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What's the cargo?
2
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Only passengers.
3
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Myself, the boy, two droids...
4
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And no questions asked.
5
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What is it? Some kind of local trouble?
6
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I rememberseeing Star Wars over and over,
7
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and the formula was one
that I didn't know yet.
8
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I didn't have a frame of reference
of the source.
9
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So that was my entry
into all of the things
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that helped create Star Wars.
11
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So through that,
I learned about the western.
12
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Through that,
I learned about samurai films.
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What I pitched when I went in, I said,
14
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"I don't want to be influencedso much by Star Wars.
15
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"Want to be consistent with Star Wars,
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"but I want to be influenced
by what influenced George,
17
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"so let's look at the samurai movies.
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"Let's really look at Kurosawa films."
19
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And that kind of ledto the whole Lone Wolf and Cub thing
20
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that also felt like
it applied in certain ways.
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We kind of had a primer of westerns.
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He would come up with movies.
"Have you seen this?"
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And I'd be like, "No, but we should go
over this trilogy again and watch this."
24
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And just kind of dissecting
what makes them tick.
25
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The beautiful simplicity,
26
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yet really underlying complex
characterizations that you get in them.
27
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Definitely, there's a Star Wars vibeto any of them if you look at them.
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I mean, look at Han Solo.
He's just dressed like a gunslinger.
29
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I don't know who you are
or where you came from,
30
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but from now on,
you do as I tell you, okay?
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Look, Your Worshipfulness,
let's get one thing straight.
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I take orders from just one person. Me.
33
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It's a wonder you're still alive.
34
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We'd get together,
throw out a bunch of ideas,
35
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work on the logic,
and then he would suss it out
36
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and come up with a script.
37
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Once the script was written,
the first step was to storyboard.
38
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The directors and the producers
would oversee the storyboarding process.
39
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We had a story department
headed up by Dave Lowery.
40
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And we would get our first look at it
in animatic form with pencil drawings,
41
00:01:59,995 --> 00:02:03,373
and we would iterate the story
and watch it as one solid piece
42
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using temporary dialogue and effects.
43
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Let's get out of here!
44
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Stand your ground!
45
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Once we arrived upon something
that worked well in pencil,
46
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we would then go to pre-vis.
47
00:03:00,138 --> 00:03:03,225
When I came here and
saw the way that they were using pre-vis,
48
00:03:03,308 --> 00:03:05,811
I was like, "This is so exciting!"
49
00:03:05,894 --> 00:03:09,898
The way that I've seen
pre-vis used in the past, as an actor,
50
00:03:09,982 --> 00:03:13,694
is that when there's a scene
where there's a lot of visual effects...
51
00:03:13,777 --> 00:03:16,572
And typically it's,
like, an action sequence
52
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where, when you're shooting it,
you need to be very precise.
53
00:03:19,616 --> 00:03:23,203
Filmmakers will create something called
pre-vis, which is pre-visualization,
54
00:03:23,287 --> 00:03:27,332
and it's basically like a mock-up
of what the sequence would be.
55
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And it's incredibly helpful.
56
00:03:34,298 --> 00:03:36,717
It was the first week
we were on The Volume.
57
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And you and I were sat next to each other,
and I think I asked you the question,
58
00:03:41,722 --> 00:03:43,974
"What's been the most eye-opening part?"
59
00:03:44,057 --> 00:03:46,560
What you mentioned
is that you can go into editorial
60
00:03:46,643 --> 00:03:48,937
- and see the story better and clearer.
- Yes. Yes.
61
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And I think you were maybe referencing...
62
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And that makes storytelling much tighter.
63
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And the closer we get
to that animation process,
64
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where you can iterate on story longer,
65
00:04:00,365 --> 00:04:02,993
there's a permanence to live-action
66
00:04:03,076 --> 00:04:05,245
that requires that
when you're on that set,
67
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doesn't mean you can't go back
and reshoot certain things,
68
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but for the most part,
what you're doing is permanent.
69
00:04:11,501 --> 00:04:13,295
- Yeah.
- And then you have to move on.
70
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And anything about the process
that allows you to iterate
71
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longer on story is...
That's gonna make for better movies.
72
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It forces the filmmakers to commit early
73
00:04:24,223 --> 00:04:27,643
and understand and fail early
when it's cheap and easy.
