --> 00:11:50,127
Sometimes it just becomes extra magical.
205
00:11:51,044 --> 00:11:52,713
And it comes forward.
206
00:11:52,796 --> 00:11:55,132
Tilt the head up a little bit.
Yeah, now reach.
207
00:11:56,049 --> 00:11:59,928
Oh, my God, yeah. That's the stuff.
208
00:12:07,102 --> 00:12:08,228
I puppeteer the eyes.
209
00:12:12,399 --> 00:12:16,028
I control his gross body moves
and his head.
210
00:12:17,487 --> 00:12:18,739
Do the ears...
211
00:12:20,157 --> 00:12:21,158
and the mouth.
212
00:12:21,867 --> 00:12:23,827
I do a lot of the gross body movement,
213
00:12:23,911 --> 00:12:26,622
a lot of times,
some of the walking sequences
214
00:12:26,705 --> 00:12:28,874
and a lot of arm movements.
215
00:12:30,334 --> 00:12:32,669
I rotate in with the other puppeteers
as needed.
216
00:12:32,753 --> 00:12:34,796
Also, I made the costume.
217
00:12:34,880 --> 00:12:37,174
We do have a script ahead of time,
but just...
218
00:12:37,257 --> 00:12:41,220
This is just another character on the set,
so as the director just directs it
219
00:12:41,303 --> 00:12:43,263
like it's just a single character.
220
00:12:43,347 --> 00:12:44,640
We always do the direction,
221
00:12:44,723 --> 00:12:47,017
but you take the part
specific to what you operate.
222
00:12:47,100 --> 00:12:48,727
It's just like the band jamming,
223
00:12:48,810 --> 00:12:50,938
how you start to get into a rhythm,
and you know
224
00:12:51,021 --> 00:12:53,232
when the head turns left,
and I'll try to beat it
225
00:12:53,315 --> 00:12:54,525
leading with the eyes.
226
00:12:54,608 --> 00:12:57,402
And the ears will go up.
It starts to work itself out.
227
00:12:57,486 --> 00:13:00,531
We're using advanced technology
just to build this guy
228
00:13:00,614 --> 00:13:03,700
and to run him,
but we're still going old school
229
00:13:03,784 --> 00:13:07,246
and close to what the original puppetswere back on Empire.
230
00:13:11,416 --> 00:13:13,752
Even though there's
maybe a person wearing a suit,
231
00:13:13,835 --> 00:13:16,255
or it's actually a robot
covered in silicone,
232
00:13:16,338 --> 00:13:19,383
it's still a creature
that we all want to relate to
233
00:13:19,466 --> 00:13:22,970
and the audience will relate to,
so you shoot them like any other person,
234
00:13:23,053 --> 00:13:28,183
any other actor that's acting in a scene,
where they have intent and meaning,
235
00:13:28,267 --> 00:13:30,811
and a purpose, and have their own arc.
236
00:13:30,894 --> 00:13:34,022
You want to be able
to photograph that in the correct manner,
237
00:13:34,106 --> 00:13:36,358
so it's great that
these creatures were fantastic.
238
00:13:36,441 --> 00:13:37,442
Amazing.
239
00:13:37,526 --> 00:13:39,486
The baby was incredible.
240
00:13:39,570 --> 00:13:41,989
There was a moment one day
where we were on set,
241
00:13:42,072 --> 00:13:45,826
and the little hand was sitting here,
I reached over and picked up the hand
242
00:13:45,909 --> 00:13:48,370
and I just did that to Mando's jacket.
243
00:13:48,453 --> 00:13:50,539
And the little hand just holding on
244
00:13:50,622 --> 00:13:55,085
made everybody on set just like,
"Oh, boy, that's fantastic."
245
00:13:55,168 --> 00:13:56,837
How cool is baby?
246
00:13:56,920 --> 00:13:58,505
- He's so cute!
- Cute!
247
00:13:58,589 --> 00:14:00,382
Right? Right?
248
00:14:00,465 --> 00:14:03,385
It's a clich�, but acting is reacting.
249
00:14:03,468 --> 00:14:06,096
And us being there with the actors,
250
00:14:06,180 --> 00:14:10,184
and the baby cocks its head or its ears
come up and it does something,
251
00:14:10,267 --> 00:14:14,813
it evokes a reaction from them.
And then we play off of that.
252
00:14:18,525 --> 00:14:21,612
It's really disconcerting
and very effective when you see it.
253
00:14:21,695 --> 00:14:22,988
Even just directing,
254
00:14:23,071 --> 00:14:25,407
setting up the shot
and I'll be right next to it,
255
00:14:25,490 --> 00:14:30,078
and then those Legacy guys will just make
it turn its head and look at me...
