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(OMINOUS MUSIC PLAYING)
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ROBERT RODRIGUEZ: I'm from the independent
world, that's how my connection
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with George Lucas was,
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and just seeing that all of this
had been created.
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What inspires me is that came from one guy
sitting in a room with a pen,
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writing down The Star Wars.
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The ripple effects of that action,
somebody just independently taking,
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betting on themselves causes...
Is just awe-inspiring
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to see that one character that showed up
briefly in Empire Strikes Back
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is yielding all this for this season
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and everything that Jon and Dave
have done.
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It's super inspiring to know that it
started from one person with an idea.
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(SOFT PIANO MUSIC PLAYING)
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Our responsibility is to be respectful
to all of Star Wars.
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And that means the films I grew up with,
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to some extent, the Expanded Universe,
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as well as everything
that's been established as canon.
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So, every time we discuss a storyline
or character, we look at it
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from the perspective, it's almost like you
hold it up, look at it through each facet
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and see what the implications might be.
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FILONI: Here, the lightsaber boxes
is a thing,
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and then Ahsoka has one in Clone Wars.
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FAVREAU: So, maybe he just opens it
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-and takes it out.
-FILONI: Like this?
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FAVREAU: (LAUGHING) It's so cool.
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It's all part of, you know,
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Jon and mine's philosophy of making this
feel like one big connected galaxy.
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That's what Star Wars is.
Where all the stories come together.
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FAVREAU: In the beginning, the idea
of somebody wearing Mandalorian armor
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is clearly influenced by Boba Fett.
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And coming into The Mandalorian
with a new character
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with a different background,
with a different armor,
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gave us,
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I think, a lot more creative latitude.
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It's almost like it were a sword,
you'd lay your hand across.
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That's what we're sort of...
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-That's what we're emulating.
-MAN 1: Yeah.
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FAVREAU: At the end of the day, it was
the image of Boba Fett that inspired
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the whole thing.
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Boba Fett was a Man with
No Name kind of character.
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Lone gunslinger, when I was a kid.
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You didn't know his face,
you didn't know who he was.
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That was always hinted at in the EU
and stories were kind of shadowy
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in explaining maybe who he was.
So it was kind of a bombshell
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when the prequels came out
and it was explained that he was
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the clone of this bounty hunter,
Jango Fett.
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That was completely new information.
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Hang on, son.
We'll move into the asteroid field,
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and we'll have a couple
of surprises for him.
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FAVREAU: That's the interweaving
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that Star Wars had over the course
of many, many years through the movies.
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And we're able to do that in a much more
condensed time frame.
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So, bringing in Boba Fett
and seeing the fans' reaction to it
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and the fun that we had collaborating,
that was the inspiration for us to go
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and talk to everyone at Disney Plus
and Kathy
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and everyone at Lucasfilm about
if there was a potential to explore this
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as a series.
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(UPLIFTING INSTRUMENTAL MUSIC PLAYING)
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MORRISON: (NARRATING) In the firelight,
he is helped by the warrior,
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and putting the final bits of the hardware
on the weapon,
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he lifts his custom slender gaffi stick.
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He gives it a proficient twirl,
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then holds it in both hands
across his thighs.
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He stares up into the stars
as his new, transformed silhouette
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is etched into the horizon glow
of the desert planet.
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He is a new man.
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He is no longer alone.
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He is a member of a tribe.
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(EXHALES)
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Okay. I'm going to makeup.
I'll see you in makeup.
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When George first spoke
to me about Boba Fett,
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he immediately said, "I cast this amazing
actor from New Zealand
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"called Temuera Morrison
to play Jango Fett."
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He said, if you ever do Boba Fett,
you should cast Temuera to play Boba
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because he's such a remarkable actor.
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MORRISON: Boba was the guy who
was the only one that caught Han Solo.
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And that's what gave him the kudos.
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And the fact that he was mysterious.
And the fact that you didn't
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see him too much,
I think that worked in my favor.
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That we were able to sort of...
Okay, well, let's give 'em a taste.
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Let's give the fans a taste
of what he can actually do.
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(STORMTROOPER GRUNTS
AND YELPS)
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For me, it was just a matter
of getting those episodes
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in Season 2 of The Mandalorian
right for me.
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And working hard and trying to make it
as powerful and exciting as I could.
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And maybe something would
come of it, so here we are.
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MORRISON (AS BOBA FETT):
First day, let's go. Let's rock it.
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RODRIGUEZ: Tem Morrison is Boba Fett.
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'Cause he's so similar to the character
himself in a lot of ways. He has
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such immense presence,
yet a quiet softness to him.
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Kindness and generosity
that can be really disarming.
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So, he brings all sides of himself
when he plays the character.
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I'll have to ask the god of emotion
to send me some emotions
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very shortly. (CHUCKLES)
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I'm running out of time. (SIGHS)
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But I'm blessed 'cause I draw
on my Māori roots.
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We have the haka to draw on, that energy.
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We have the waiata tangi,
the po, the pokeka.
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(IN ENGLISH) All these forms of song
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that come from our ancestors.
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that kind of put me
in the right mode or mood.
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(SOFT MUSIC PLAYING)
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(MUSIC STOPS)
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(STRUMMING GUITAR)
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(SINGING) I'm cruising on my bantha
On the sands of Tatooine
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Yes, I'm cruising on my bantha
On the sands of Tatooine
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I'm heading for Mos Eisley
The Pyke Syndicate's waiting for me
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(NORMAL) Robert Rodriguez,
take it away, brother.
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(FAST-PACED GUITAR STRUMMING)
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Robert and I get on quite well.
We just clicked.
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We do a little training.
He's got a little bit ahead of me
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in the press-up department,
I might add, and his biceps
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have gone a little bit bigger
than mine as well.
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Then after we did the weights,
we'd pull out the guitars.
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-And away we go.
-RODRIGUEZ: I like playing music
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with my actors and collaborators.
It builds a creative trust.
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You have to be in sync with everyone,
in a creative flow.
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Just like you need
to be when you're filming.
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Keeps that fluid momentum.
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(BOTH STRUMMING GUITAR)
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(GUITAR MUSIC STOPS)
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(SINGING) The Sarlacc Pit blues, yeah.
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(CREW MEMBERS APPLAUDING)
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(INTENSE MUSIC PLAYING)
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(STORMTROOPER SCREAMING)
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(STORMTROOPER GRUNTING)
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RODRIGUEZ: Last year, when I was finishing
my Season 2 episode, "The Tragedy,"
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Jon and Dave both called me
one day and said
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that they really liked what they were
seeing and my approach to Boba Fett.
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They said they didn't want me just
to come back and direct an episode or two,
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but to bring me on in a bigger capacity
as an executive producer.
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It was one of the best phone calls
you could ever get.
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FILONI: I can't say enough
of how important Robert was
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to the whole process
of bringing Boba to life.
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He loves the character.
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He makes his own animatics
with action figures sometimes.
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He's an expert.
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He's a Jedi. He knows his stuff.
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RODRIGUEZ: It's kind of cool that
we hadn't seen you do this move before.
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You've been training with it,
but we didn't see this part.
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I just thought Jon's story structure
was really brilliant.
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And that it was telling a Boba story
that went forward,
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continuing from where
we left off last year.
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Yet, it flashed back to answer
all our burning questions
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and fill in what happened
to Boba after the Sarlacc Pit.
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(BOBA FETT GRUNTING
AND SCREAMING)
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(SARLACC SNARLING)
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(SARLACC BURPS)
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One of the challenges for explaining
how Boba Fett survived
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the Sarlacc Pit is really going back
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and doing the science ourselves,
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thinking logically,
"How could he survive?"
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Maybe there's an air pocket in there
or maybe he actually found
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a dead stormtrooper
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and was able to use his oxygen
so he could kind of breathe.
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And then from there, how does he escape?
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'Cause the Sarlacc is a huge creature
and he's, you know,
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dozens of feet underground.
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And so we started to think about,
okay, logically, what would that be?
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How would that make sense?
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And I think Jon came up with the idea
that literally he's just in his gut
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and it needs to be
a very claustrophobic space.
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We had to make a bunch of stomach walls
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that looked very believable and veins
and texture and intestine-type tubes
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and cover it with slime
and bring that all together.
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(BOBA FETT GRUNTING)
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-(FLAMES HISSING)
-(BOBA FETT SCREAMING)
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(SUSPENSEFUL MUSIC PLAYING)
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FILONI: I think the thing with Boba is
once he goes down into the Sarlacc Pit,
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once he's in in the subterranean world,
the underworld,
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that transitional moment changes someone.
I mean, how could it not?
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And you have an opportunity
for him to come out on the other side
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and make a choice about
what kind of person he wants to be.
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These are mine.
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I will teach you how to ride.
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These help us stop the train.
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FAVREAU: As much fun as it is to think
about a character who has
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questionable morality blasting
his way through the galaxy,
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that only goes so far.
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You can't really explore storylines.
It sounds good, but when you actually
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zoom in and explore
what's going on with that character,
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if that character is just
a lawless character
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who is doing really cool action sequences,
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that's not Star Wars.
Star Wars has to be about
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each character facing certain obstacles.
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Usually emotional ones
as well as physical ones, you know?
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There may be a villain you're facing off
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but if there's no internal conflict
going on with the character,
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you're losing half of
what makes it impactful.
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And so, we found a way
to hopefully preserve
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the edginess of the character.
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How good they are at what they do.
That they were a top bounty hunter
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in the galaxy that was being
hired by Darth Vader.
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How do you live up to that,
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but still show that that character
has learned the lessons
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of time and of experience?
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I am proposing
that all the families of Mos Espa
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join in a defensive alliance
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until the Pyke Syndicate is vanquished.
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Jon was really teeing off of
a bunch of ideas
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of gangster films.
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We'd talk about the icon of Conan
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and what his journey is to become king
and all those kind of very strong images
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that we've grown up with
in different films like The Godfather.
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And since Boba was involved
in the underworld,
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that was going to be his realm
where his journey played out.
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FAVREAU: By looking into the genre
of gangster movies, you see that there are
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challenges of conscience that they
go through, and political challenges
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and facing off with people who are
more morally ambiguous,
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and what do you stand for in this world?
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Is it just the rise to power?
Or is there also an examination
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of what the purpose
of wielding such power is?
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You all accrued wealth and riches
under Jabba the Hutt.
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You can again, if you listen to Boba Fett.
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FILONI: A character like Boba is great,
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but you need another
strong character to support him.
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And not just support,
but sometimes lead on their own.
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That's when Jon and I decided Fennec
could play a really big role in this.
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Especially because of Ming-Na.
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RODRIGUEZ: Ming-Na brings such
an incredible swagger to her character.
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We played with that a lot.
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There was something
I called "the Fennec look."
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Where sometimes I would design scenes
to just end on her giving Boba
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a look that spoke volumes.
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(INTENSE MUSIC PLAYING)
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Plus, she's a huge, huge Star Wars fan.
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You know, it's gonna take me a little bit
to not geek out about 8D8
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when they start moving him.
I'm just letting you know
229
00:12:52,229 --> 00:12:53,981
I might slip out of character a bit.
230
00:12:54,064 --> 00:12:56,734
I got to ride a bantha.
231
00:12:57,526 --> 00:13:04,158
You know, a bantha that moves its head,
that actually travels
232
00:13:04,283 --> 00:13:06,202
and the back undulates.
233
00:13:06,786 --> 00:13:10,164
It's the best toys in the world.
234
00:13:10,372 --> 00:13:11,957
-(LAUGHS)
-MAN: That's a beautiful toy.