74
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It's what you learn from animation,
going back to Snow White,
75
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there's still a scene that they talk about
being on the cutting room floor.
76
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The idea that anything...
77
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That there's any waste in animation
is just antithetical to the culture.
78
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That's why we plan everything.
79
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And that's why I involved
visual effects from the beginning
80
00:04:45,619 --> 00:04:48,288
like as though
you're my production designer...
81
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- They need to be there from the beginning.
- Yes.
82
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So that it's not just thought
of as a post exercise.
83
00:04:53,001 --> 00:04:56,672
It is fascinating to listen to
live-action people talk about this process
84
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as someone from animation,
85
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'cause then I go back to
where all the other animators are,
86
00:05:01,718 --> 00:05:03,262
and we get together, and we're like,
87
00:05:03,345 --> 00:05:05,514
"They're really talking
about the process we do."
88
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They said 50.
89
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Races age differently.
90
00:05:12,354 --> 00:05:14,439
Perhaps it could live many centuries.
91
00:05:16,358 --> 00:05:17,359
We'll never know.
92
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We bring it in alive.
93
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The commission was quite specific.
94
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The asset was to be terminated.
95
00:05:29,746 --> 00:05:33,125
Something that happened on this
show that's very, very, very unique
96
00:05:33,208 --> 00:05:38,839
is that Jon created a workflow
where we could actually have pre-vis,
97
00:05:38,922 --> 00:05:42,092
but for the whole episode,
for every episode.
98
00:05:45,345 --> 00:05:47,514
Now, that's something that is not done,
99
00:05:47,973 --> 00:05:49,975
and the reason why
100
00:05:50,058 --> 00:05:52,561
it was done in this case
is because of The Volume
101
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and because of all the visual effects
and all the things that need to be
102
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rendered way in advance of shooting.
103
00:05:59,443 --> 00:06:01,653
We needed to have a pre-vis,
basically, for...
104
00:06:01,737 --> 00:06:03,822
Even though it's not necessarily
an action shot
105
00:06:03,906 --> 00:06:06,408
or what you would consider
a visual effect shot.
106
00:06:06,491 --> 00:06:09,411
Because it exists in The Volume,
it's a visual effect shot.
107
00:06:10,412 --> 00:06:12,164
All of the technology
that we're using
108
00:06:12,247 --> 00:06:14,750
is dependent upon
planning everything with pre-vis,
109
00:06:14,833 --> 00:06:16,668
and we combine that
with what I had learned
110
00:06:16,752 --> 00:06:19,379
on Jungle Book and Lion King,
111
00:06:19,463 --> 00:06:22,216
which was plan everything
ahead of time with mo-cap,
112
00:06:22,299 --> 00:06:26,637
figure out a cut, and then figure out
what live-action shots you need.
113
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Build the minimum set,and in the case of Jungle Book,
114
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you had green screen,
115
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and so you'd build
a whole digital environment.
116
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You'd shoot on a cookie-cutter set,
line it up with the motion capture camera,
117
00:06:38,398 --> 00:06:41,693
and combine the green screen
with the environment that was digital,
118
00:06:41,777 --> 00:06:44,530
and Mowgli and the little piece of set
would lay in
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against the digital characters
and background.
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We took it a step further here.
121
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Go!
122
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On The Mandalorian, we departedfrom the normal pre-vis pipeline
123
00:06:57,084 --> 00:07:01,004
by using virtual cinema,
which was a technique that we developed
124
00:07:01,088 --> 00:07:03,757
and refined on The Lion King.
125
00:07:03,841 --> 00:07:07,094
It uses game engine
to allow the actual crew
126
00:07:07,177 --> 00:07:10,138
to operate camera equipment
within the virtual world
127
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in order to record performances
by either actors or stand-ins,
128
00:07:15,102 --> 00:07:17,020
and then we do camera capture
on top of it,
129
00:07:17,104 --> 00:07:20,232
using equipment that's normally used
to do photography,
130
00:07:20,315 --> 00:07:24,319
but instead, we've encoded it
so that we could record cinematic moves
131
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within the virtual environment.
132
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The directors had the opportunity
to get involved
133
00:07:31,743 --> 00:07:34,788
much earlier than you normally would
on a television show.