256
00:14:30,162 --> 00:14:31,163
Uh...
257
00:14:31,788 --> 00:14:34,875
Even just that stuff, knowing
there's some other people behind it
258
00:14:34,958 --> 00:14:36,919
and they're doing that,
makes a difference.
259
00:14:37,002 --> 00:14:39,755
You can see that with the actors
as well, whenever they see it.
260
00:14:39,838 --> 00:14:42,132
They're more delicate with it,
when you hand it over.
261
00:14:42,216 --> 00:14:44,968
They're really caring more for it.
262
00:14:45,052 --> 00:14:48,138
This little bogwing
is what all the fuss was about.
263
00:14:48,222 --> 00:14:50,265
What a precious little creature.
264
00:14:53,894 --> 00:14:55,062
Oh, my gosh.
265
00:14:55,145 --> 00:15:00,484
Working with that little puppet
was like working with a little baby.
266
00:15:00,567 --> 00:15:02,444
It was kinda funny because everybody,
267
00:15:02,528 --> 00:15:04,988
even hair and makeup,
would walk up and talk to it.
268
00:15:05,072 --> 00:15:09,117
Like, "Oh, look at the little baby
today. How's the baby feeling?"
269
00:15:09,201 --> 00:15:14,498
In the back of your head, "It's not real,
but I'm talking to it, too."
270
00:15:14,581 --> 00:15:16,583
It was just so real.
271
00:15:16,667 --> 00:15:18,710
If you're in a scene
with that little baby,
272
00:15:18,794 --> 00:15:22,047
you're completely gonna lose the scene,
no matter what.
273
00:15:22,130 --> 00:15:23,799
Well, this has been a real treat,
274
00:15:24,216 --> 00:15:26,301
but unless you wanna go another round,
275
00:15:26,385 --> 00:15:28,512
one of us must move on,
and I was here first.
276
00:15:28,595 --> 00:15:31,014
Jon Favreau came up to me and he was like,
277
00:15:31,098 --> 00:15:32,558
"You did pretty good that time.
278
00:15:32,641 --> 00:15:35,602
"That was a pretty good scene.
But, uh, the baby kicked your ass."
279
00:15:35,686 --> 00:15:37,437
And I was like,
280
00:15:37,521 --> 00:15:40,315
"I'm never gonna beat this baby
in acting. Look at it."
281
00:15:40,399 --> 00:15:43,569
You don't even need a story.
Just put the camera on the baby.
282
00:15:43,652 --> 00:15:45,362
It wins your heart over.
283
00:15:45,445 --> 00:15:48,031
- He's number one on the call sheet today.
- Yep.
284
00:15:48,115 --> 00:15:52,035
Let's take the time to do that right.
Let's give ourselves plenty of footage.
285
00:15:52,578 --> 00:15:55,122
Seeing him on camera
and seeing him in person...
286
00:15:55,205 --> 00:16:00,919
The way that it activates
your primal childhood dreams,
287
00:16:01,003 --> 00:16:04,840
we're all gonna be second fiddle
to this little guy.
288
00:16:04,923 --> 00:16:06,258
That's how cool he is.
289
00:16:06,341 --> 00:16:09,678
Sort of builds into the moment
where he looks, gathers himself,
290
00:16:09,761 --> 00:16:12,472
and then holds up the two hands forward.
291
00:16:23,400 --> 00:16:27,654
We drew upon influences
from other Star Wars properties,
292
00:16:27,738 --> 00:16:30,324
from the first episode, from "Chapter I."
293
00:16:30,407 --> 00:16:32,993
We have, what? We have IG-11, which was...
294
00:16:33,076 --> 00:16:36,788
He was a bounty hunter
from Empire Strikes Back based on IG-88,
295
00:16:36,872 --> 00:16:38,540
that never really did anything.
296
00:16:38,624 --> 00:16:41,293
He just stood there
and looked amazingly cool,
297
00:16:41,376 --> 00:16:44,171
so generations of fans
believed that he would kick ass.
298
00:16:44,254 --> 00:16:46,798
He's only kicked ass
in the expanded universe.
299
00:16:46,882 --> 00:16:48,217
- Never moved...
- Video game.
300
00:16:48,300 --> 00:16:49,843
Or a videogame, books.
301
00:16:49,927 --> 00:16:52,513
And then, Hal,
how did you bring IG-11 to life?
302
00:16:52,596 --> 00:16:56,058
'Cause it definitely has
a very distinct way of moving around.
303
00:16:56,141 --> 00:16:58,310
Yeah, he was a lot of fun,
because he's...