235
00:13:12,124 --> 00:13:13,292
We're back!
236
00:13:13,751 --> 00:13:17,421
I have to remind myself,
or Tem reminds me to...
237
00:13:17,505 --> 00:13:18,964
(LAUGHING)
238
00:13:19,048 --> 00:13:22,009
To focus and stop being such a geek.
239
00:13:22,134 --> 00:13:23,886
I'm trying not to freak out here.
240
00:13:24,053 --> 00:13:26,889
MORRISON: We get on so well now
and I've gotten to know her so well that
241
00:13:27,056 --> 00:13:28,599
even when I'm reading the script,
242
00:13:28,682 --> 00:13:32,394
I can always... I can hear her now.
I can hear her voice.
243
00:13:32,812 --> 00:13:35,856
Because of the nice dynamic that we have.
244
00:13:36,065 --> 00:13:39,276
It's always good when the camera
can capture a little bit of
245
00:13:39,360 --> 00:13:42,988
that vibe that happens between two actors
when they're going at it.
246
00:13:43,364 --> 00:13:44,532
(SINGING SOFTLY)
247
00:13:46,158 --> 00:13:47,243
(MING-NA WEN LAUGHING)
248
00:13:47,326 --> 00:13:48,369
(NORMAL) It's like a dance.
249
00:13:48,536 --> 00:13:49,620
Are we tangoing?
250
00:13:49,787 --> 00:13:52,665
The way the two of them work together,
251
00:13:52,832 --> 00:13:57,378
and the equal power and trust
they both have
252
00:13:57,711 --> 00:14:00,047
for one another
is really pretty remarkable.
253
00:14:00,464 --> 00:14:04,677
You just feel this sense that they've
known each other forever.
254
00:14:04,969 --> 00:14:07,513
And that he really depends on her.
255
00:14:07,763 --> 00:14:08,889
If I may...
256
00:14:09,306 --> 00:14:10,599
Speak freely.
257
00:14:10,933 --> 00:14:14,228
In difficult times, fear is a surer bet.
258
00:14:17,940 --> 00:14:20,776
RODRIGUEZ: You're starting to
get surrounded, you're already moving it.
259
00:14:21,318 --> 00:14:23,612
And raising it up in time to shoot.
260
00:14:23,696 --> 00:14:25,406
So, by the time you shoot, there's four.
261
00:14:25,614 --> 00:14:28,826
When you direct a pilot episode,
you are establishing a lot.
262
00:14:29,159 --> 00:14:31,704
You're setting the style
and tone for the whole series.
263
00:14:32,162 --> 00:14:34,915
And I wanted, for one thing,
the level of action to live up to
264
00:14:35,124 --> 00:14:37,126
the promise of Boba from last season.
265
00:14:37,793 --> 00:14:41,171
But I also needed to establish
how he'd conduct business in the palace.
266
00:14:41,839 --> 00:14:44,633
Would you be loyal to me
if I were to spare you?
267
00:14:47,761 --> 00:14:50,222
RODRIGUEZ: I had to establish
the flashbacks and how
268
00:14:50,306 --> 00:14:52,433
he works his way up to
the ranks of the Tuskens.
269
00:14:52,766 --> 00:14:56,145
We wanted those Tuskens to look unlike
any tribe we'd seen before.
270
00:14:56,270 --> 00:14:58,522
So, we went through
a whole design process on that.
271
00:15:01,483 --> 00:15:02,860
(DRAMATIC MUSIC PLAYING)
272
00:15:07,156 --> 00:15:08,157
(SAND CREATURE GROWLS)
273
00:15:08,574 --> 00:15:12,536
RODRIGUEZ: My favorite original creature
this year is the sand creature by far.
274
00:15:12,703 --> 00:15:16,081
But it's 'cause I've always wanted to make
something with a four-arm creature.
275
00:15:16,290 --> 00:15:17,291
(SAND CREATURE SNARLS)
276
00:15:17,416 --> 00:15:20,127
We were first designing all of this,
it was early preproduction.
277
00:15:20,252 --> 00:15:24,214
And it's COVID, and everyone's remote.
So, you're limited to a Zoom call.
278
00:15:24,632 --> 00:15:28,719
So, how can you even communicate the idea
on how this thing would look and move?
279
00:15:29,261 --> 00:15:32,598
So, once again, I had to go back
to my homemade filmmaking
280
00:15:33,098 --> 00:15:35,267
roots of action figures
and crude animatics
281
00:15:35,351 --> 00:15:40,064
and I made this quick little
sculpture armature in order to demonstrate
282
00:15:40,230 --> 00:15:42,733
how this creature would look,
how he'd move,
283
00:15:42,983 --> 00:15:45,611
how he'd go from being a bipedal creature
284
00:15:45,694 --> 00:15:49,114
and drop down into a centaur-type mode
285
00:15:49,573 --> 00:15:53,953
where his front arms were like legs,
but they're still like hands.
286
00:15:54,036 --> 00:15:56,538
I had meant to quickly add clay
and sculpt the rest of it,
287
00:15:56,664 --> 00:15:59,291
but then I thought filming
it would be even faster.
288
00:15:59,583 --> 00:16:00,834
(GROWLING)
289
00:16:03,045 --> 00:16:04,713
(SNARLING)
290
00:16:06,715 --> 00:16:09,969
KAVANAGH: It was an amazing piece
of reference for us to follow
291
00:16:10,052 --> 00:16:14,431
the feel of the sequence.
He really wanted to feel like old-school,
292
00:16:14,807 --> 00:16:16,684
you know, the stop-motion days,
293
00:16:16,934 --> 00:16:19,436
Ray Harryhausen days, Clash of the Titans,
294
00:16:19,687 --> 00:16:21,271
all of that kind of thing.
295
00:16:21,647 --> 00:16:24,525
And the creature design
lended itself perfectly to that.
296
00:16:25,526 --> 00:16:28,070
RODRIGUEZ: I wanted him to use every arm
strategically in the fight.
297
00:16:28,696 --> 00:16:31,448
And if you manage to tie down
even two of his arms with a chain,
298
00:16:31,573 --> 00:16:34,410
well, he still has two more.
So that if he punches Boba,
299
00:16:34,660 --> 00:16:36,954
he actually punches him twice,
one with each arm.
300
00:16:37,246 --> 00:16:40,541
You can see why none of the Tuskens
have been able to bring this guy down.
301
00:16:40,749 --> 00:16:45,129
So, when Boba figures out a way to do it,
he proves to the tribe that he's an asset.
302
00:16:48,048 --> 00:16:50,134
(CHAINS RATTLING)
303
00:16:54,847 --> 00:16:56,765
MORRISON: I think for Boba Fett,
he's actually
304
00:16:57,141 --> 00:16:59,560
seen a new kind of light,
a new kind of life,
305
00:16:59,810 --> 00:17:02,062
in terms of being nurtured by the Tuskens.
306
00:17:02,730 --> 00:17:05,733
In terms of having
that family kind of feel,
307
00:17:05,899 --> 00:17:07,985
that community feel which he's never had.
308
00:17:08,277 --> 00:17:10,362
BOBA FETT: Warriors, prepare to fight!
309
00:17:10,529 --> 00:17:14,074
Warriors, prepare to fight!
Riders, follow me!
310
00:17:14,867 --> 00:17:17,327
STEPH: I made sure to watch
Lawrence of Arabia,
311
00:17:17,661 --> 00:17:20,497
and A Man Called Horse
for this particular episode.
312
00:17:20,622 --> 00:17:24,126
Because Lawrence of Arabia
had those incredible train sequences.
313
00:17:24,293 --> 00:17:27,463
And there was some cinematography
that Dean Cundey and I
314
00:17:27,629 --> 00:17:29,548
really studied from Lawrence Of Arabia.
315
00:17:29,757 --> 00:17:33,594
CUNDEY: The task is always to take
everything that's gone before,
316
00:17:33,802 --> 00:17:38,474
everything the audience has, you know,
reacted to positively,
317
00:17:38,557 --> 00:17:42,644
and saying, "Now, how can I add my story
318
00:17:42,728 --> 00:17:45,314
"to that emotional element
that they loved?"
319
00:17:46,148 --> 00:17:51,153
So, I think it's fascinating
that Jon is able to,
320
00:17:51,236 --> 00:17:54,823
you know, instantly point
to a vivid moment
321
00:17:55,574 --> 00:17:59,203
that is all about something
the audience loved in another movie
322
00:17:59,661 --> 00:18:04,416
that applies to the world of Star Wars
and in particular, Boba Fett.
323
00:18:04,833 --> 00:18:07,920
FAVREAU: The imagery is very strong
of trying to keep control
324
00:18:08,045 --> 00:18:09,922
and not let chaos escalate,
325
00:18:10,798 --> 00:18:13,759
even when you're doing things
for the right reasons.
326
00:18:13,842 --> 00:18:17,429
So, I think that's what the whole show
is about, is him trying to figure out
327
00:18:17,513 --> 00:18:20,849
how to control all of these overwhelming,
intersecting forces.
328
00:18:21,433 --> 00:18:24,436
Jon's showing us this footage
of Lawrence of Arabia.
329
00:18:24,520 --> 00:18:27,940
And for me, I'm watching it 'cause...
Back in New Zealand,
330
00:18:28,065 --> 00:18:30,025
I watched these movies as a young boy.
331
00:18:30,359 --> 00:18:31,693
I loved Omar Sharif,
332
00:18:31,860 --> 00:18:35,614
and I'm seeing all my childhood actors.
I loved Anthony Quinn.
333
00:18:35,697 --> 00:18:38,909
And there they all are.
And I'm watching this and then
334
00:18:39,409 --> 00:18:42,121
we go out, we watch the previs,
Jon tells us the background,
335
00:18:42,287 --> 00:18:46,083
and then away we go and start shooting.
And there's sand, there's a train.
336
00:18:46,708 --> 00:18:50,587
And I feel like I'm in Lawrence of Arabia.
But now, I'm Lawrence.
337
00:18:50,921 --> 00:18:51,922
(LAUGHS)
338
00:18:56,135 --> 00:18:57,678
(DRAMATIC MUSIC PLAYING)
339
00:18:59,346 --> 00:19:02,891
He's a changed man.
And as we all grow up, we mature.
340
00:19:02,975 --> 00:19:08,105
And as we get a little bit of maturity,
sometimes we soften, we change,
341
00:19:08,230 --> 00:19:11,191
and I think that's what happened
to Boba in a way.
342
00:19:11,275 --> 00:19:15,612
Off with the mask.
A new man with a new tribe.
343
00:19:15,696 --> 00:19:17,072
(MAN SPEAKING INDISTINCTLY)
344
00:19:17,239 --> 00:19:18,615
He's not alone anymore.
345
00:19:18,699 --> 00:19:22,953
In the original script,
Boba was accepted by the tribe.
346
00:19:23,328 --> 00:19:27,124
He sort of had a moment with the chief
and then he stood holding his gaffi.
347
00:19:27,416 --> 00:19:31,795
And I remember early on,
Jon, Dave, Robert, we were all talking
348
00:19:31,920 --> 00:19:33,672
about how we needed to do more.
349
00:19:33,755 --> 00:19:35,841
We needed something
more powerful at the end.
350
00:19:37,551 --> 00:19:41,096
MALE CREW MEMBER: All right, here we go.
Lock it up. Let's roll sound.
351
00:19:42,556 --> 00:19:44,892
Ready, and action.