134
00:07:34,872 --> 00:07:38,333
We combined them
with their crew and their editors,
135
00:07:38,417 --> 00:07:42,254
and together, they would come up with
a first cut of the show
136
00:07:42,337 --> 00:07:43,964
using virtual cinema.
137
00:08:01,940 --> 00:08:05,360
Sometimes they would direct people
in, uh, motion-capture suits
138
00:08:05,444 --> 00:08:08,530
to get a first take
at what their vision might be.
139
00:08:08,614 --> 00:08:10,741
Sometimes they would work
with the stunt team,
140
00:08:10,824 --> 00:08:13,619
capturing some stunt performances
using motion capture,
141
00:08:13,702 --> 00:08:16,538
and they would have the opportunity
to put cameras on it
142
00:08:16,622 --> 00:08:18,707
and cut it together and get a first look
143
00:08:18,790 --> 00:08:22,127
so we could tech-vis the episode
and figure out what we needed
144
00:08:22,211 --> 00:08:24,296
to build and prepare
for the actual filming.
145
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The real advantage was that
it allowed us all to come together
146
00:08:28,300 --> 00:08:32,012
and look at a first cut of the episode
done using this process,
147
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and although it looked like
a video game at first
148
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and there were no real people in it,
149
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it gave us a sense of how the story flowed
150
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to see if we needed to do
any rewrites or adjustments
151
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before we actually hit the stage
and started filming.
152
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The whole goal
was to treat this whole shoot
153
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like we would have
on a superhero film reshoot,
154
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where you knew everything
and what the story needed,
155
00:09:03,168 --> 00:09:05,337
because I've never been on
a more efficient set
156
00:09:05,420 --> 00:09:06,922
than, like, the Iron Man reshoots.
157
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Because you filmed it.
You did all the planning. You shot it.
158
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Got some visual effects going.
159
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You cut it together.
You can't get it to be perfect.
160
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You're like, "If we only had
another week or two, we could..."
161
00:09:17,766 --> 00:09:23,105
Yeah. On the Thor reshoots,
I think we did something insane, like...
162
00:09:23,188 --> 00:09:26,441
In, like, five days, like,
360 shots or something.
163
00:09:26,525 --> 00:09:28,235
'Cause, like, you're just like,
164
00:09:28,318 --> 00:09:30,529
"This is all glue now.
This is just the bits I need."
165
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- They're really in.
- You're efficient, 'cause...
166
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Yep. 'Cause you know what it is.
167
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In principal, you're like,
"Let's keep it running.
168
00:09:37,119 --> 00:09:40,622
"It's a shot of this glass going
on the table, but who knows what else...
169
00:09:40,706 --> 00:09:42,457
"We'll be open
to whatever can happen."
170
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And on the reshoots, you're like,
171
00:09:44,459 --> 00:09:47,629
"Got it. Don't need another one.
It's just a shot of the glass.
172
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"That's all we wanted,
and it fixed everything."
173
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And so, by having us film in VR
or with pre-vis,
174
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depending on which sequences they were...
175
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That's what was so good
about having you, too,
176
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is coming from animation,
everything is pre-vis.
177
00:10:00,267 --> 00:10:02,102
- Everything.
- So you could jump in there,
178
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and for stuff like the mudhorn sequence
or air-to-air,
179
00:10:05,814 --> 00:10:07,524
stuff where there's not actors there,
180
00:10:07,608 --> 00:10:10,110
you can help translate the vision
at the director's end.
181
00:10:10,194 --> 00:10:13,155
- Just an animated movie.
- And then also, when we're doing...
182
00:10:13,238 --> 00:10:15,115
and we refined it even more for this.
183
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Now we have the MVN suits,
which we started on your episode.
184
00:10:18,327 --> 00:10:19,953
- With the fight.
- How did that go?
185
00:10:20,037 --> 00:10:23,749
This experience
was completely different for me
186
00:10:23,832 --> 00:10:27,294
'cause I come from independent film
and smaller films,
187
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and there was no boards.
188
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You just sort of go in, you're writing,
and you're with your team of bandits,
189
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you go make your movie.
190
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And so the whole process of pre-vis
191
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and building the story out beforehand,
uh, was new to me.
192
00:10:45,646 --> 00:10:47,523
So it was like, "Oh, I wish...
193
00:10:47,606 --> 00:10:49,358
"That's what happens when you get money.
194
00:10:51,652 --> 00:10:53,695
"You can actually make the movie first."