304
00:16:58,810 --> 00:17:01,939
We did, um, K-2SO for Rogue One,
305
00:17:02,022 --> 00:17:05,734
and that was a droid that we wanted
to be driven very much by an actor,
306
00:17:05,817 --> 00:17:07,653
Alan Tudyk. So that was one kind of thing.
307
00:17:07,736 --> 00:17:11,073
But with IG, we didn't want an actor
driving him with motion capture
308
00:17:11,156 --> 00:17:13,659
because he's so linear and weird-looking.
309
00:17:13,742 --> 00:17:15,577
We just wanted to take advantage of that
310
00:17:15,661 --> 00:17:18,038
and have him do things
that a human body couldn't do.
311
00:17:18,121 --> 00:17:19,998
It was a part of the coolness of him.
312
00:17:20,082 --> 00:17:22,584
It was super fun
to figure that out, like how...
313
00:17:22,668 --> 00:17:24,503
You know, what looks good on him,
314
00:17:24,586 --> 00:17:26,505
keeping these angles very...
315
00:17:26,588 --> 00:17:29,925
His elbow's always either at 90 degrees
or his arm's straight.
316
00:17:30,008 --> 00:17:32,010
- And shooting a puppet a lot of the time.
- Yeah.
317
00:17:32,094 --> 00:17:34,429
- So mixing it up.
- We built a practical puppet.
318
00:17:34,513 --> 00:17:38,100
That was one...
I think one of the many, uh,
319
00:17:38,183 --> 00:17:39,852
happy accidents on the show
320
00:17:39,935 --> 00:17:42,980
was that Josh in props
built a wonderful stand-in for IG
321
00:17:43,063 --> 00:17:45,440
that was really for lighting reference.
322
00:17:45,524 --> 00:17:47,401
And it was on a base with four wheels.
323
00:17:47,484 --> 00:17:49,444
It was really heavy and rickety.
324
00:17:49,528 --> 00:17:53,156
We'd get close-ups on the head,
because they could rotate the head around.
325
00:17:53,240 --> 00:17:56,785
And we realized that it actually looked
a lot better than we expected.
326
00:17:56,869 --> 00:17:58,328
We got more than we expected.
327
00:17:58,412 --> 00:18:00,747
So all of a sudden,
he was in medium shots.
328
00:18:00,831 --> 00:18:03,917
They would push him in,
or rotate him around in camera.
329
00:18:04,001 --> 00:18:06,169
And he would just rock and roll like this.
330
00:18:06,253 --> 00:18:07,462
Really awkward-looking.
331
00:18:07,546 --> 00:18:09,298
I think when Hal saw that,
332
00:18:09,381 --> 00:18:13,302
where we could capture this animation,
that could be part of this character.
333
00:18:13,385 --> 00:18:16,513
It was exactly the right awkwardness.
334
00:18:16,597 --> 00:18:18,307
Yeah, 'cause he's not too cool.
335
00:18:18,390 --> 00:18:21,935
It really speaks
to the value of maquettes.
336
00:18:22,019 --> 00:18:24,479
- Absolutely.
- It is really, you know,
337
00:18:24,563 --> 00:18:26,648
is still so important to what we do.
338
00:18:26,732 --> 00:18:28,942
And we did some stop-motion blurrgs, too,
339
00:18:29,026 --> 00:18:31,361
with our friends
over at Stoopid Buddy, right?
340
00:18:31,445 --> 00:18:32,738
- Yeah.
- So we said,
341
00:18:32,821 --> 00:18:34,907
"Hey, could we work some of that in?"
342
00:18:34,990 --> 00:18:36,825
When's the stop-motion blurrg?
343
00:18:36,909 --> 00:18:40,579
It's in the shot where Mando's sighting up
for the first time
344
00:18:40,662 --> 00:18:43,790
when he arrives on the planet,
and he sees them through the scope.
345
00:18:43,874 --> 00:18:45,542
That's when I thought
346
00:18:45,626 --> 00:18:47,711
you're jumping off this deep end
347
00:18:47,794 --> 00:18:50,422
where we're going all the way
back in the time machine
348
00:18:50,506 --> 00:18:51,840
and we're doing stop motion.
349
00:18:51,924 --> 00:18:53,800
I'm always game for all of it,
350
00:18:53,884 --> 00:18:56,011
but I was like, "I don't know
how that'll work."
351
00:18:56,094 --> 00:18:57,763
But I know those guys, I knew Matt...
352
00:18:57,846 --> 00:18:59,348
You gotta try.
353
00:18:59,431 --> 00:19:00,766
...would give it everything.
354
00:19:00,849 --> 00:19:02,726
It's amazing how well it works.