352
00:19:46,018 --> 00:19:50,105
STEPH: We worked with the fight
choreographers. We worked with the stunt
353
00:19:50,898 --> 00:19:53,192
performers that were playing
the tribe members
354
00:19:53,275 --> 00:19:54,902
and came up with this
355
00:19:55,819 --> 00:19:59,072
group movement that I think
is really powerful at the end.
356
00:19:59,198 --> 00:20:04,036
FEMALE CREW MEMBER:
And one, two, three, four,
357
00:20:04,203 --> 00:20:08,916
and tilt, and go, and go, go.
358
00:20:09,458 --> 00:20:14,630
MORRISON: I bring my Māori cultural stuff
into it, that's more of an energy thing.
359
00:20:15,047 --> 00:20:20,010
And plus, I've been trained in some
of what we call the taiaha, our staff,
360
00:20:20,594 --> 00:20:24,223
which has come in handy
when I'm using the gaffi stick.
361
00:20:29,311 --> 00:20:31,897
A lot of the conversations that
take place around Star Wars
362
00:20:32,064 --> 00:20:34,566
are how do you account for
what's been shown already?
363
00:20:34,900 --> 00:20:37,653
You know, designs, characters, storylines,
364
00:20:37,861 --> 00:20:41,073
and this was opportunity for us
not just to evolve Boba Fett,
365
00:20:41,156 --> 00:20:43,867
but to evolve the culture of Mos Espa.
366
00:20:43,992 --> 00:20:47,955
The only tribute I bear is
a heartfelt welcome from the Mayor
367
00:20:48,121 --> 00:20:49,998
which I express in his stead.
368
00:20:50,749 --> 00:20:55,128
Every day on set was like Christmas.
Because even while I was directing,
369
00:20:55,545 --> 00:20:57,589
new characters and props,
370
00:20:57,673 --> 00:21:00,175
or Legacy practical effects builds
would show up.
371
00:21:00,384 --> 00:21:02,427
So, you'd be called away
from the set to go see
372
00:21:02,678 --> 00:21:05,180
the Hammerhead Mayor showing up one day.
373
00:21:05,514 --> 00:21:08,433
That was amazing. Jon and Dave and I
got to see him when he was
374
00:21:08,517 --> 00:21:10,185
all put together for the first time.
375
00:21:10,477 --> 00:21:14,106
You felt like you're at a space zoo.
It looked so real.
376
00:21:17,234 --> 00:21:22,322
FILONI: It has so much emotion
in its strange, otherworldly shape.
377
00:21:22,739 --> 00:21:26,952
And it's one of the most iconic characters
from the cantina.
378
00:21:27,452 --> 00:21:30,831
If you didn't remember anything else,
you go, "That Hammerhead guy
379
00:21:31,415 --> 00:21:34,918
"was outstanding."
It just left a mark and...
380
00:21:35,502 --> 00:21:41,049
I've seen it done several times in
the different films and it's shocking how
381
00:21:41,216 --> 00:21:44,219
alive it feels when you're staring at it.
382
00:21:44,594 --> 00:21:46,680
Who is this who enters unannounced?
383
00:21:46,888 --> 00:21:49,016
I actually play inside of that character.
384
00:21:50,225 --> 00:21:53,812
We made a backpack to help support
the weight of that character.
385
00:21:53,979 --> 00:21:57,733
We took a fiberglass shell and mounted
that so I could wear it
386
00:21:57,816 --> 00:22:01,403
so that the weight
would be distributed better.
387
00:22:01,653 --> 00:22:05,115
But it's figuring out
what's it need to do?
388
00:22:05,198 --> 00:22:07,743
It needs to blink,
it needs to have a brow.
389
00:22:07,826 --> 00:22:09,202
In the case of the Ithorian,
390
00:22:09,286 --> 00:22:13,915
you had these strange mouths
on either side that are moving
391
00:22:14,207 --> 00:22:17,294
and he's speaking in whale speak,
and then it's being translated.
392
00:22:17,377 --> 00:22:20,380
So he has a translator box on him.
393
00:22:20,589 --> 00:22:24,092
MOK: The Order of the Night Wind are not
allowed to operate outside of Hutt Space.
394
00:22:24,176 --> 00:22:26,511
-(SPEAKS ITHORESE)
-Thank you for turning him in.
395
00:22:26,636 --> 00:22:29,806
I always find it funny, now that we're
doing these live-action series,
396
00:22:30,057 --> 00:22:32,642
we run into a lot of the problems
we did back on Clone Wars.
397
00:22:32,768 --> 00:22:34,561
'Cause now you're telling so many stories,
398
00:22:34,644 --> 00:22:36,980
"I'd like to have an Ithorian
but I'd like it to talk.
399
00:22:37,064 --> 00:22:38,523
"We don't want to subtitle it."
400
00:22:38,857 --> 00:22:40,609
So how do we do that? There's a voice box.
401
00:22:40,859 --> 00:22:43,028
If you look at this episode
of Clone Wars, we had it.
402
00:22:43,111 --> 00:22:45,364
Then they make it
and I'm staring at it, I'm like,
403
00:22:45,489 --> 00:22:50,577
"Oh, my gosh, there's our voice box."
It's so neat to see that still there.
404
00:22:50,786 --> 00:22:53,121
You know, and that it's...
Again, that's what fans want.
405
00:22:53,288 --> 00:22:55,248
They want one connected universe.
406
00:22:55,374 --> 00:22:58,877
Running a family is more complicated
than bounty hunting.
407
00:23:00,045 --> 00:23:01,171
Is that it?
408
00:23:01,588 --> 00:23:03,924
Go to Garsa's Sanctuary.
409
00:23:05,509 --> 00:23:07,010
You'll see what I speak of.
410
00:23:15,852 --> 00:23:20,440
TRPCIC: For Garsa's, we had about 300 new
costumes that had never been seen before.
411
00:23:20,690 --> 00:23:25,278
I have stacks of books written
on anything to do with Star Wars.
412
00:23:25,779 --> 00:23:28,949
I even have Battlefront books.
I just make sure that
413
00:23:29,199 --> 00:23:32,744
I stay within that aesthetic
and stay within that world.
414
00:23:33,370 --> 00:23:35,497
So, that was a really fun challenge,
415
00:23:35,789 --> 00:23:38,291
to make sure there was a separation
between all the peoples
416
00:23:38,458 --> 00:23:40,210
that we're meeting in this series.
417
00:23:40,752 --> 00:23:43,422
I think you've made your point.
418
00:23:43,964 --> 00:23:48,552
Garsa Fwip is the proprietor
of the Sanctuary.
419
00:23:48,635 --> 00:23:51,972
And the Sanctuary is this extraordinary
420
00:23:52,347 --> 00:23:56,435
casino, cantina bar on Tatooine.
421
00:23:57,018 --> 00:24:00,939
So, if you can imagine,
it's kind of like Rick's in Casablanca.
422
00:24:01,731 --> 00:24:03,066
And she's Rick.
423
00:24:03,650 --> 00:24:06,695
Or some mash-up between Rick and Beyoncé
424
00:24:06,945 --> 00:24:08,822
and Lauren Bacall, I guess. I don't know.
425
00:24:09,156 --> 00:24:11,074
I remember your years in the Pit.
426
00:24:12,242 --> 00:24:15,162
I've never seen a more
impressive display of martial prowess.
427
00:24:15,454 --> 00:24:16,830
You were a legend.
428
00:24:17,372 --> 00:24:20,959
BEALS: She can read whoever she's
speaking with and be able to navigate
429
00:24:21,126 --> 00:24:25,005
and be able to stay alive,
to be able to survive and thrive.
430
00:24:25,505 --> 00:24:32,262
But to be part of that legacy
of strong female characters in this world
431
00:24:32,429 --> 00:24:34,556
is an unbelievable honor.
432
00:24:34,723 --> 00:24:36,391
So, what say you release this customer
433
00:24:36,475 --> 00:24:40,479
and let these fine folks
get back to their fun and in return,
434
00:24:42,272 --> 00:24:44,191
I will wipe your debt off the books.
435
00:24:44,357 --> 00:24:45,817
(GRUNTING)
436
00:24:46,067 --> 00:24:47,277
(CHOKING)
437
00:24:47,444 --> 00:24:48,737
(BLACK KRRSANTAN GRUNTS)
438
00:24:48,862 --> 00:24:50,947
(TRANDOSHAN ADVENTURER SCREAMS)
439
00:24:51,072 --> 00:24:52,824
(SANCTUARY PATRONS SCREAMING
AND GASPING)
440
00:24:52,991 --> 00:24:54,201
It was worth a shot.
441
00:24:54,659 --> 00:24:55,660
(SIGHS)
442
00:24:57,329 --> 00:24:58,538
BOBA FETT: Hey, mate.
443
00:25:00,582 --> 00:25:02,417
Looks like you could use a job.
444
00:25:04,127 --> 00:25:07,881
FILONI: There have been a number
of Wookiees like Krrsantan
445
00:25:08,215 --> 00:25:11,176
over the years in the Expanded Universe
where people have said,
446
00:25:11,384 --> 00:25:14,513
"What if it's not Chewbacca,
or like a dark version of Chewbacca."
447
00:25:14,971 --> 00:25:17,015
A Wookiee bounty hunter, a Wookiee Jedi.
448
00:25:17,140 --> 00:25:19,643
When you get to it, the first thing is
449
00:25:20,143 --> 00:25:23,271
how does a kid look at him
and know it's not Chewbacca?
450
00:25:23,355 --> 00:25:28,276
It has to be visually striking
in a way that's different immediately.
451
00:25:28,735 --> 00:25:32,948
Carey, what he brings to the performance,
his posture, the way he stands,
452
00:25:33,031 --> 00:25:34,533
it's different than Peter.
453
00:25:34,908 --> 00:25:37,619
He's got, you know, these piercing eyes
454
00:25:37,953 --> 00:25:40,372
where Peter had very kind, gentle eyes.
455
00:25:40,455 --> 00:25:42,082
Take care of yourself, okay?
456
00:25:42,249 --> 00:25:45,126
(CHEWBACCA TRILLS)
457
00:25:45,252 --> 00:25:46,253
(GASPS)
458
00:25:46,336 --> 00:25:47,629
(CHUCKLING) Okay, okay.
459
00:25:50,090 --> 00:25:53,009
CAREY: I had to create this attitude
for this guy because
460
00:25:53,093 --> 00:25:57,180
he's always pissed.
(LAUGHS) That's who he is.
461
00:25:57,264 --> 00:25:59,641
I wanted to make sure,
even if I was standing there
462
00:25:59,808 --> 00:26:03,687
and I didn't have my face to show that,
it came through the character in the suit.
463
00:26:03,812 --> 00:26:05,522
(ROARS)
464
00:26:05,730 --> 00:26:09,234
ROSENGRANT: Robert Rodriguez had worked
with Carey Jones before.
465
00:26:09,734 --> 00:26:13,572
Carey Jones actually used to work with
me over at Stan Winston's years ago.
466
00:26:13,697 --> 00:26:16,825
But Carey really embraced
the part, the role.
467
00:26:17,117 --> 00:26:20,161
And also being another
practical effects guy,
468
00:26:20,412 --> 00:26:22,581
he knew what he was getting into.
469
00:26:24,499 --> 00:26:27,377
Legacy came up with
this amazing system which...
470
00:26:28,378 --> 00:26:32,090
It blew my mind, right? So, whenever
I would open up and articulate my mouth,
471
00:26:32,340 --> 00:26:35,552
it would actually open and close
the jaw in Krrsantan.
