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JON FAVREAU: I think there's a interplay
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with storytellers and the people
you're telling the story to.
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THE MANDALORIAN:
Does this look Jedi to you?
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You find that the emotions
run deep with Star Wars.
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And peoples' relationship,
who grew up with it from a young age,
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feel a lot of connection to it.
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I think a consistent thing I'm feeling
is that people care deeply
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that it's being handled correctly
and that it's being handled respectfully.
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It meant so much and they wanna
see it continue into the future
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and feel like it's all connected
with consistency.
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We're very lucky
that between Lucasfilm and Kathy,
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the whole group that we have
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are incredibly supportive and encouraging.
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(COOS)
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BO-KATAN: Incoming craft,
identify yourself.
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Jon gave me the script
for the season finale.
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I read it and loved it.
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It had a lot of action.
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It had a lot of great character stuff
and a lot of emotion.
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But there was a character
that came in at the end of it,
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and in the script it was written
as a character called Plo Koon.
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And I knew Plo Koon was a Jedi,
I think, from the prequel trilogy.
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I was, "How are we visualizing this?"
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He's like, "Come here,
I wanna talk to you."
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And he gave me the real news
that it was, in fact, not Plo Koon,
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but it was gonna be Luke.
And I needed a moment.
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I needed to know, 'cause I've had
a long relationship with Jon
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and I said,
"Are you being serious? Is this real?
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"You're bringing the guy back?"
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He said, "We're bringing
the guy back." (CHUCKLES)
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Jon sanctioned this, I'll say this for
the first time in 15 months to two years.
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"Luke Skywalker."
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We were never allowed to say it.
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We'll get the performance out of Plo Koon,
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and in post,
we can get a bunch of options.
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When we refer back to what we did,
we talk about the code names.
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We simply do not utter those two words.
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If there's one person in the galaxy
that you'd be okay
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taking this kid from The Mandalorian,
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it's gotta be Luke.
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You know, usually,
Jon and I tend to think...
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If he and I are aligned
on something like that,
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it's probably gonna,
I like to think, turn out good.
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But if I had been like, "No way. Luke..."
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Jon would respect that,
"Okay, let's figure it out."
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But it just felt right to both of us.
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Even the Force
that's just moving around him.
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So, every move you're making
is one step ahead.
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I instantly went from being thrilled
to feeling the weight
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of responsibility of this character.
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Because outside
of all the technical considerations
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of how we were gonna bring
Luke Skywalker of that period to life,
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there was a real responsibility
in the storytelling
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to have it feel organic
in the context of The Mandalorian.
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Because it's very easy to see a version
where you bring Luke into The Mandalorian,
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and it completely usurps all the drama.
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REED: We had a lot of conversations
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in the writing,
in the shooting, in editorial,
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about how much Luke was enough,
how much was too much,
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finding that balance.
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Weirdly, he's a device.
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I mean, he comes in,
it's not like he's the delivery guy.
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You know, none of the characters
are sitting there in awe of,
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"It's Luke Skywalker. He's the guy
who blew up those Death Stars."
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That's not where they're coming from.
He is a Jedi. He's this mythical figure,
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because none of them
have ever really encountered a Jedi.
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That was interesting to me.
I felt like, as I think Jon and Dave felt,
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that this is a balancing act
that we can figure out,
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and we can make it feel
still like The Mandalorian,
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while broadening the palette a bit.
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FILONI: It was this
carefully-laid discussion.
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You know, the stages of,
"Is it gonna be him?"
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"How could it be him?"
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Because we realized, watching it,
that you're kind of in denial,
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no matter how obvious we made it.
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You do not think it's gonna be him
when that hood comes off.
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Like, that shot, it was the one
of all the shots that had to work,
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because it was gonna be
the completion of this wish fulfillment,
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"Is it really Luke?"
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We knew we wanted
Mark Hamill front and center,
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because you can't
bring back Luke Skywalker
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without Mark Hamill.
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I suppose technologically-speaking,
you could.
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But we didn't want to.
We wanted to have the real guy.
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We wanted Mark here.
'Cause he is Luke Skywalker.