355
00:19:02,809 --> 00:19:05,646
- Who built that puppet for us?
- Tony McVey.
356
00:19:05,729 --> 00:19:08,315
- Tony McVey, what's his...
- He goes all the way back...
357
00:19:08,398 --> 00:19:10,400
He sculpted Salacious Crumb
or something.
358
00:19:10,484 --> 00:19:12,402
He did.
He built the original of Salacious.
359
00:19:12,486 --> 00:19:13,946
He's got Star Wars pedigree.
360
00:19:14,029 --> 00:19:16,323
Speaking of Salacious Crumb,
he got a cameo, too.
361
00:19:16,406 --> 00:19:18,867
And Tony built him,
the same as he built...
362
00:19:19,576 --> 00:19:21,995
The same one.
He built us an exact same one.
363
00:19:22,079 --> 00:19:24,289
- That's when everybody realized...
- A great day...
364
00:19:24,373 --> 00:19:26,875
We showed this thing
with him walking by it
365
00:19:26,959 --> 00:19:30,712
and the Kowakian monkey-lizard
on a spit, and there was, "Oh, no."
366
00:19:30,796 --> 00:19:33,340
Well, that was because...
367
00:19:33,423 --> 00:19:36,468
- That got one of the biggest reactions.
- We were gonna cook it,
368
00:19:36,552 --> 00:19:39,304
and I said, "It'd be funny
if we had a live one sitting there
369
00:19:39,388 --> 00:19:40,681
- "laughing at it."
- Yeah.
370
00:19:40,764 --> 00:19:43,100
Originally, he was laughing
at the one being cooked,
371
00:19:43,183 --> 00:19:44,726
people thought that was too mean.
372
00:19:44,810 --> 00:19:46,728
'Cause eating them wasn't too mean.
373
00:19:46,812 --> 00:19:50,357
So then they made him have sad sounds,
like...
374
00:19:50,440 --> 00:19:52,150
I'm like, "Is that better...
375
00:19:52,234 --> 00:19:54,319
"...he's depressed
that his friend is being eaten?"
376
00:19:54,403 --> 00:19:57,781
Well, that's what happens after the...
377
00:19:57,865 --> 00:20:01,076
after the Empire's gone
and after Jabba's gone.
378
00:20:01,159 --> 00:20:04,663
That guy's not gonna have a good...
It's probably not the same guy.
379
00:20:04,746 --> 00:20:09,209
But it does speak to the way the whole
hierarchy gets upended in times of chaos.
380
00:20:09,293 --> 00:20:11,003
Everybody loved that little puppet.
381
00:20:11,086 --> 00:20:14,715
I mean, it is funny.
A puppet brings just the set to life, too.
382
00:20:14,798 --> 00:20:17,301
If we just had like a green thing there
383
00:20:17,384 --> 00:20:19,052
it would look good in the end,
384
00:20:19,136 --> 00:20:20,846
when the crew's at home watching and go,
385
00:20:20,929 --> 00:20:22,569
"Wow, that's what that thing looks like."
386
00:20:22,598 --> 00:20:25,017
But we had a guy underneath that cage.
387
00:20:25,100 --> 00:20:28,228
Mike was crammed in there
and his arm's just... Big guy.
388
00:20:28,312 --> 00:20:29,730
That was a big guy under there,
389
00:20:29,813 --> 00:20:32,608
and doing
the little puppeting of Salacious.
390
00:20:32,691 --> 00:20:33,734
- So great.
- So cool.
391
00:20:36,445 --> 00:20:40,699
We're referencing George's world.
George created all this, right?
392
00:20:40,782 --> 00:20:43,619
If you're living
in a Frank Lloyd Wright house,
393
00:20:43,702 --> 00:20:45,621
you can't just move the walls around.
394
00:20:45,704 --> 00:20:48,707
You can replace the pipes
and the fixtures,
395
00:20:48,790 --> 00:20:50,709
you want to keep it still being
the essence
396
00:20:50,792 --> 00:20:52,961
of what was created by that visionary.
397
00:20:53,045 --> 00:20:55,506
And so part of what gives us freedom
398
00:20:55,589 --> 00:20:57,132
is that there is an amount of fun
399
00:20:57,216 --> 00:21:00,052
you're allowed to haveon the margins of Star Wars,
400
00:21:00,135 --> 00:21:03,764
back to the holiday specialand the Ewok TV shows.
401
00:21:04,264 --> 00:21:07,017
So there's always been room
in Star Wars to mess around,
402
00:21:07,100 --> 00:21:08,810
and then there's the big movies.