472
00:26:35,802 --> 00:26:39,848
And even brow,
if I wanted to scowl or raise them up,
473
00:26:40,015 --> 00:26:42,058
it would move and articulate the face.
474
00:26:42,183 --> 00:26:43,184
Which I love.
475
00:26:43,435 --> 00:26:46,146
(GROWLING AND SNARLING)
476
00:26:46,229 --> 00:26:49,065
(BOBA FETT GRUNTING)
477
00:26:53,445 --> 00:26:57,032
MORRISON: They're trying to create
a fight style for Boba.
478
00:26:57,115 --> 00:27:00,910
Whereas The Mandalorian
is a gunslinger, slick gunslinger,
479
00:27:00,994 --> 00:27:04,539
I'm more like a Conan,
and that was the reference.
480
00:27:04,623 --> 00:27:08,585
But in saying that, too, I also wanted
to make it not look so bash-bash,
481
00:27:08,793 --> 00:27:12,922
one-dimensional.
I wanted him to be quite precise,
482
00:27:13,089 --> 00:27:16,051
and we see a little bit of that
when he's using the gaffi stick.
483
00:27:16,134 --> 00:27:19,220
So I did a bit of a research
and I found out that the gaffi stick
484
00:27:19,304 --> 00:27:22,724
was actually based
on a Fijian warrior weapon
485
00:27:22,891 --> 00:27:26,645
and is known as a totokia,
and the thing is actually a bird beak.
486
00:27:26,728 --> 00:27:29,731
So, I took all that into account,
that when I do strike,
487
00:27:29,898 --> 00:27:32,901
I actually use the proper parts
of the weapon.
488
00:27:33,068 --> 00:27:38,156
Even when I haven't got the weapon,
I still kind of use that knot.
489
00:27:38,323 --> 00:27:42,661
So, if I am punching or hitting,
I use more of a twist motion
490
00:27:43,036 --> 00:27:46,039
to represent the knot in that gaffi stick,
491
00:27:46,289 --> 00:27:48,541
just to give it a little bit
of a style of his own.
492
00:27:51,419 --> 00:27:52,712
(WEAPON LOADING)
493
00:27:57,175 --> 00:28:00,053
TANCHAROEN: I was really excited
because my episode is picking up
494
00:28:00,720 --> 00:28:04,432
from Season 1, Episode 5, the one
that Filoni did called "The Gunslinger."
495
00:28:04,516 --> 00:28:07,102
Where everyone was like, "My God,
is that Boba Fett walking?"
496
00:28:07,310 --> 00:28:09,896
'Cause the second you heard the spurs,
everyone was like,
497
00:28:10,188 --> 00:28:11,439
"We know who that is."
498
00:28:11,690 --> 00:28:14,609
(SUSPENSEFUL MUSIC PLAYING)
499
00:28:15,777 --> 00:28:19,948
We continue the story, so he rescues her,
he takes her to a mod parlor.
500
00:28:20,115 --> 00:28:24,452
I get to establish how she got
her cybernetic robot stomach.
501
00:28:24,619 --> 00:28:26,454
Which has been super fun for me.
502
00:28:26,705 --> 00:28:29,958
-TANCHAROEN: We wanna see him put this...
-MAN: Thought this T-brace was in this.
503
00:28:30,125 --> 00:28:32,001
We're definitely making
that a loose piece.
504
00:28:32,252 --> 00:28:34,295
First of all,
there was a lot of practicals.
505
00:28:34,546 --> 00:28:39,175
Because what they needed to do is sort of
like a really cool magician's trick
506
00:28:39,718 --> 00:28:42,846
where I am in a box,
507
00:28:43,847 --> 00:28:48,852
and then they laid over it
this prosthetic piece of me
508
00:28:49,477 --> 00:28:52,981
on top. So, it looks like
I'm lying flat on the bed.
509
00:28:53,565 --> 00:28:58,153
And I joked, it's like the woman
that gets sawed in half kind of trick.
510
00:28:58,236 --> 00:29:00,989
And then that way they can show
511
00:29:01,072 --> 00:29:05,785
the modifier operating on my belly,
you could see the mechanics.
512
00:29:06,494 --> 00:29:08,204
(DEVICE WHIRRING)
513
00:29:11,332 --> 00:29:12,917
(DEVICE BEEPING)
514
00:29:13,501 --> 00:29:14,961
Aren't you gonna close her up?
515
00:29:15,962 --> 00:29:17,839
And cover all that beautiful machinery?
516
00:29:18,506 --> 00:29:22,302
We introduced The Mandalorian,
as somebody who was a very...
517
00:29:23,136 --> 00:29:25,013
Had very mixed feeling about droids.
518
00:29:25,305 --> 00:29:29,392
And now the next generation's actually
installing droid parts into their body.
519
00:29:30,435 --> 00:29:34,314
It's the evolution of each generation,
how their attitudes change
520
00:29:34,481 --> 00:29:35,774
compared to the previous ones.
521
00:29:36,649 --> 00:29:37,859
What did you do to me?
522
00:29:38,526 --> 00:29:41,821
I brought you to a mod parlor
on the outskirts of Mos Eisley.
523
00:29:41,988 --> 00:29:42,989
(FENNEC BREATHES HEAVILY)
524
00:29:43,156 --> 00:29:46,367
BOBA FETT: I'm tired of our kind dying
because of the idiocy of others.
525
00:29:47,494 --> 00:29:48,828
We're smarter than them.
526
00:29:50,163 --> 00:29:51,956
It's time we took our shot.
527
00:29:52,874 --> 00:29:54,209
We?
528
00:29:57,629 --> 00:30:00,006
Right from the beginning,
Boba Fett felt like
529
00:30:00,089 --> 00:30:02,717
kind of The Addams Family version
of The Mandalorian,
530
00:30:02,801 --> 00:30:05,303
where his droid was 8D8,
531
00:30:05,386 --> 00:30:08,306
that Matt Berry plays
with this really sardonic voice.
532
00:30:08,515 --> 00:30:11,351
Their tortured squeals
will send a piercing message
533
00:30:11,434 --> 00:30:14,229
to all potential challengers
to your throne.
534
00:30:14,771 --> 00:30:17,732
FAVREAU: The castle feels like
a haunted castle,
535
00:30:17,816 --> 00:30:20,235
and the rancor, it's not there anymore,
536
00:30:20,318 --> 00:30:22,779
so we knew we had to figure out
a way to get...
537
00:30:22,862 --> 00:30:25,281
To start populating his menagerie.
538
00:30:25,698 --> 00:30:26,783
(SPEAKING HUTTESE)
539
00:30:30,870 --> 00:30:33,581
(CREATURE SNARLING SOFTLY)
540
00:30:34,582 --> 00:30:36,751
FENNEC: (IN ENGLISH) It's quite the gift.
541
00:30:36,835 --> 00:30:38,795
There was a beautiful miniature build
542
00:30:38,878 --> 00:30:43,049
for the interior that the rancor...
Like the rancor pit.
543
00:30:43,132 --> 00:30:46,094
ANDREW: It was actually quite a big model
of the gates and the opening,
544
00:30:46,177 --> 00:30:48,346
and the rocks and the grating at the top.
545
00:30:48,429 --> 00:30:52,517
We like to be almost
archeological in our precisions.
546
00:30:52,600 --> 00:30:57,480
There's researchers at ILM who are able
to get us behind-the-scenes images
547
00:30:57,564 --> 00:31:00,525
from the original films
and we're able to get very accurate.
548
00:31:00,692 --> 00:31:05,738
DAMM: We did a scan and took the scan
to be used actually on our LED volume,
549
00:31:05,822 --> 00:31:09,409
so that we could shoot the actors
within this environment.
550
00:31:11,911 --> 00:31:12,996
FAVREAU: In my mind,
551
00:31:13,746 --> 00:31:16,207
the part that makes the rancor
most memorable
552
00:31:16,875 --> 00:31:21,546
was that the rancor trainer gets so sad
when the rancor...
553
00:31:21,629 --> 00:31:26,217
When Luke ends up closing
the gate on his head.
554
00:31:26,885 --> 00:31:29,304
And, you know,
Luke's fighting for his life.
555
00:31:29,387 --> 00:31:31,723
So you're cheering for him, and then,
556
00:31:31,806 --> 00:31:36,895
you see this poor rancor keeper
just really sad being reassured,
557
00:31:36,978 --> 00:31:40,773
I just found that really curious.
Is it like dogs?
558
00:31:40,857 --> 00:31:41,858
(KEEPER CRYING)
559
00:31:41,941 --> 00:31:45,194
The idea of bringing that dimension to it
was really fun,
560
00:31:45,278 --> 00:31:48,156
and then, of course, I think the part
that pulls it all together is
561
00:31:48,239 --> 00:31:49,657
you got the trainer.
562
00:31:49,741 --> 00:31:52,076
I don't trust anybody
that don't like dogs.
563
00:31:53,328 --> 00:31:57,373
I think you have to be a dog lover
to really appreciate the rancor.
564
00:31:57,457 --> 00:32:00,960
And he is just like, just a giant dog.
565
00:32:01,044 --> 00:32:06,299
And you can train him to be vicious,
you can train him as a protector
566
00:32:06,382 --> 00:32:08,134
or you can train him to be a puppy.
567
00:32:08,426 --> 00:32:09,719
(BOBA FETT SPEAKING INDISTINCTLY)
568
00:32:09,802 --> 00:32:10,803
(RANCOR COOS)
569
00:32:11,012 --> 00:32:12,847
This is the spot, right?
570
00:32:12,972 --> 00:32:16,184
Is this the spot? (CHUCKLING) Yeah.
571
00:32:16,267 --> 00:32:20,939
If he bonds with you,
you know, if you're his guy,
572
00:32:21,022 --> 00:32:24,651
then it's like what you say goes,
573
00:32:24,734 --> 00:32:27,236
and Boba Fett really understands that.
574
00:32:27,320 --> 00:32:32,492
When I take off that hood
and he's looking at Boba Fett,
575
00:32:32,575 --> 00:32:36,996
and he's sayin' okay, you know,
576
00:32:37,080 --> 00:32:41,000
my guy trusts you, so I'm gonna trust you.
577
00:32:41,751 --> 00:32:45,588
-(RANCOR GROWLS)
-Easy, boy. Easy.
578
00:32:45,838 --> 00:32:48,841
He's one of the most beloved creatures
in Return of the Jedi.
579
00:32:49,050 --> 00:32:51,803
And when we had an opportunity
to bring him back for Book of Boba,
580
00:32:51,886 --> 00:32:54,472
I had the biggest smile on my face
when Jon said, "Okay,
581
00:32:54,555 --> 00:32:57,433
"let's try to find a sequence to,
you know, honor that creature."
582
00:32:57,517 --> 00:33:01,270
And to honor that creature, we actually
went back and looked at all the footage,
583
00:33:01,354 --> 00:33:03,064
we looked at all the original maquettes,
584
00:33:03,147 --> 00:33:04,857
because we wanted to capture the essence.
585
00:33:04,941 --> 00:33:07,610
It's not the same rancor,
so it could be slightly different.
586
00:33:07,694 --> 00:33:10,029
But we wanted to preserve
the charm of what we saw.
587
00:33:10,530 --> 00:33:14,325
And the charm came from this hand puppet
built by Phil Tippett.
588
00:33:14,492 --> 00:33:15,868
It was a rubber monster.
589
00:33:15,994 --> 00:33:18,329
But the way it was photographed,
the way it was lit,
590
00:33:18,413 --> 00:33:20,331
the way it was painted,
was absolutely great.