195
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Actually plan.
It's such a better way to do stunt-vis
196
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'cause it's like they're not trying
to do some video
197
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and make all those camera angles
that I don't want.
198
00:11:01,203 --> 00:11:03,997
It's like, I can put the cameras in
and just get the action.
199
00:11:04,081 --> 00:11:06,291
Drive.
200
00:11:06,375 --> 00:11:07,501
Drive!
201
00:11:11,213 --> 00:11:14,383
It's a very different experience
from all other television I've done.
202
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Having the prep time.
203
00:11:15,968 --> 00:11:19,304
Normally, you're getting,
eight, nine days, then you're shooting.
204
00:11:19,388 --> 00:11:21,890
This, I was on it for two months
before I started,
205
00:11:21,974 --> 00:11:23,559
and we pre-vis'd the entire episode.
206
00:11:24,101 --> 00:11:26,895
So even if, when we hit the set
and we hit the ground,
207
00:11:27,604 --> 00:11:29,731
we're pressed for time
and running and gunning
208
00:11:29,815 --> 00:11:32,734
at least we've had the time
to really develop the material
209
00:11:32,818 --> 00:11:35,779
and really, sort of,
creatively put it together
210
00:11:35,863 --> 00:11:37,406
so that we are really dialed in,
211
00:11:37,489 --> 00:11:39,408
not trying to figure it out on the day.
212
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We're trying to execute it.
213
00:11:40,742 --> 00:11:42,244
So that's been pretty amazing.
214
00:11:42,327 --> 00:11:44,663
Please. No. No, no.
215
00:11:45,956 --> 00:11:47,749
I did episode three, and it felt
216
00:11:47,833 --> 00:11:50,878
very much like a cross
between a western and a samurai movie.
217
00:11:50,961 --> 00:11:53,881
That was my first thought,
a gunslinger with a samurai code.
218
00:11:54,423 --> 00:11:58,343
They all hate you, Mando.
Because you're a legend!
219
00:11:58,427 --> 00:12:01,513
A lot of my prep work
in developing it, getting ready for it
220
00:12:01,597 --> 00:12:04,474
was going back and watching
a ton of Kurosawa, who I love.
221
00:12:04,558 --> 00:12:07,477
I think Yojimbo was probablythe strongest reference for it
222
00:12:07,561 --> 00:12:10,939
in terms of the stand-off on the street
and a lot of the way we shot it.
223
00:12:11,023 --> 00:12:13,150
Welcome back, Mando!
224
00:12:13,233 --> 00:12:16,195
The stand-off was a lot of action.
It was intense.
225
00:12:16,278 --> 00:12:17,988
And action!
226
00:12:20,490 --> 00:12:21,742
It took a lot of planning
227
00:12:21,825 --> 00:12:25,037
because I think we had over 25
bounty hunters running around,
228
00:12:25,120 --> 00:12:26,747
and then the Mandalorians land.
229
00:12:29,541 --> 00:12:30,584
It was three days.
230
00:12:30,667 --> 00:12:33,670
Then we ended up doing
additional photography on it as well.
231
00:12:33,754 --> 00:12:36,798
It was a lot to keep track of,
that's where you start to feel
232
00:12:36,882 --> 00:12:40,677
if this was a big feature
and we were doing a huge movie,
233
00:12:40,761 --> 00:12:43,472
we'd probably have two weeks for it,
we had three days,
234
00:12:43,555 --> 00:12:46,099
you have to really work
within the constraints
235
00:12:46,183 --> 00:12:48,310
to make it work under that guise,
236
00:12:48,393 --> 00:12:51,688
but you're still trying to deliver
the quality of a big feature.
237
00:12:53,774 --> 00:12:55,317
It's Star Wars and action.
238
00:12:55,400 --> 00:12:59,196
You really can't deliver anything
that's not up to par.
239
00:13:00,322 --> 00:13:03,116
That was the challenge with that,
but it was pretty fun.
240
00:13:03,200 --> 00:13:05,744
There was a moment,
I think, in day two or three.
241
00:13:05,827 --> 00:13:07,829
We had shot so many zirc hits,
242
00:13:07,913 --> 00:13:09,957
done many explosions
and started to run out.