403
00:21:08,894 --> 00:21:11,855
The big movies are the main attraction.
404
00:21:11,939 --> 00:21:14,650
We're happy to pull it together
and do the stuff that's fun,
405
00:21:14,733 --> 00:21:17,069
that still feels like it's part of it.
406
00:21:17,152 --> 00:21:20,614
The first Star Wars filmshave a low-tech kind of grit,
407
00:21:20,697 --> 00:21:24,826
where the costumes are presented
and a lot of the look of things.
408
00:21:24,910 --> 00:21:27,162
I think it was born out of necessity,
409
00:21:27,246 --> 00:21:29,665
probably, on the first one,
in the sense of like,
410
00:21:29,748 --> 00:21:33,085
"Well, let's repurpose this aircraft,
this and that."
411
00:21:33,168 --> 00:21:38,090
They crafted it in such a way
that it just has an iconic look now.
412
00:21:38,173 --> 00:21:41,051
And so you cannot stray from that,
you have to make sure
413
00:21:41,134 --> 00:21:43,011
that you're operating in that world.
414
00:21:43,095 --> 00:21:46,056
And you want to, because it looks amazing.
415
00:21:47,933 --> 00:21:48,976
Pick one.
416
00:21:51,061 --> 00:21:54,773
One thing that was a challenge for me
with this project was,
417
00:21:54,898 --> 00:21:58,068
how do we make the props feel like
they fit in the right timeline?
418
00:21:58,151 --> 00:22:00,612
We're very close to that original trilogy,
419
00:22:00,696 --> 00:22:02,531
and I did the research to figure out,
420
00:22:02,614 --> 00:22:04,867
how did they create
some of these iconic blasters?
421
00:22:05,826 --> 00:22:10,831
They rented surplus weapons
from World War II and modified them.
422
00:22:10,914 --> 00:22:13,667
'Cause they were a rental,
they could do certain modifications.
423
00:22:13,750 --> 00:22:16,295
They couldn't completely
change the blaster.
424
00:22:16,378 --> 00:22:19,173
We went with that same technique
in our design.
425
00:22:19,256 --> 00:22:23,802
I found vintage weapons from World War II
that had shapes and unique stuff
426
00:22:23,886 --> 00:22:25,929
that I thought would work
for this universe.
427
00:22:26,013 --> 00:22:29,016
We presented the illustrations
with those weapons,
428
00:22:29,099 --> 00:22:30,475
and they were ecstatic.
429
00:22:30,559 --> 00:22:32,644
And I knew we're on the right track.
430
00:22:32,728 --> 00:22:34,938
Play it like it's twice as heavy as it is,
maybe,
431
00:22:35,063 --> 00:22:37,024
and then you... doing all that.
432
00:22:37,107 --> 00:22:40,360
When it hits you, you see him,
it doesn't feel like you just whip around.
433
00:22:40,444 --> 00:22:42,279
I went home for Thanksgiving,
434
00:22:42,362 --> 00:22:46,491
and I was just talking casually
with my family.
435
00:22:46,575 --> 00:22:48,118
I said, "Yeah, I have one blaster,"
436
00:22:48,202 --> 00:22:50,996
then I'm carrying this
massive blaster, which is pretty cool,
437
00:22:51,079 --> 00:22:52,414
and my little sister was like,
438
00:22:52,497 --> 00:22:54,666
"Gina, did you say
you're carrying blasters?"
439
00:22:54,750 --> 00:22:58,212
And I was like, "Yeah, okay,
I'm carrying blasters, all right?"
440
00:22:59,463 --> 00:23:01,215
And I was like, "I'm so proud of that."
441
00:23:01,298 --> 00:23:02,382
Give me the pulse rifle.
442
00:23:11,433 --> 00:23:13,393
We always talk about it
like we're the AV club.
443
00:23:13,477 --> 00:23:15,020
- Yeah.
- And what's interesting
444
00:23:15,103 --> 00:23:17,231
about it, too, is that
445
00:23:17,314 --> 00:23:18,815
we started just with a story,
446
00:23:18,941 --> 00:23:21,777
and here's the basic concept,
and here's the format.
447
00:23:21,860 --> 00:23:24,905
But then we start asking questions,
448
00:23:25,030 --> 00:23:26,532
and it's almost like finding out,
449
00:23:26,615 --> 00:23:29,117
"Are you as nerdy as I am about this?"
'Cause it's like,
450
00:23:29,201 --> 00:23:30,410
I think it might be good...
451
00:23:30,494 --> 00:23:31,954
I learned from Guillermo del Toro,
452
00:23:32,037 --> 00:23:34,498
if you build a miniature,
you can have it in your house.