591
00:33:20,415 --> 00:33:23,167
It didn't look absolutely photo-real.
But that wasn't necessary.
592
00:33:23,251 --> 00:33:26,629
It was more the emotional impact.
And that's what we wanted to capture.
593
00:33:26,754 --> 00:33:29,507
(GROWLING)
594
00:33:29,716 --> 00:33:33,386
CHIANG: In Return of the Jedi, we had
a huge practical hand that grabbed Luke.
595
00:33:33,469 --> 00:33:36,931
And so we thought, well, in this version,
Boba Fett's gonna ride it.
596
00:33:37,390 --> 00:33:40,852
Do we want him to ride
a giant blue-screen monster,
597
00:33:40,935 --> 00:33:44,772
or do we actually want him to ride
a real rancor head?
598
00:33:44,856 --> 00:33:47,567
And I think the decision was,
"Let's go all out."
599
00:33:55,366 --> 00:33:57,493
FAVREAU: It's bringing back
memories, isn't it?
600
00:33:59,037 --> 00:34:00,121
Back in the old days.
601
00:34:00,204 --> 00:34:02,832
It also went far beyond
just having the head.
602
00:34:03,207 --> 00:34:07,503
Because what we ended up doing is using
the practical head and the shoulders,
603
00:34:07,587 --> 00:34:10,631
and then building this CG arms
off of the practical.
604
00:34:10,923 --> 00:34:14,343
So, depending on what shot
you're looking at, it's either all CG,
605
00:34:14,427 --> 00:34:16,929
it's all practical, or it's a combination.
606
00:34:17,221 --> 00:34:19,807
And as soon as you get
a full-size creature that might have
607
00:34:19,891 --> 00:34:22,769
a slight mechanical motion,
you start to believe it a lot more.
608
00:34:22,852 --> 00:34:26,230
You had to almost tell yourself
this isn't real.
609
00:34:26,314 --> 00:34:27,648
(CHUCKLING) You know what I mean?
610
00:34:27,732 --> 00:34:31,903
I mean, because your...
This thing is massive, it's moving,
611
00:34:31,986 --> 00:34:34,989
and it's, you know, like when...
612
00:34:35,073 --> 00:34:38,534
When you got an animatronic or whatever
and it moves,
613
00:34:39,077 --> 00:34:41,079
this part moves,
614
00:34:41,370 --> 00:34:45,291
but when the neck muscles,
when everything moves with it,
615
00:34:45,374 --> 00:34:47,043
it's like, wow.
616
00:34:48,211 --> 00:34:49,962
I want to learn to ride this one.
617
00:34:50,922 --> 00:34:51,923
You what?
618
00:34:53,424 --> 00:34:57,178
FILONI: At the very beginning,
Jon and I look through all the season
619
00:34:57,261 --> 00:34:59,889
and Jon has a bunch of things
he wants to accomplish,
620
00:34:59,972 --> 00:35:01,766
and, you know, we both like Mando,
621
00:35:01,849 --> 00:35:04,018
and we felt that it would be difficult
622
00:35:04,102 --> 00:35:06,521
for us to go a whole season
without seeing him.
623
00:35:06,604 --> 00:35:09,023
And so, he's a friend of Boba's,
624
00:35:09,107 --> 00:35:11,609
so it makes sense to bring him back
into the story.
625
00:35:11,692 --> 00:35:12,860
DIN DJARIN: What's the bounty?
626
00:35:13,152 --> 00:35:15,321
No bounty. We need muscle.
627
00:35:16,322 --> 00:35:17,406
DIN DJARIN: Boba Fett.
628
00:35:17,490 --> 00:35:18,950
He sure would appreciate it.
629
00:35:19,033 --> 00:35:24,664
FAVREAU: Having The Book of Boba Fett come
in the timeline and let everything settle,
630
00:35:25,081 --> 00:35:27,166
it allowed us to let some time pass
631
00:35:27,250 --> 00:35:29,627
to take a breather
and meet The Mandalorian
632
00:35:29,919 --> 00:35:32,463
after he'd taken his helmet off
633
00:35:32,839 --> 00:35:35,591
and that The Child was no longer
in his life.
634
00:35:35,675 --> 00:35:39,470
That father-child relationship
that had developed was no longer there.
635
00:35:39,554 --> 00:35:42,473
And so his life, I think,
would lose some of its meaning.
636
00:35:42,557 --> 00:35:44,684
That felt like fertile territory.
637
00:35:44,767 --> 00:35:46,727
I can bring you in warm,
638
00:35:48,146 --> 00:35:50,064
or I can bring you in cold.
639
00:35:50,148 --> 00:35:53,109
DALLAS HOWARD: He's back to being
a bounty hunter. He has the Darksaber.
640
00:35:53,192 --> 00:35:57,989
You know, you can feel that he's someone
who is searching for his home...
641
00:35:58,406 --> 00:36:01,367
He's searching for his place
in the galaxy.
642
00:36:03,119 --> 00:36:04,495
(DEVICE BEEPING AND WHIRRING)
643
00:36:04,787 --> 00:36:06,455
Early on in the episode,
644
00:36:06,622 --> 00:36:11,752
you see Mando make his way to the Armorer
and Heavy and reconnect with them.
645
00:36:12,003 --> 00:36:16,299
And in that process,
he is able to seek out training.
646
00:36:16,424 --> 00:36:18,467
-(BOTH GRUNTING)
-(SWORDS CLASHING)
647
00:36:18,801 --> 00:36:20,887
-(DIN DJARIN GRUNTS)
-ARMORER: There, feel it.
648
00:36:21,179 --> 00:36:24,390
-(METAL CLANGING)
-You are too weak to fight the Darksaber.
649
00:36:25,558 --> 00:36:27,685
It will win if you fight against it.
650
00:36:29,979 --> 00:36:32,273
You cannot control it with your strength.
651
00:36:32,356 --> 00:36:36,652
FAVREAU: Exposition can always be a huge
speed bump in the middle of the road.
652
00:36:36,736 --> 00:36:38,905
But in Star Wars,
you're at the edge of your seat
653
00:36:38,988 --> 00:36:40,781
'cause you wanna know more about the lore.
654
00:36:40,865 --> 00:36:45,036
I always point back to the scene
where the lightsaber comes out
655
00:36:45,494 --> 00:36:49,373
and Obi-Wan Kenobi starts talking
about the Clone Wars and Luke's father.
656
00:36:49,457 --> 00:36:50,917
You fought in the Clone Wars?
657
00:36:51,167 --> 00:36:55,213
Yes. I was once a Jedi Knight,
the same as your father.
658
00:36:58,382 --> 00:36:59,717
I wish I'd known him.
659
00:36:59,800 --> 00:37:02,511
He was the best starpilot in the galaxy
660
00:37:03,930 --> 00:37:05,139
and a cunning warrior.
661
00:37:05,556 --> 00:37:08,392
I understand you've become
quite a good pilot yourself.
662
00:37:09,143 --> 00:37:13,356
So, to have the backstory of Mandalore
show up now,
663
00:37:13,606 --> 00:37:15,524
three seasons into our storytelling,
664
00:37:15,983 --> 00:37:18,694
because people are so curious
about what was The Purge,
665
00:37:18,986 --> 00:37:22,323
what was the Night of a Thousand Tears,
the Songs of the Eons Past.
666
00:37:22,740 --> 00:37:24,909
And so we started
to begin to show imagery.
667
00:37:24,992 --> 00:37:29,622
Now, that imagery had to be evocative
of what George and Dave created
668
00:37:29,789 --> 00:37:32,500
in Mandalore and the animated shows.
669
00:37:32,708 --> 00:37:35,294
But this was our way
to start to get into that.
670
00:37:36,087 --> 00:37:39,215
ARMORER: Those born of Mandalore
strayed away from the path.
671
00:37:40,007 --> 00:37:42,551
Eventually,
the Imperial interlopers destroyed
672
00:37:42,635 --> 00:37:46,847
all that we knew and loved
in the Night of a Thousand Tears.
673
00:37:46,931 --> 00:37:48,057
(EXPLODING)
674
00:37:48,432 --> 00:37:50,685
The Purge of Mandalore
was an interesting sequence.
675
00:37:50,768 --> 00:37:54,647
We looked at a lot of movie references
for things, you know, like Jarhead,
676
00:37:54,730 --> 00:37:58,234
where, you know,
they're out in the desert, the oil fields,
677
00:37:58,317 --> 00:38:01,696
and it's just silhouettes of soldiers
with just destruction.
678
00:38:01,779 --> 00:38:03,781
It looks like hell on earth behind them.
679
00:38:04,240 --> 00:38:06,325
You know, they're in amongst this debris,
680
00:38:06,409 --> 00:38:09,870
and as you see the robots
coming towards you,
681
00:38:09,954 --> 00:38:12,665
we used K-2SO droids,
which is really interesting.
682
00:38:13,165 --> 00:38:15,960
We used probe droids,
again very interesting,
683
00:38:16,043 --> 00:38:17,461
you know, to see those back,
684
00:38:17,545 --> 00:38:21,424
coming through the fire and silhouetted
against all of this rubble,
685
00:38:21,674 --> 00:38:24,010
and it's really strong imagery.
686
00:38:24,093 --> 00:38:28,723
Only those that walked the way escaped
the curse prophesized in the Creed.
687
00:38:28,806 --> 00:38:32,393
FAVREAU: And now, we're learning more
about the covert and what the rules are.
688
00:38:32,476 --> 00:38:35,771
And how much it hurts him to be a pariah
689
00:38:35,855 --> 00:38:39,233
because he broke the one rule
that he understood he can never break.
690
00:38:39,317 --> 00:38:42,862
Din Djarin, have you ever
removed your helmet?
691
00:38:42,945 --> 00:38:44,280
I have.
692
00:38:46,115 --> 00:38:49,327
Then, you are a Mandalorian no more.
693
00:38:49,410 --> 00:38:53,039
I beg you for your forgiveness.
(BREATHING HEAVILY) How can I atone?
694
00:38:53,122 --> 00:38:55,249
PAZ VIZSLA: Leave, apostate.
695
00:39:00,796 --> 00:39:02,173
I got your message.
696
00:39:02,631 --> 00:39:03,966
Message? What message?
697
00:39:04,050 --> 00:39:06,886
You said you found me a replacement
for the Razor Crest.
698
00:39:06,969 --> 00:39:09,305
Yeah, that's right, that's what I said,
that's what I do.
699
00:39:09,388 --> 00:39:11,891
I've been working my butt off, yeah.
Did you bring the cash?
700
00:39:15,811 --> 00:39:17,938
The N-1 is very dear to me
701
00:39:18,022 --> 00:39:20,691
because I originally designed that
for Phantom Menace.
702
00:39:20,775 --> 00:39:23,235
You know, it was supposed to be
Anakin's speeder.
703
00:39:23,319 --> 00:39:28,449
It was designed specifically to look
like an F1 version of an X-wing.
704
00:39:28,532 --> 00:39:31,744
George and I kind of really figured out
the nuances of that,
705
00:39:31,827 --> 00:39:33,412
and it's a very distinct style.
706
00:39:33,496 --> 00:39:36,248
It's a very handcrafted piece
of machinery.
707
00:39:36,540 --> 00:39:40,378
Jon basically said, you know,
let's treat it like a classic vintage car.
