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The essence of music in any show is important but with “Star Wars”, it is equally daunting. With Jon Favreau and Dave Filoni, it was about thinking outside the box. Composer Ludwig Goransson is an interesting choice but not an all together unexpected one. His approach is very experimental and that sometimes can be tricky for people working on a big franchise or moving placement because of money and expectation. This is an issue that probably came with Vangelis after composing ground changing work on “Blade Runner”. It is significantly hard to follow up something like that. What is interesting here is how recommendations of younger collaborators influenced Favreau in many ways. He had heard of Goransson in passing and heard of his work with Ryan Coogler, whom it is revealed was his roommate at USC and worked with him through his first film “Fruitvale Station” to “Creed” and onto “Black Panther”. “Panther” of course was important because of the use of different sounds in order to find the correct approach and tone.

The same can be said of “The Mandalorian”. While it is not spoken of, there is definitely in the intro of the theme a Middle Eastern influence. But as the episode goes on, just seeing the basis of certain sounds using old school analog aspects with computer elements is fascinating. Goransson doesn’t want to write in front of a computer he says so as a result his sounds are new but he uses technoloy to capture it. It is a way to work that is both new and old. In the roundtable, Favreau and Filoni seem to take over the conversation but in the interior of the studio, Gorannson is a teacher and shows the process. Favreau also heard about him from Donald Glover since Gorannson had scored “Community” and that is how the collaboration for Childish Gambino seemed to happened. Gorannson won Grammys for Record & Song Of The Year for it.

It almost seems that they are underplaying his greatness and possibility of what he has accomplished. Beyond the hip hop and popular music stylings, he has done what “Rogue One” and “Solo” for the most part coudn’t quite do and that is create a whole new sound while not losing what was before it. And yet also not reusing any themes and creating his own. It is a feat, even more so when one hears the story. Gorannson knows how to produce too. But the best piece of footage is on the set of Bryce Dallas Howard’s episode when he brings the first recording of the theme with the flutes to set on his phone. Favreau freaks out and Howard is hit by it too. That is one of the moments when it might have finally become real what they were doing. Music has that power.


By Tim Wassberg

IR TV Review: DISNEY GALLERY – THE MANDALORIAN – EPISODE 5 (“Practical”) [Disney+]

While the previous episode of “Disney Gallery: The Mandlalorian” approached the idea of “Technology” with The Volume, Episode 5 with “Practical” wants to talk about the ideas in a different mode while still maintaining that progression. It can be more adhered to more like a symphony since all of these elements work together in tandem. The first aspect obviously of inherent importance was the approach to the Baby which had to have the right look exactly to sell to the audience. Dave Filoni shows his initial sketches but how it had to evolve. They knew exactly when they got to the right look. Some of the earlier art didn’t look quite right. In addition they had to find the right puppets apparatus and operators. This of course could have failed miserably but Jon and Dave it seems were given adequate oversight and not micro-managed so they were able to bring it together correctly. This is the thought of contention because why could this work and yet there be issues on the feature side. The different might be as simple as film versus TV which is slowly but surely becoming muddled. As a result, the showrunners saw the reaction. While it was referred to in interviews, Filoni and Favreau said how Warner Herzog started directing the puppet almost forgetting that 4 people were controlling it. That is the power of practical.

The same thing could be said of the bounty hunter droid. It seems some of it was CG but the top part spinning round was in fact physical some of the time. One even gets a feeling that this was true in the final melting sequence but enhanced by CG. Favreau also acknowledges wanting to bring these focal points perhaps to characters that were in the original trilogy but were never quite brought to the forefront. The Ugnaut voiced by Nick Nolte is of course a specific example. Nolte it seems was never on set but his voice was pre-recorded. A little actor was able to interpret his voice and move to it which is an interesting but well known tradition. It is her acting that makes the performance work since operators are moving the servos of the face to match the voice. Deborah Chow mentions that in this way the slightly tilt of a head means something. This was inherently rue of the Ewoks back i he day. So much on “The Mandalorian” is intrinsic but it seems that such attention to detail was taken. It is just a matter of maintaining that focus without letting it become rote. If that means limiting the season before it can become stale, that might be an important consideration.


By Tim Wassberg


Moving forward in the Disney Gallery with “The Mandalorian” comes down to casting in Episode 3. The key with telling the story is not trying to cover up what might be perceived. With Episode 3, the round table structure again helps with the process because, one is aware fo hat is being seen, especially with actors. The aspect of Pedro Pascal is of course him actually being in the costume. It of course is broken down in terms of stunt fighting whether it be action or gun play which is actually two different stuntmen. That is very much seen and laid very honestly forward. But Dave Filoni and Jon Favreau tell an interesting story later in the episode about an effects camera test before they even started shooting with just extras in costumes on set before Pascal slipped on The Mandalorian’s uniform. Pascal relates though that he was there Favreau and Filoni admit that even behind the mask and costumes need to be a sense of acting which can be even harder.

The directors Deborah Chow & Rick Fujikawa relates this as well. It is key. Filoni actually relates that the test was the first time they were using the new cameras and he actually calls Favreau “coach” saying “it would be so much easier if I could draw it”. It is a very telling moment. Pascal understands the intent of the character but he never gets really deep into what Mando is really since it might give away too much of what the man is, which is smart. Gina Carano gives a little but of a glimpse into her character interrelating about her origins being from Alderaan which is an interesting detail and makes one think of that character as a little different with something to prove, especially in looks and how she goes forward. Carano pays specific penitence to Carl Weather talking about how he taught her. Weathers seems like a tough love but it has because he has worked with the pantheons of action in the 80s.

When he is talking about acting to a mask, it is specifically interesting that nobody brings up Predator because his death scene in that is so particular and that was against a man in a mask as well. Also the essence of Man With No Name that Jon Favreau talks of Lucas originally envisioning of the Mandalorian plays in part to¬† reflection of the team Schwarzenegger as Dutch integrated in “Predator”. Weathers is old school and he originally was supposed to be prosthetics and was only going to be in Episodes 1 and 3 as a favor. Obviously he saw enough in this angle to work because apparently he doesn’t act as much (or need to anymore). He was in an NBC show that lasted briefly called “Chicago Justice” which I did an interview for so it is interesting to see how he connects. But ultimately it is about building the world which of course some of the casting being spoken about recently for Season 2 points to very specifically.


By Tim Wassberg

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