453
00:23:34,581 --> 00:23:36,416
You'll have a prop.
454
00:23:36,500 --> 00:23:37,501
- I told you.
- Yes.
455
00:23:37,584 --> 00:23:38,752
That's why we do the MoCo.
456
00:23:38,835 --> 00:23:41,797
Kinda was. But also, I love MoCo,
and for Zathura,
457
00:23:41,880 --> 00:23:44,842
we wanted to do stop motion or go-motion.
458
00:23:45,425 --> 00:23:47,886
Very hard to get people
to do that at that time.
459
00:23:47,970 --> 00:23:50,180
And we did motion control miniatures
460
00:23:50,264 --> 00:23:51,932
for the ships
and give it the aesthetic,
461
00:23:52,015 --> 00:23:55,602
'cause it was meant to be
a nostalgic type of movie anyway,
462
00:23:55,811 --> 00:23:57,354
but really just an excuse.
463
00:23:57,437 --> 00:24:00,440
Just like with Jim Cameron
doing Titanic
464
00:24:00,524 --> 00:24:02,442
so he could do submarine stuff, you know.
465
00:24:02,526 --> 00:24:04,945
It's usually something
that's really a curiosity
466
00:24:05,028 --> 00:24:06,780
that you're trying to indulge.
467
00:24:07,447 --> 00:24:09,825
And so, when we were talking,
we were like,
468
00:24:09,908 --> 00:24:15,831
"What about just having a reference
Razor Crest for some of the lighting?"
469
00:24:15,914 --> 00:24:17,958
And it was like,
"You know what might be nice
470
00:24:18,041 --> 00:24:20,502
"is just to have a shot, just to see..."
471
00:24:20,586 --> 00:24:22,087
- For the trailer.
- Yeah.
472
00:24:23,630 --> 00:24:24,798
It started off with,
473
00:24:24,882 --> 00:24:27,634
if we are gonna do some miniature work
on the show,
474
00:24:27,718 --> 00:24:31,388
how do we make that work
inside very tight budget constraints?
475
00:24:31,471 --> 00:24:34,725
Because all this work had already been
budgeted and approved...
476
00:24:34,808 --> 00:24:36,226
- using computer graphics.
- Right.
477
00:24:36,310 --> 00:24:39,688
And as much as, you know,
my background is miniatures
478
00:24:39,771 --> 00:24:43,108
and motion control,
it's a comfort zone, I love it,
479
00:24:43,192 --> 00:24:45,652
but the reason why it doesn't get done
as much anymore is
480
00:24:45,736 --> 00:24:47,487
because it's more expensive.
481
00:24:47,571 --> 00:24:52,367
And so we had to figure out,
is there a garage-operation style,
482
00:24:53,452 --> 00:24:55,370
quick and dirty version of this
483
00:24:55,454 --> 00:24:57,581
that could do the shots
that we needed to do?
484
00:24:57,664 --> 00:24:59,708
And John's thinking, "I've got a garage."
485
00:24:59,791 --> 00:25:01,335
It's like mini Kerner.
486
00:25:01,418 --> 00:25:02,586
It's like how they started.
487
00:25:02,669 --> 00:25:06,465
We wanted to do just one shot,
and it's turned into quite a few.
488
00:25:07,132 --> 00:25:08,467
- 14, 13...
- Yeah.
489
00:25:08,550 --> 00:25:10,511
- Around 14, 15 shots.
- In addition to that,
490
00:25:10,594 --> 00:25:13,639
you used it as reference for lighting
for the CG work as well...
491
00:25:13,722 --> 00:25:17,935
And you had already done research
for how we move the ships from the shots,
492
00:25:18,018 --> 00:25:19,186
so you had compiled...
493
00:25:19,269 --> 00:25:21,605
What was the reel you compiled
that you showed us?
494
00:25:21,688 --> 00:25:25,734
It was shots all from original trilogy,
mostly from New Hope,
495
00:25:25,859 --> 00:25:27,778
but some shots from
Empire and Jedi as well,
496
00:25:28,153 --> 00:25:33,200
to just kind of illustrate the vibe
of how ships move in those films.
497
00:25:33,325 --> 00:25:34,618
It's before the miniature work.
498
00:25:34,701 --> 00:25:36,620
- This is for the CG you compiled.
- Yeah...
499
00:25:36,703 --> 00:25:38,163
You compiled this before we worked,
500
00:25:38,247 --> 00:25:39,623
'cause it was interesting to you.
501
00:25:39,706 --> 00:25:41,875
For me, it was a style guide,
502
00:25:41,959 --> 00:25:43,710
and it kinda went back to Rogue One.