708
00:39:40,461 --> 00:39:44,757
Let's bring it back out of mothball as if,
you know, Peli found it in a garage
709
00:39:45,091 --> 00:39:47,426
and presented it,
and now they're fixing it up,
710
00:39:47,510 --> 00:39:50,096
they're hot-rodding it together,
they're retrofitting things,
711
00:39:50,179 --> 00:39:53,057
updating it, keeping the aesthetic
of what was there,
712
00:39:53,140 --> 00:39:54,767
but now turning it into something new.
713
00:39:54,850 --> 00:39:59,438
Great news. I found you
a turbonic venturi power assimilator.
714
00:39:59,522 --> 00:40:01,732
You're gonna be the fastest ship
in the Outer Rim.
715
00:40:03,150 --> 00:40:04,693
FAVREAU: In the '50s or the '60s,
716
00:40:04,777 --> 00:40:06,987
when George Lucas
had set American Graffiti,
717
00:40:07,071 --> 00:40:11,325
they were driving around Deuce Coupes
or three-window '32 Fords
718
00:40:11,409 --> 00:40:14,620
and they would take those
and chop parts off of it
719
00:40:14,703 --> 00:40:16,497
and throw on speed modifications.
720
00:40:16,997 --> 00:40:19,166
And so, we wanted to keep
that spirit alive,
721
00:40:19,250 --> 00:40:22,753
so the idea of creating an N-1 starfighter
722
00:40:22,837 --> 00:40:24,505
in a garage with a mechanic,
723
00:40:24,588 --> 00:40:27,007
building your own customized version
of that.
724
00:40:27,091 --> 00:40:28,717
That's part of what Star Wars is about.
725
00:40:28,801 --> 00:40:31,178
You're both fully in it and stoked.
726
00:40:31,262 --> 00:40:34,974
So it's not like,
"Where is the vapor manifold?"
727
00:40:35,057 --> 00:40:38,853
So, it's really... It's like,
"What, she's got something up her sleeve."
728
00:40:38,936 --> 00:40:40,104
And indeed she does.
729
00:40:40,521 --> 00:40:43,065
(DRAMATIC MUSIC PLAYING)
730
00:40:47,445 --> 00:40:50,239
This design was first drawn
over 23 years ago.
731
00:40:50,322 --> 00:40:53,325
And I remember I sat in it 23 years ago
in Leavesden, London,
732
00:40:53,409 --> 00:40:55,035
when we were shooting that film.
733
00:40:55,911 --> 00:40:59,540
I had an opportunity to actually sit
in this new version 23 years later,
734
00:40:59,623 --> 00:41:03,252
and it just made me smile because
it was like, you know, I never grew up.
735
00:41:03,335 --> 00:41:04,628
This was always there.
736
00:41:04,712 --> 00:41:06,881
CHIANG: That is so sweet. (LAUGHS)
737
00:41:06,964 --> 00:41:09,633
(CREW MEMBERS APPLAUDING)
738
00:41:13,804 --> 00:41:17,558
Jon started talking about, you know,
having this training sequence with Luke
739
00:41:17,641 --> 00:41:21,520
because we knew the audience
is gonna wonder what's happening to Grogu,
740
00:41:21,604 --> 00:41:24,315
and how do we want Luke
to be as a teacher?
741
00:41:24,398 --> 00:41:25,816
The symmetry
742
00:41:25,900 --> 00:41:31,489
of being trained by that species,
and then taking one
743
00:41:31,572 --> 00:41:36,660
of the same kind to train
was very satisfying.
744
00:41:36,994 --> 00:41:42,333
Luke has to suppress his sentimental side
745
00:41:42,416 --> 00:41:45,669
and be as professional as he can
746
00:41:45,753 --> 00:41:51,383
to try and imbue his student
with the values that he's going to need
747
00:41:51,467 --> 00:41:53,385
if he's going to be a Jedi Master.
748
00:41:54,011 --> 00:41:56,597
FILONI: I've always felt with Luke
749
00:41:56,722 --> 00:42:01,435
that he is a step more on
the Qui-Gon Jinn path,
750
00:42:01,519 --> 00:42:03,646
even though he didn't really know Qui-Gon.
751
00:42:03,729 --> 00:42:10,152
But if you go, Qui-Gon taught Obi-Wan,
Obi-Wan taught Luke,
752
00:42:10,236 --> 00:42:13,948
you can get that kind
of methodology there.
753
00:42:14,031 --> 00:42:16,700
It's also interesting because
Qui-Gon taught Obi-Wan,
754
00:42:16,784 --> 00:42:18,035
Obi-Wan taught Anakin.
755
00:42:18,118 --> 00:42:22,039
So Obi-Wan teaches father and son,
which I find compelling.
756
00:42:22,581 --> 00:42:26,085
And then father teaches Ahsoka,
very compelling.
757
00:42:26,168 --> 00:42:29,338
I admit Ahsoka is a little rough
around the edges,
758
00:42:29,630 --> 00:42:33,300
but with a great deal of training
and patience,
759
00:42:33,467 --> 00:42:34,969
she might amount to something.
760
00:42:36,095 --> 00:42:38,305
FILONI: The biggest thing was putting her
on-screen with Luke.
761
00:42:38,389 --> 00:42:41,892
It's a strange relationship they have
because she was taught by his father,
762
00:42:41,976 --> 00:42:43,644
he never really knew his father.
763
00:42:43,727 --> 00:42:47,147
So, they can provide some context
for each other in a beautiful way.
764
00:42:47,231 --> 00:42:48,691
So much like your father.
765
00:42:48,774 --> 00:42:52,027
Star Wars has always been unique
in the sense that,
766
00:42:52,111 --> 00:42:53,529
strong female characters.
767
00:42:53,612 --> 00:42:56,448
The Princess was no shrinking violet.
768
00:42:56,532 --> 00:42:58,284
Into the garbage chute, flyboy.
769
00:42:59,076 --> 00:43:01,996
HAMILL: You know, she stood face to face
with Vader and, you know,
770
00:43:02,079 --> 00:43:03,747
sassed right in his face.
771
00:43:03,831 --> 00:43:07,501
And with Ahsoka, you know,
here you have a Jedi woman
772
00:43:07,585 --> 00:43:09,920
with this complicated backstory.
773
00:43:10,004 --> 00:43:12,298
It's just thrilling.
774
00:43:12,381 --> 00:43:15,759
I've seen what such feelings
can do to a fully trained Jedi Knight.
775
00:43:17,261 --> 00:43:18,304
To the best of us.
776
00:43:21,056 --> 00:43:23,225
I will not start this child
down that path.
777
00:43:23,601 --> 00:43:26,645
And of course Rosario is just delightful.
778
00:43:26,729 --> 00:43:29,690
Well, it was really funny...
This is a funny moment with Rosario.
779
00:43:29,773 --> 00:43:33,319
She didn't realize 'cause her script
said Plo Koon.
780
00:43:34,612 --> 00:43:37,031
She didn't know until the day
we were shooting
781
00:43:37,489 --> 00:43:39,491
that she wasn't gonna meet Plo Koon.
782
00:43:40,159 --> 00:43:42,328
So I'm doing all of my scenes, like,
783
00:43:42,953 --> 00:43:45,998
okay, like that's gonna be
really interesting, like, Master Plo Koon.
784
00:43:46,081 --> 00:43:48,417
I'm a little confused by that,
but, like, okay,
785
00:43:48,500 --> 00:43:51,128
that could be interesting, like,
how is it jumping around?
786
00:43:51,211 --> 00:43:53,255
I don't know. I was like,
it's gonna make sense.
787
00:43:53,339 --> 00:43:55,591
When I get to the set,
I'll ask all the questions
788
00:43:55,674 --> 00:43:56,717
and, like, figure it out.
789
00:43:56,800 --> 00:43:58,677
And then comes Mark Hamill.
790
00:43:59,053 --> 00:44:01,889
I just... I couldn't believe
I was standing there in front of him
791
00:44:01,972 --> 00:44:03,474
and we're working together, like...
792
00:44:03,557 --> 00:44:06,143
Again, I've got lightsabers,
793
00:44:06,393 --> 00:44:09,063
and there is, like, a baby Yoda
794
00:44:09,855 --> 00:44:11,857
and actual Luke Skywalker in front of me.
795
00:44:11,940 --> 00:44:14,026
Like, I can't believe
I didn't faint that day.
796
00:44:14,109 --> 00:44:17,154
I can't believe that they kept that secret
from me even on the day...
797
00:44:17,237 --> 00:44:19,031
Up until I was on set with him.
798
00:44:19,114 --> 00:44:20,783
Will I see you again?
799
00:44:23,077 --> 00:44:24,286
Perhaps.
800
00:44:26,455 --> 00:44:28,123
May the Force be with you.
801
00:44:30,501 --> 00:44:32,211
FILONI: The key was having Mark there
802
00:44:32,920 --> 00:44:36,799
because you get how much it means to him.
803
00:44:37,257 --> 00:44:38,592
This character.
804
00:44:38,676 --> 00:44:41,637
You understand that
as you see him there and...
805
00:44:42,179 --> 00:44:46,308
And just the look in his eye
when he would watch Graham performing,
806
00:44:46,392 --> 00:44:49,561
this sense of, I think, pride that he had
807
00:44:50,145 --> 00:44:53,524
in watching that committed performance
and that he was a part of it.
808
00:44:53,607 --> 00:44:57,152
HAMILL: I say, "He once said to me,
while not looking at him,
809
00:44:57,236 --> 00:44:58,445
"Size matters not."
810
00:44:58,529 --> 00:45:01,156
And I feel that makes an imprint on Grogu.
811
00:45:01,240 --> 00:45:04,785
Grogu stops, and I feel that.
And then I turn around.
812
00:45:04,868 --> 00:45:08,706
KLEIN: We would do takes with Mark,
and then we would do takes with Graham,
813
00:45:08,789 --> 00:45:12,251
and it was always one camera
because we had what's called a flux rig
814
00:45:13,419 --> 00:45:17,172
on our camera,
which is basically two small IR cameras
815
00:45:17,256 --> 00:45:19,925
on either side of our taking lens
816
00:45:20,092 --> 00:45:24,430
and, you know, and Graham
has infrared invisible dots on his face.
817
00:45:24,513 --> 00:45:27,391
Some visible, some invisible.
And it works really well.
818
00:45:27,474 --> 00:45:29,852
But ownership of that character
belongs to Mark.
819
00:45:29,935 --> 00:45:33,605
FILONI: Mark and Graham, they really had
to fuse and become Luke,
820
00:45:33,689 --> 00:45:37,109
and Mark had to share all his knowledge
of what it means to be Luke.
821
00:45:37,192 --> 00:45:39,361
Just very special for all of us.
822
00:45:39,445 --> 00:45:41,196
"Size matters not."
823
00:45:42,364 --> 00:45:43,824
That's the way he'd talk.
824
00:45:43,949 --> 00:45:45,284
He would speak in riddles.
825
00:45:45,909 --> 00:45:48,245
Have you heard anyone
talk like that back home?
826
00:45:48,829 --> 00:45:51,665
HAMILL: It's a process
that's new to both of us.
827
00:45:52,124 --> 00:45:56,545
So, we're just trying to give
the filmmakers everything they need.
828
00:45:56,837 --> 00:46:01,675
I've done all aspects,
theater, radio, television, movies.
829
00:46:02,134 --> 00:46:05,721
Each one of them
has its specific requirements.
830
00:46:05,804 --> 00:46:09,183
But this is a completely new aspect.
831
00:46:09,266 --> 00:46:12,060
I'm wondering if there's...
I'm changing the timing of,
832
00:46:12,144 --> 00:46:13,979
"Wait before you take it."
833
00:46:14,062 --> 00:46:16,356
Because I think earlier I laid it out.