243
00:13:10,040 --> 00:13:13,001
It was getting to the point where we were
trying to preserve them
244
00:13:13,085 --> 00:13:15,128
because we couldn't get any more
at that point
245
00:13:15,212 --> 00:13:17,381
'cause of the licenses
on ammunition and whatnot.
246
00:13:17,464 --> 00:13:22,177
We shot off, I think over 7,000 rounds
of zirc hits alone in those days.
247
00:13:22,803 --> 00:13:23,804
It's crazy.
248
00:13:28,976 --> 00:13:31,353
- This is the Way.
- This is the Way.
249
00:13:35,107 --> 00:13:39,695
What was fascinating from my perspective
was this dojo that we had,
250
00:13:39,778 --> 00:13:42,781
that we had a new style
that we were coming up with together
251
00:13:42,865 --> 00:13:46,201
and everybody was bringing
their own special talents to it,
252
00:13:46,285 --> 00:13:49,705
and every one of you brought
a whole different set of skills.
253
00:13:49,788 --> 00:13:55,460
And what you may have seen as,
"Oh, this is the way Jon wants to do it,"
254
00:13:55,544 --> 00:13:58,755
was really
all of us having separate conversations,
255
00:13:58,839 --> 00:14:03,010
and that informing the next conversation
I had. So it was a very organic process.
256
00:14:03,093 --> 00:14:06,013
And all of it was spent
facing the challenge of,
257
00:14:06,096 --> 00:14:08,056
how do you get something ready
with a lot of prep time
258
00:14:08,140 --> 00:14:10,475
and not a lot of post time
relative to a film?
259
00:14:10,559 --> 00:14:13,061
How do you borrow
from the culture of animation
260
00:14:13,145 --> 00:14:17,107
that I was already exploring
through Jungle Book and Lion King?
261
00:14:17,191 --> 00:14:19,109
And having Dave now...
262
00:14:19,193 --> 00:14:21,069
Something
I was trying to reverse engineer,
263
00:14:21,153 --> 00:14:23,739
"How would Pixar do this?"
Then I had somebody who said,
264
00:14:23,822 --> 00:14:26,950
"Oh, this is how you interact
with a pre-vis department."
265
00:14:27,492 --> 00:14:29,870
And all of that informed a cut,
266
00:14:29,953 --> 00:14:33,207
and that cut became the Rosetta Stone
for us to move forward with.
267
00:14:34,124 --> 00:14:36,210
And by the end of it was much different.
268
00:14:36,293 --> 00:14:40,839
In the beginning, a lot of it was you
giving direction to a pre-vis department,
269
00:14:40,923 --> 00:14:42,216
the THIRD FLOOR guys.
270
00:14:42,299 --> 00:14:47,012
By the end, it was you with stunt people
in MVN suits
271
00:14:47,095 --> 00:14:49,264
- which are gaming mo-cap suits...
- Exactly.
272
00:14:49,348 --> 00:14:54,394
...in a set that we taped off to fit
exactly what the VR version of it was,
273
00:14:54,478 --> 00:14:56,897
- and you did all the fight sequences.
- Yeah.
274
00:14:56,980 --> 00:15:00,108
Can you talk about that for a sec?
I wasn't on set for a lot...
275
00:15:00,192 --> 00:15:01,818
- Talk about it.
- "Talk about it"?
276
00:15:01,902 --> 00:15:04,404
- Stop holding back.
- I'm holding this stuff back.
277
00:15:04,488 --> 00:15:05,781
Yes, I know.
278
00:15:05,864 --> 00:15:09,785
Um, no, and that was, again,
when it started to get...
279
00:15:09,868 --> 00:15:11,995
Not that it wasn't fun to begin with,
280
00:15:12,079 --> 00:15:15,541
but it was a different level
of how you could use this
281
00:15:15,624 --> 00:15:17,417
because now we were...
282
00:15:18,085 --> 00:15:21,630
Now I could go immediately
from what was in my head
283
00:15:21,713 --> 00:15:25,300
to talking to stunt coordinator
and his players,
284
00:15:25,384 --> 00:15:31,473
and having that captured in real time
and putting that right into the pre-vis.
285
00:15:31,557 --> 00:15:32,683
And so now it's not...
286
00:15:32,766 --> 00:15:34,601
You would set cameras
on top of that.
287
00:15:34,685 --> 00:15:35,936
We're setting cameras...
288
00:15:36,019 --> 00:15:38,522
I was watching the cuts
as if you had shot it already.