503
00:25:43,794 --> 00:25:45,921
During Rogue One,
there was a side project,
504
00:25:46,004 --> 00:25:48,048
not directly related to Rogue One,
505
00:25:48,131 --> 00:25:50,509
but because we were doing
so much Star Wars stuff,
506
00:25:50,592 --> 00:25:52,803
to take shots from the original trilogy
507
00:25:52,970 --> 00:25:56,974
and examine them for what makes them
look the way they do
508
00:25:57,057 --> 00:26:00,352
and to do things like, if there was
a Star Destroyer in the shot,
509
00:26:00,435 --> 00:26:02,855
we'd put in a CG Star Destroyer next to it
510
00:26:02,938 --> 00:26:05,274
- and try getting an exact match...
- Try to match it.
511
00:26:05,357 --> 00:26:06,441
...versus kind of,
512
00:26:06,525 --> 00:26:08,527
how do we modernize it a little.
513
00:26:08,610 --> 00:26:12,447
Um, and so it started there,
and then with this project,
514
00:26:12,573 --> 00:26:15,617
it kind of accelerated for me,
just really diving into,
515
00:26:15,742 --> 00:26:18,370
you know, how much of it
was intentional creative choices
516
00:26:18,495 --> 00:26:21,373
about the way that the work looked
in the original trilogy
517
00:26:21,456 --> 00:26:24,042
and the limitations
of the technology at the time.
518
00:26:24,126 --> 00:26:25,669
Limitation of
the camera movement.
519
00:26:25,752 --> 00:26:28,088
Not a lot of shots
where it came in and went out.
520
00:26:28,172 --> 00:26:30,507
- Exactly.
- In CG, you do that a lot,
521
00:26:30,591 --> 00:26:34,636
but with motion control, miniatures,
you're limited by the platform.
522
00:26:34,720 --> 00:26:36,680
There's physical constraints,
you know.
523
00:26:36,763 --> 00:26:39,433
How big your stage is
sort of sets how long your track is,
524
00:26:39,516 --> 00:26:43,020
'cause your camera's moving along a track
rather than a model moving.
525
00:26:43,103 --> 00:26:46,023
So it's... The camera's giving
the impression of motion.
526
00:26:46,148 --> 00:26:48,483
But you can only get
so far back from a model.
527
00:26:48,567 --> 00:26:51,111
So, for instance, on New Hope,
528
00:26:51,195 --> 00:26:53,780
the model of the Falcon they hadwas as big as this table.
529
00:26:53,864 --> 00:26:55,741
It was six feet long.
530
00:26:55,824 --> 00:26:58,827
And so you could only get so far back
from that, you know,
531
00:26:58,911 --> 00:27:03,123
and using a wide lens
to really give it a sense of distance.
532
00:27:03,207 --> 00:27:05,083
None of the shots in New Hope
533
00:27:05,209 --> 00:27:07,628
have a lot of travel that way
with the Falcon.
534
00:27:07,711 --> 00:27:09,922
On Empire,
they built smaller scale version
535
00:27:10,005 --> 00:27:13,133
so they could get more shots
with a lot more sense of travel.
536
00:27:13,217 --> 00:27:17,054
So all those things kind of informed
what they could do.
537
00:27:17,137 --> 00:27:21,183
But also, there was a whole
stylistic component that came from George,
538
00:27:21,266 --> 00:27:26,605
you know, famously taking scenes
from Battle of Britain and Dam Busters
539
00:27:26,688 --> 00:27:30,776
to build, you know, his version
of pre-vis of the Battle of Yavin.
540
00:27:30,859 --> 00:27:34,738
And the shot design of those films,
541
00:27:34,821 --> 00:27:36,990
which were using
real photography of plane shots,
542
00:27:37,074 --> 00:27:39,952
air-to-air, also informed
the style of the shots...
543
00:27:40,035 --> 00:27:42,412
And create limitations,
de facto limitations,
544
00:27:42,496 --> 00:27:45,415
based on emulating things
that were shot from real platforms.
545
00:27:45,499 --> 00:27:48,293
It was genius, too,
because if you're in a physical space
546
00:27:48,377 --> 00:27:52,881
with a model and a camera and you
can't move either of them all that far,
547
00:27:52,965 --> 00:27:54,550
how do you get dynamic shots?
548
00:27:54,633 --> 00:27:57,052
If you look at real photography
of an airplane,
549
00:27:57,135 --> 00:28:00,305
for instance, flying across the sky
but you're using a long lens
550
00:28:00,430 --> 00:28:04,184
and so the plane isn't moving very much
within the frame,
551
00:28:04,393 --> 00:28:06,854
but the background is just whooshing past,
552
00:28:06,937 --> 00:28:09,565
then you get that super dynamic,
fast-paced...