834
00:46:16,440 --> 00:46:17,483
FILONI: Yeah.
835
00:46:17,566 --> 00:46:19,276
And then he was gone again, I go "Wait."
836
00:46:19,359 --> 00:46:22,321
HAMILL: With this,
it's a composite performance.
837
00:46:23,614 --> 00:46:28,911
Not just from the stunt double, but input
from the director and what's on the page,
838
00:46:29,119 --> 00:46:31,079
all of these elements coming together
839
00:46:31,163 --> 00:46:34,249
so that it's an ongoing
learning experience.
840
00:46:34,333 --> 00:46:36,502
So there and there.
841
00:46:36,585 --> 00:46:37,586
FILONI: Yeah, there.
842
00:46:37,711 --> 00:46:41,673
I think one of the most fun things
about working on this show
843
00:46:41,757 --> 00:46:48,138
is Jon and Dave and Robert
are so supportive of trial and error.
844
00:46:48,639 --> 00:46:54,019
And this is something that we really have
to have a safe space to try, and retry,
845
00:46:54,102 --> 00:46:57,523
and learn and improve
with the technology like this.
846
00:46:57,606 --> 00:47:01,860
One of the most satisfying aspects
of the work that we did with Luke
847
00:47:01,944 --> 00:47:02,986
was the progression.
848
00:47:03,070 --> 00:47:05,948
Where we started at the end of Season 2
849
00:47:06,031 --> 00:47:08,408
was a place where we gained
a lot of experience.
850
00:47:08,492 --> 00:47:12,204
So, for Season 2, we partnered
with the visual effects artists at Lola.
851
00:47:12,287 --> 00:47:14,206
And of course, through that process,
852
00:47:14,289 --> 00:47:18,377
they were using deepfake to understand
what the likeness needed to be
853
00:47:18,460 --> 00:47:21,004
for our Luke Skywalker face swap.
854
00:47:21,129 --> 00:47:24,633
At the time, we weren't able to use them
in the final product
855
00:47:24,800 --> 00:47:27,052
because the technology
was still developing.
856
00:47:27,135 --> 00:47:28,804
We couldn't get the resolution required.
857
00:47:28,887 --> 00:47:30,347
For Book of Boba Fett,
858
00:47:30,514 --> 00:47:34,184
we knew that we needed to do
10 times the amount of work.
859
00:47:34,268 --> 00:47:36,728
The character really had
to carry the episode.
860
00:47:37,145 --> 00:47:40,607
And because of the stunt work required,
we also needed a CG head.
861
00:47:40,816 --> 00:47:43,694
So it was that point that we knew
what we wanted to do
862
00:47:43,777 --> 00:47:46,113
was talk to John Knoll and ILM to see
863
00:47:46,196 --> 00:47:49,575
how could we combine all of the new
technologies that are out there,
864
00:47:49,658 --> 00:47:54,037
as well as a CG head,
to solve the problem on Book of Boba Fett.
865
00:47:54,162 --> 00:47:57,749
Landis continued his developments
with the deepfake work and, of course,
866
00:47:57,833 --> 00:48:01,336
we worked with Dave Klein on running many,
many, many tests ahead of the shoot.
867
00:48:01,420 --> 00:48:05,257
We shot plates on the backlot outside
in different times of day.
868
00:48:05,465 --> 00:48:07,217
We shot it on the LED volume,
869
00:48:07,301 --> 00:48:09,720
different tests of Graham
moving his head around
870
00:48:09,803 --> 00:48:11,638
at different angles on cranes
871
00:48:11,722 --> 00:48:14,516
with a variety of different
LED volume loads,
872
00:48:14,933 --> 00:48:17,436
and we had to figure out where it breaks.
873
00:48:17,936 --> 00:48:20,939
BLUFF: The level of progression
continued to develop.
874
00:48:21,023 --> 00:48:23,275
So, once the work was turned over to ILM
875
00:48:23,358 --> 00:48:26,987
and Pete Demarest got hold
of the high-res material
876
00:48:27,070 --> 00:48:29,573
and started cranking everything up to 11,
877
00:48:29,656 --> 00:48:32,451
the improvement continued to grow.
878
00:48:32,534 --> 00:48:35,871
And, I think, for ILM,
that continued to advance
879
00:48:35,954 --> 00:48:37,664
when they hired Sam Head.
880
00:48:37,748 --> 00:48:40,042
Someone, of course,
that's very familiar to people
881
00:48:40,125 --> 00:48:42,878
that have followed
the progression of deepfake work,
882
00:48:42,961 --> 00:48:44,588
in particular of this character.
883
00:48:44,838 --> 00:48:49,134
He came in and was able to offer advice
and guidance,
884
00:48:49,217 --> 00:48:53,639
and it was really a collaborative effort
between Pete Demarest, and Sam,
885
00:48:53,722 --> 00:48:58,352
John Knoll, Landis, and the many, many,
many other artists that allowed this work
886
00:48:58,435 --> 00:49:01,104
to achieve the heights that it did.
887
00:49:02,022 --> 00:49:06,360
Jump, and as you do,
feel the Force flow through you.
888
00:49:09,237 --> 00:49:10,447
(GROGU GRUNTS)
889
00:49:11,698 --> 00:49:14,701
You're trying too hard. Don't try.
890
00:49:15,410 --> 00:49:16,411
Do.
891
00:49:16,495 --> 00:49:19,831
When working on visual effects,
we're obviously working on the back end
892
00:49:19,915 --> 00:49:23,335
and more often than not,
there's this thought process of, like,
893
00:49:23,418 --> 00:49:25,921
"That is gonna be really hard
to do practical."
894
00:49:26,004 --> 00:49:28,924
Having this baby swing around, do flips,
895
00:49:29,383 --> 00:49:31,468
and I think we internally kind of
896
00:49:31,551 --> 00:49:34,846
prepped ourselves for a lot
of digital recreations.
897
00:49:34,930 --> 00:49:38,058
We didn't have to do a great deal,
actually, to make that work.
898
00:49:38,141 --> 00:49:39,893
Look at you.
899
00:49:40,018 --> 00:49:41,645
(MEN LAUGHING)
900
00:49:42,604 --> 00:49:45,565
-The breakout star.
-(ALL LAUGHING)
901
00:49:45,857 --> 00:49:49,778
BLUFF: Oftentimes you would find
Mike Manzel and his team
902
00:49:49,861 --> 00:49:53,365
in a stage
with Grogu on the end of a rod,
903
00:49:53,448 --> 00:49:55,409
trying to figure out how to do backflips.
904
00:49:55,492 --> 00:50:00,038
And to try to see how real
that they could make it with landings.
905
00:50:00,122 --> 00:50:03,709
And I think that every now and again
they would invite Jon and Dave in,
906
00:50:03,792 --> 00:50:05,877
of course, to see those rehearsals.
907
00:50:05,961 --> 00:50:07,045
And I think at that point,
908
00:50:07,129 --> 00:50:09,798
you could see that Dave was
checking off in his mind
909
00:50:09,881 --> 00:50:12,050
how he could potentially
edit that sequence.
910
00:50:12,134 --> 00:50:14,594
It's really simple beats,
and I think at the end,
911
00:50:14,678 --> 00:50:18,015
you know, we'll just have a moment
where the camera sits on him.
912
00:50:18,098 --> 00:50:19,891
FILONI: When Luke is training Grogu,
913
00:50:20,308 --> 00:50:22,185
you have to make the audience believe
914
00:50:22,394 --> 00:50:25,814
that it actually might be better
for Grogu to be with Luke
915
00:50:26,857 --> 00:50:29,192
than it is to be with Mando.
916
00:50:29,651 --> 00:50:30,944
That's the whole trick.
917
00:50:31,028 --> 00:50:33,071
Of course, we want him to be with Mando.
918
00:50:33,155 --> 00:50:34,573
But is that the right thing?
919
00:50:34,656 --> 00:50:37,909
And I don't think Luke is presenting
an argument either way.
920
00:50:38,869 --> 00:50:42,247
Because I think Luke also,
of any Jedi in the galaxy,
921
00:50:42,330 --> 00:50:46,543
understands what it would be like to be
with the person you care about most.
922
00:50:46,918 --> 00:50:48,545
To be with your father figure.
923
00:50:48,628 --> 00:50:53,592
So I think Luke is a really,
really good mentor for Grogu.
924
00:50:53,800 --> 00:50:56,094
(N-1 FIGHTER SHIP WHOOSHING)
925
00:51:01,516 --> 00:51:03,185
(GROGU COOS AND GRUNTS)
926
00:51:03,602 --> 00:51:06,605
(N-1 FIGHTER SHIP WHIRRING)
927
00:51:08,899 --> 00:51:12,527
RODRIGUEZ: Jon turned in the script
for Episode 7, the season finale,
928
00:51:12,611 --> 00:51:14,988
which was just a long, dense script.
929
00:51:15,072 --> 00:51:19,326
More like a double episode that was
just massive and had everything in it.
930
00:51:19,409 --> 00:51:23,580
Mando, baby Yoda,
Scorpeneks, Krrsantan unleashed,
931
00:51:23,663 --> 00:51:27,209
Cad Bane, Boba riding atop a rancor,
932
00:51:27,292 --> 00:51:31,171
all the Gotras and factions
fight in the city streets.
933
00:51:31,254 --> 00:51:34,382
That episode alone was like
a Star Wars greatest hits package.
934
00:51:34,466 --> 00:51:37,135
Just overflowing with all things cool.
935
00:51:37,260 --> 00:51:39,137
And I wanted to do it so badly,
936
00:51:39,221 --> 00:51:42,307
but I thought for sure Jon
would wanna direct that one himself
937
00:51:42,390 --> 00:51:44,810
'cause he hadn't committed
to any other episodes.
938
00:51:44,893 --> 00:51:48,772
So, I went to him and made a whole case
for why I should be the one to direct it.
939
00:51:48,855 --> 00:51:50,941
And he said "Hmm..."
940
00:51:51,024 --> 00:51:52,609
And he just scratched his chin,
941
00:51:52,692 --> 00:51:54,486
just long enough
to give me a heart attack,
942
00:51:54,569 --> 00:51:57,155
and then he said,
"Okay, you can direct it."
943
00:51:58,490 --> 00:52:04,496
I still don't understand
how he got it all in the can,
944
00:52:04,579 --> 00:52:05,872
like, how did he capture?
945
00:52:05,956 --> 00:52:10,502
You watch this episode
where the rancor attacks Mos Espa.
946
00:52:10,919 --> 00:52:15,924
It's like a major movie, like...
And we're just on our little backlot here,
947
00:52:16,007 --> 00:52:18,802
and Robert's (CHUCKLES) running around
with the camera and the team,
948
00:52:18,885 --> 00:52:21,012
and, you know,
his energy is in every frame.
949
00:52:21,388 --> 00:52:23,849
RODRIGUEZ: Show us the knife,
you get ready to leave,
950
00:52:23,932 --> 00:52:26,643
and as you're leaving,
just give them, like, one last look.
951
00:52:28,228 --> 00:52:32,899
Staging of the final battle
in Episode 7 was massive.
952
00:52:32,983 --> 00:52:35,193
Even though we attacked it early on
in preproduction
953
00:52:35,277 --> 00:52:37,988
by crafting very specific animatics
and previs
954
00:52:38,071 --> 00:52:41,408
that I was able to edit down
into a pretty tight construction.
955
00:52:41,491 --> 00:52:44,744
I do that because I knew
we'd be out on real sets, out in the sun,
956
00:52:44,828 --> 00:52:46,580
we weren't gonna be on the volume.