289
00:15:38,605 --> 00:15:39,982
Exactly. And now it's not,
290
00:15:40,065 --> 00:15:42,985
you're having a conversation
with THIRD FLOOR and Chris.
291
00:15:43,068 --> 00:15:46,989
You're now creating that on the fly,
292
00:15:47,072 --> 00:15:50,367
and so it was...
and I remember when you were like,
293
00:15:50,450 --> 00:15:54,246
"We're gonna play with this on this."
I was excited because it was...
294
00:15:54,329 --> 00:15:56,915
- You were the first.
- Yeah, we had talked about
295
00:15:57,708 --> 00:15:59,960
some of the fight stuff that I like,
296
00:16:00,043 --> 00:16:05,716
and we both have a certain affinity
for samurai and kung fu films,
297
00:16:05,799 --> 00:16:08,051
and so, you know, this was like,
298
00:16:08,135 --> 00:16:11,388
"Okay, we can actually do this
with our guys in the moment,
299
00:16:11,471 --> 00:16:14,850
- "as we would for an..."
- What sequence was that...
300
00:16:14,933 --> 00:16:20,480
This was a sequence
when Mando is going to break out...
301
00:16:21,315 --> 00:16:22,733
going to break out Xi'an,
302
00:16:22,816 --> 00:16:27,237
and so he's going through the prison,
303
00:16:27,321 --> 00:16:31,658
and there are tons of prison guard droids
304
00:16:31,742 --> 00:16:35,245
that come out of nowhere
and start attacking them.
305
00:16:35,329 --> 00:16:41,210
And Bill Burr being his self, goes,
"Oh, you know Mando.
306
00:16:41,293 --> 00:16:44,838
"He's supposed to be
this ultimate warrior.
307
00:16:44,922 --> 00:16:45,923
"What you gonna do?"
308
00:16:46,006 --> 00:16:49,218
And the next thing you know,
Mando jumps into action,
309
00:16:49,301 --> 00:16:52,429
and he starts taking down
every single droid
310
00:16:52,513 --> 00:16:55,474
with his Mando bag of tricks, and so...
311
00:16:55,557 --> 00:16:57,809
That's when we had to change the droids.
Remember?
312
00:16:57,893 --> 00:16:59,686
I was selling them, "We'll have droids,
313
00:16:59,770 --> 00:17:01,772
"but they're gonna be floating droids."
314
00:17:01,855 --> 00:17:03,857
- Then it was...
- They were big buckets,
315
00:17:03,941 --> 00:17:05,776
- I'd say trash buckets.
- You said,
316
00:17:05,859 --> 00:17:08,612
"I could coordinate some stuff
or do some choreography.
317
00:17:08,695 --> 00:17:10,155
"We could use arms and legs."
318
00:17:10,239 --> 00:17:13,158
- Doug Chiang, could you draw some, um...
- Yeah.
319
00:17:13,242 --> 00:17:16,286
And now, by the way,
so you had human performers,
320
00:17:16,370 --> 00:17:18,330
and now when you see the sequence,
it's...
321
00:17:18,413 --> 00:17:20,999
What's crazy
is it was what we shot that day,
322
00:17:21,083 --> 00:17:25,212
you know, so it's still
that session that we had.
323
00:17:25,295 --> 00:17:30,634
I think it was stage 17 taped off,
and it's still that sequence.
324
00:17:30,717 --> 00:17:32,719
So you filmed it there with taped off.
325
00:17:32,803 --> 00:17:34,888
You could pop into VR.
Saw all the action.
326
00:17:34,972 --> 00:17:38,433
Set cameras, did a cut,
did it, filmed it for real.
327
00:17:38,517 --> 00:17:39,852
- Exactly.
- And, uh...
328
00:17:39,935 --> 00:17:41,979
We didn't have any of that on Jungle Book.
329
00:17:42,062 --> 00:17:45,524
So now it's like, how can you use
these tools to inform this process?
330
00:17:45,607 --> 00:17:49,528
It was really good. Now we're doing that
for every scene, season two.
331
00:17:49,611 --> 00:17:51,321
Yeah, now that's exciting,
332
00:17:51,405 --> 00:17:55,659
'cause I'm gonna jump back in
and do some stuff, once I get the script.
333
00:17:55,709 --> 00:18:00,259
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