553
00:28:09,648 --> 00:28:12,234
Well, it was interesting...
As far back as Iron Man,
554
00:28:12,317 --> 00:28:14,152
we were trying
to create those limitations,
555
00:28:14,236 --> 00:28:16,405
we actually shot for the sky plates.
556
00:28:16,488 --> 00:28:18,240
And so we sent trainer jets up there,
557
00:28:18,323 --> 00:28:21,201
and we filmed plates using,
trying to line them up
558
00:28:21,285 --> 00:28:23,829
and create the limitations
that you're talking about,
559
00:28:23,912 --> 00:28:26,498
that you inherited from Battle of Britain.
560
00:28:26,582 --> 00:28:28,375
It's hard to get two planes
in a shot,
561
00:28:28,458 --> 00:28:29,960
which means you have three planes.
562
00:28:30,043 --> 00:28:32,504
You have the camera plane
and then the other two,
563
00:28:32,588 --> 00:28:35,215
and you're framing
all that together, talking over radios.
564
00:28:35,299 --> 00:28:38,385
Very hard. Usually the shots
are very short and compromised.
565
00:28:38,468 --> 00:28:40,804
And so it has that look,
and the big breakthrough
566
00:28:40,888 --> 00:28:43,515
that I thought really made it
look like Star Wars was,
567
00:28:43,599 --> 00:28:46,268
I guess, 'cause you couldn't track
the background so well.
568
00:28:46,393 --> 00:28:48,145
They would always slide the star field.
569
00:28:48,937 --> 00:28:52,024
And that's when I started to feel
you're pulling Gs
570
00:28:52,191 --> 00:28:55,569
and all that dynamic quality,
I remember from the old films.
571
00:28:55,694 --> 00:28:58,947
And so you apply that even
to our CG shots now.
572
00:28:59,031 --> 00:29:00,908
Even our CG shots,
give them that same feel.
573
00:29:00,991 --> 00:29:03,035
It's interesting listening
to you guys talk
574
00:29:03,118 --> 00:29:04,828
and it's a thing that I always feel,
575
00:29:04,912 --> 00:29:06,914
and why I went to Lucasfilm
in the first place,
576
00:29:06,997 --> 00:29:09,041
is that everybody loves Star Wars
577
00:29:09,124 --> 00:29:11,460
and knows a lot about it
and can read a lot about it.
578
00:29:11,543 --> 00:29:15,380
But there's an actual, literal history
of Star Wars at the company,
579
00:29:15,547 --> 00:29:18,550
'cause it's what built the company.
It's the foundation.
580
00:29:18,634 --> 00:29:20,511
And there's this knowledge,
581
00:29:20,594 --> 00:29:23,931
just like with Jedi in the story,
that's passed on, that people know.
582
00:29:24,014 --> 00:29:26,517
And when you get that first-hand knowledge
of people
583
00:29:26,600 --> 00:29:28,519
that worked with the actual people,
584
00:29:28,602 --> 00:29:30,854
that we can go back and grab people
and say,
585
00:29:30,938 --> 00:29:34,149
"Come on back. We'd like you to build
a Salacious Crumb again."
586
00:29:34,233 --> 00:29:36,985
You know, stuff as simple-seeming as that,
587
00:29:37,069 --> 00:29:39,071
but the legacy of it
and what it means to them
588
00:29:39,154 --> 00:29:41,323
to see the enthusiasm of people, like,
589
00:29:41,406 --> 00:29:44,743
it's hard to believe,
all these years later,
590
00:29:45,077 --> 00:29:50,374
there's such energy around new stories
in this world that George created.
591
00:29:50,541 --> 00:29:53,293
But there's such a responsibility
to always remember
592
00:29:53,377 --> 00:29:57,005
where it came from
and yet to now push it forward in ways.
593
00:29:57,089 --> 00:30:00,133
And that's what makes Star Wars unique,
594
00:30:00,217 --> 00:30:02,928
'cause you can buy into it,
the magic of it,
595
00:30:03,011 --> 00:30:04,847
the mythology that supports it.
596
00:30:04,930 --> 00:30:06,890
That history is so important to me,
597
00:30:06,974 --> 00:30:10,269
and I think it's important to Star Wars,
which is, you know...
598
00:30:10,352 --> 00:30:13,897
And you guys being involved in this
made this, I think, more special
599
00:30:13,981 --> 00:30:15,399
and connected for it.
600
00:30:15,423 --> 00:30:18,423
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601
00:30:18,473 --> 00:30:23,023
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