957
00:52:46,663 --> 00:52:49,624
So, I'd be free to invent
a lot of action on the fly,
958
00:52:49,708 --> 00:52:52,961
which is when I'm really in my element,
and I love that.
959
00:52:53,044 --> 00:52:56,423
Where you just get a wide-open playground
with some cool characters,
960
00:52:56,506 --> 00:52:58,049
and we'll just go to town.
961
00:53:03,054 --> 00:53:05,223
(OMINOUS MUSIC PLAYING)
962
00:53:10,478 --> 00:53:14,065
FAVREAU: Cad Bane was a character
that came up in The Clone Wars
963
00:53:14,149 --> 00:53:17,402
that Dave was a big part
of bringing to the world.
964
00:53:17,485 --> 00:53:19,613
Your hat sure makes you stand out.
965
00:53:21,114 --> 00:53:24,117
I don't like to hide under a helmet.
966
00:53:24,201 --> 00:53:27,037
FILONI: I didn't know how
we'd pull it off. But Legacy, you know,
967
00:53:27,120 --> 00:53:29,789
came up with a concept where the...
968
00:53:29,873 --> 00:53:32,667
It gets so tight on the face
of the actor here
969
00:53:32,751 --> 00:53:35,212
that what you're seeing
is his real mouth moving.
970
00:53:36,630 --> 00:53:42,177
Boba Fett is a cold-blooded killer
who worked for the Empire.
971
00:53:42,260 --> 00:53:45,138
We created and sculpted those pieces here.
972
00:53:45,222 --> 00:53:47,682
One of my key sculptors,
Jason Matthews, did that
973
00:53:47,766 --> 00:53:53,146
and really crafted the look
to match the character
974
00:53:53,230 --> 00:53:56,149
in the animated series of Cad Bane.
975
00:53:56,233 --> 00:53:58,360
Great actor, Dorian Kingi,
976
00:53:58,443 --> 00:54:02,155
who is a perfect body type
for Cad, plays it.
977
00:54:02,239 --> 00:54:06,451
Without giving away all the tricks,
we made some very intricate teeth
978
00:54:06,826 --> 00:54:09,788
that would make his mouth protrude
979
00:54:09,871 --> 00:54:13,917
to get that bone structure of Cad.
980
00:54:14,000 --> 00:54:17,003
This isn't the first time
I beat you out on a job.
981
00:54:17,087 --> 00:54:18,088
(BOBA FETT CRIES IN PAIN)
982
00:54:18,213 --> 00:54:20,882
The face, that actually came together
really quickly.
983
00:54:20,966 --> 00:54:24,594
The hardest, I think, was the hat.
We had to get the hat just right,
984
00:54:24,678 --> 00:54:28,682
and I sent them many pictures
of Lee Van Cleef.
985
00:54:28,765 --> 00:54:34,104
'Cause in the backstory of Cad Bane,
when George created this character,
986
00:54:34,187 --> 00:54:36,356
he created the name Cad Bane, and he said
987
00:54:36,439 --> 00:54:40,777
this is kind of the Lee Van Cleef
to Boba Fett's Clint Eastwood.
988
00:54:40,860 --> 00:54:43,488
I'm still faster than you.
989
00:54:44,864 --> 00:54:46,199
That may be,
990
00:54:47,158 --> 00:54:48,868
but I have armor.
991
00:54:50,203 --> 00:54:51,913
Let's find out.
992
00:54:53,832 --> 00:54:57,210
MORRISON: Wearing that armor gives you
a sense of power,
993
00:54:57,294 --> 00:55:00,005
and soon as you put it on,
you kind of feel...
994
00:55:00,255 --> 00:55:03,133
You feel it, too.
You feel it from the inside.
995
00:55:03,216 --> 00:55:07,262
So, you feel a little bit
more powerful and stronger.
996
00:55:09,889 --> 00:55:12,851
And it's interesting to note that
even when I've got the helmet on,
997
00:55:12,934 --> 00:55:16,062
you know, and Robert's watching a lot
of the cuts in the edit,
998
00:55:16,146 --> 00:55:20,775
he still feels the character
coming through the helmet as well,
999
00:55:20,859 --> 00:55:22,694
you know, just the little things that...
1000
00:55:22,777 --> 00:55:25,322
Just the way the helmet might
only move a little bit,
1001
00:55:25,405 --> 00:55:28,658
but you kind of get a sense
of what I'm doing underneath the helmet,
1002
00:55:28,742 --> 00:55:30,076
and it's still oozing through.
1003
00:55:30,160 --> 00:55:32,412
I can't abandon Mos Espa.
1004
00:55:32,912 --> 00:55:34,539
These people are counting on me.
1005
00:55:34,748 --> 00:55:36,499
(GROWLING)
1006
00:55:36,624 --> 00:55:38,835
-(GUNS FIRING)
-(GROWLING)
1007
00:55:38,960 --> 00:55:43,006
FAVREAU: The idea that the rancor
would be loose in Mos Espa
1008
00:55:43,089 --> 00:55:44,841
with all the domes and the towers,
1009
00:55:44,966 --> 00:55:50,680
and that you can get into, like,
this kaiju-scale battle, like King Kong,
1010
00:55:50,805 --> 00:55:53,224
-with this character that already feels
-(RANCOR GROWLING)
1011
00:55:53,308 --> 00:55:56,061
kind of stop-motion
or Harryhausen-ish anyway.
1012
00:55:56,186 --> 00:55:59,564
And to have that character on the loose.
1013
00:55:59,689 --> 00:56:01,191
(RANCOR SNARLS)
1014
00:56:02,067 --> 00:56:03,568
(RANCOR GROWLS)
1015
00:56:03,777 --> 00:56:07,280
And then, of course,
to have Grogu be able to step in
1016
00:56:07,864 --> 00:56:13,787
with his loving spirit and to help end
that sequence in a way
1017
00:56:13,870 --> 00:56:16,081
that's hopefully unexpected,
but heartfelt.
1018
00:56:17,374 --> 00:56:19,084
It felt very right.
1019
00:56:19,292 --> 00:56:20,919
(SERENE MUSIC PLAYING)
1020
00:56:21,002 --> 00:56:24,214
I wanted it to feel like his powers
have evolved in a subtle way.
1021
00:56:24,297 --> 00:56:27,092
So if you notice, I made sure
he didn't close his eyes
1022
00:56:27,175 --> 00:56:29,427
when he was using his powers
at that moment.
1023
00:56:29,511 --> 00:56:31,096
I wanted to keep them open,
1024
00:56:31,179 --> 00:56:36,017
almost as if he's just sending love
and calm and empathy to the beast.
1025
00:56:36,101 --> 00:56:39,062
It's the first time you see him use
the Force without closing his eyes.
1026
00:56:39,145 --> 00:56:40,522
Not till the very end of the shot
1027
00:56:40,605 --> 00:56:43,858
does he close them
to finish putting the rancor to sleep.
1028
00:56:44,651 --> 00:56:46,736
FILONI: What did he learn from Luke?
1029
00:56:46,820 --> 00:56:53,576
It's not about this power to destroy,
to become an expert swordsman.
1030
00:56:53,910 --> 00:56:57,038
But it's a simpler power
to calm something down,
1031
00:56:57,122 --> 00:57:01,543
to abate something's rage,
its anger, its fear.
1032
00:57:01,876 --> 00:57:05,463
Grogu takes that away, makes it calm down,
1033
00:57:05,547 --> 00:57:09,342
and thus we're right back into being
what a Jedi and the Force is all about.
1034
00:57:10,385 --> 00:57:12,637
-(RANCOR GRUNTING)
-(GROGU COOING)
1035
00:57:18,685 --> 00:57:21,229
FAVREAU: The nature of these storylines
are baked into the cake
1036
00:57:21,312 --> 00:57:23,231
when you're dealing
with the hero's journey,
1037
00:57:23,314 --> 00:57:26,943
because it's about becoming part
of something larger than yourself.
1038
00:57:27,026 --> 00:57:28,820
That's what heroism really is.
1039
00:57:28,903 --> 00:57:34,576
Heroism is putting your own
individual needs aside
1040
00:57:34,659 --> 00:57:38,204
and making them subservient to,
well, something bigger than yourself.
1041
00:57:38,288 --> 00:57:40,623
And that thing bigger than yourself
could be,
1042
00:57:40,707 --> 00:57:43,793
in the case of The Mandalorian
in the first season,
1043
00:57:43,877 --> 00:57:49,048
creating a family and being a father
to this orphaned child.
1044
00:57:49,132 --> 00:57:53,595
Or in Boba Fett, it could mean,
after losing his tribe,
1045
00:57:53,678 --> 00:57:58,057
creating a tribe or a community of his own
with what he's learned.
1046
00:57:58,808 --> 00:58:03,229
MORRISON: He's a little bit changed,
and I think he can always
1047
00:58:03,313 --> 00:58:04,939
revert back to those ways,
1048
00:58:05,023 --> 00:58:07,692
but now, along with finding Fennec
1049
00:58:07,775 --> 00:58:11,863
and seeing that she was
in the same place that he was,
1050
00:58:11,946 --> 00:58:15,492
so I think he's really seeking
more family kind of comforts
1051
00:58:15,575 --> 00:58:17,494
and understanding it a little bit more,
1052
00:58:17,577 --> 00:58:19,662
and those are the things
that Boba never had.
1053
00:58:19,746 --> 00:58:23,875
So, that's been part
of his emotional journey.
1054
00:58:23,958 --> 00:58:25,793
Why must everyone bow at me?
1055
00:58:25,877 --> 00:58:27,921
It's better than shooting.
1056
00:58:28,713 --> 00:58:30,798
BOBA FETT: Are those my only two choices?
1057
00:58:30,882 --> 00:58:32,717
When you run the town, it is.
1058
00:58:32,800 --> 00:58:35,428
For me, The Book of Boba Fett
is so many full circles.
1059
00:58:35,512 --> 00:58:39,349
You know, getting to work with my favorite
Star Wars character, Boba Fett.
1060
00:58:39,432 --> 00:58:43,478
Getting to work and play in this world
created by George Lucas who, you know,
1061
00:58:43,561 --> 00:58:47,106
is really the guy that personally shared
secrets of the future of filmmaking
1062
00:58:47,232 --> 00:58:51,694
with me early in my career that set me
on the path that put me right here.
1063
00:58:52,153 --> 00:58:53,655
(UPLIFTING MUSIC PLAYING)
1064
00:58:53,738 --> 00:58:55,907
FILONI: When I walk around this studio,
1065
00:58:55,990 --> 00:59:00,537
there are amazing people that are invested
in bringing these characters to the screen
1066
00:59:00,620 --> 00:59:03,331
and it means something to them.
1067
00:59:03,414 --> 00:59:05,250
And Jon and I,
we want it to mean something
1068
00:59:05,333 --> 00:59:06,709
to people that are working on it.
1069
00:59:06,793 --> 00:59:10,171
It is my great, great honor to say
1070
00:59:10,255 --> 00:59:14,801
that is a season wrap
on Book of Boba Fett, y'all.
1071
00:59:14,884 --> 00:59:17,637
-Congrats. We did it!
-(CREW MEMBERS CHEERING)
1072
00:59:17,720 --> 00:59:22,308
FILONI: I think we've got some really good
Jedi working on this series.
1073
00:59:22,392 --> 00:59:24,060
We're really lucky to have 'em.
1074
00:59:28,231 --> 00:59:31,484
(THEME MUSIC PLAYING)