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
The perception of legacy has to do with how a story is told. Granted “The Mandalorian” owes many things to many people. But structure is a big part of it as well. In the second episode of “Disney Gallery: The Mandalorian” entitled “Legacy”, the approach is balanced in a progression of three very different perceptions: the original films, the prequels and the post-Disney acquisition. None of those differences are spoke of specifically but the aspects of flash points are very evident. The “Jurassic Park” moment is, of course, one many talk about and what influenced Stanley Kubrick to move forward on “AI” which he was not able to make before his death. It also encouraged Lucas to actually move forward on the next “Star War” trilogy. The person who is the most Interesting in this episode is Kathleen Kennedy who doesn’t do many roundtables like this. You can feel her power in the room, It is palpable even next to Filoni and Favreau. What is interesting is the different energies. Kennedy makes an interesting point that Lucas owns many many patents but each person sees the advances differently. Favreau doesn’t really say his but Filoni mentions Edit Droid and I believe “Episode 1” effects coordinator John Knoll mentions motion control. Kennedy says George was thinking of “Star Wars” during Indiana Jones (obviousy since he was still making them then).
Having Carl Weathers and Pedro Pascal (whom we haven’t seen too many interviews with) talking about their initial impact with”Star Wars” is interesting. Pascal’s memory mirrors my own in a way since he talks about his parents I guess getting the hard-to-score ticket to “Return Of The Jedi” on opening night in 1983. The same happened with me with my mother and her cousin getting me a seat for “Return Of The Jedi” at a midnight show opening night where they were standing room only in the back. I have an earlier memory of “Star Wars” but not actually being in the theater. I was only 9 at the time for”Jedi”.That is what legacy means more than anything else.: memory. Taikia Waititi’s reference on his favorite line in “Empire” is very telling. And David Filoni’s explaataion of the mythic representation of the “Duel Of The Fates” fight in “Episode1” is interesting in that it shows the underlying familial breakdown structure of the entire original and prequel trilogy. It shows his breathe and understanding of the universe specifically guided by Lucas. It also reflects the story he told earlier of his first Lucas meeting in episoe 1 of this series. Most of these interviews were seemingly done in the roundtable at one time so they probably last throughout the season. This episode is an important one and more based in the mythology than the process which helps with showing essence of motivation within the creators.
By Tim Wassberg
The tricky aspect about exploring a universe and living within it is a sense of expectation. In making the huge Star Wars films, sometimes the texture of the smaller character work like what “A New Hope” gets lost since that was essentially an independent film. Unfortunately as much as creativity can be a spark point among writers creating a bigger structure with such as large company such as Disney can be formidable. What “The Mandalorian” understands in its first episode is that everything doesn’t need to be rushed. While the series boasts more high end effects than most series, it gets what it needs to be. In a way that “The Gunslinger” should be done, it establishes The Mandalorian as a gun toting bounty hunter of old. The setting is basically for crime: The Wild West after the fall of the Empire which while essential has eliminated a certain order, however dictatorial to the Republic.
The first episode sets up a quest without seemingly like a quest. What director David Filoni and, by extension, show runner Jon Favreau has realized is by creating smaller scenes, even if it leads into a bigger showdown it makes the points more specialized. The Mandalorian does that two times after he sets down on planet. The humor is undeniable created in a gunfight of sorts that brings to mind “Way Of The Gun” as an influence…and if Chris McQuarrie ever finds his way into the Star Wars universe… But that said the first episode works because it tempers expectations while also give you enough tidbits of the original IP to engage which is what made “Rogue One” the best Star Wars movie of the new generation but also “Clone Wars” which helped show small character based episodes while balancing with the space opera which people expect.
By TIm Wassberg