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I was contacted by Jon and Dave,
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inviting me to come over
and take a look at The Mandalorian.
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They said they'd love my opinion.
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That should've been a giveaway right away.
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So I went over
and they asked me to do a voice
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for a character that was in the cantina.
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THE MANDALORIAN: I'm a hunter.
I'm lookin' for some work.
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Unfortunately, the Bounty Guild
no longer operates from Tatooine.
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He often will do unbilled cameos
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as voice talent
for other Star Wars projects.
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-FINN: How do we thank you?
-Win the war!
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So it made perfect sense
that we'd bring him in.
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But we started showing him
a lot of the stuff,
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and this is before anything had aired.
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We showed him
that first episode with the reveal.
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And he was really captivated by it,
he really liked it.
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He liked where we were going with it.
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So we told him
what we were thinking of doing.
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DARTH VADER:
It is pointless to resist, my son.
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HAMILL: When they went
from the original trilogy to the sequels,
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obviously there was this huge gap in time,
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where there's all these untold stories.
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But I just assumed they'd get
an age-appropriate actor, you know?
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And I didn't really
think about it all that much.
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I just thought,
"If they wanna tell stories
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"of Luke post-Return of The Jedi,
I wonder who they'll get."
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When they said they were
gonna use the de-aging process
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they used in the Marvel movies,
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I was just gobsmacked!
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I didn't answer right away,
I had to think about it.
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But the more I thought about it,
"This is really an opportunity
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"that was completely unexpected,
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"but something that almost
was a responsibility."
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In other words, if they're saying
they want me to do this,
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how can I say no?
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REED: Over the holidays,
this would've been December 2019,
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Jon and I drove up together
to Mark's house.
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And we brought the script.
And we brought Luke Skywalker's wardrobe.
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And we brought Grogu with us.
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Mark was so gracious, we came in.
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Jon and I sat with Mark's wife
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as he was in his office,
reading the script in real time,
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so we were on pins and needles,
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'cause it was not necessarily a given
that he was gonna be interested.
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I think he's very protective
of this character, and rightfully so.
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FAVREAU: Peyton and I were just trying
not to jump through our skin.
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We get into this 'cause we're fans,
so there are moments like this...
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Even when you get used
to making this stuff,
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there are certain moments
where you just... It's so surreal.
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REED: He came out and he was thrilled.
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And I think a huge weight
was lifted off of Jon's shoulders
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when that happened. (CHUCKLES)
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When you have those feelings
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where it feels compelling,
you know that you're onto something.
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We knew if we could pull this off,
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it would represent
so much to so many people.
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Especially to Mark.
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To let him come in there
and show Luke at this moment,
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and let it be a celebration,
and also a culmination of a two-season arc
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about the journey of this little child.
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THE MANDALORIAN: I'll see you again.
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I promise.
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Mark was excited, and he was in,
and he got ready to see,
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"How were we gonna make the magic happen?"
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Which is good,
'cause we had to figure it out yet.
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FAVREAU: Kathy Kennedy we brought in
very early on this conversation.
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And Kathy, first and foremost,
is a great producer.
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And producers figure out ways
to make things happen
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that are creatively exciting
to the storytellers.
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Not only does she understand
how to create an environment
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where we can have
all the tools that we need
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to explore and experiment and be creative,
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but also knows
what it takes to incubate ideas
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and understands the significance
of when you do it right,
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what that can represent.
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JOHN KNOLL: One of the big
challenges on this show
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is the work is very ambitious.
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The expectation
is the polish level to be
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as high as what's done on the features.
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So, some of this is working
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with the very talented
and experienced artists that we have,
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giving them a meaningful turnover
where they really understand
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what success means on the shots.
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The unique thing
about visual effects technology
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or technology
that can be used in visual effects,
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is that it can come
from so many different places.
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It can come from the tech realm,
it could come from a basement.
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And I think being open
to getting inspiration
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for bleeding-edge technology from anywhere
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is a big part of what we do on this show.
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When we realized that we wanted
to show a younger Luke Skywalker,
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we looked at all the techniques available.
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There's a few basic paths
you could go at this level.
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They're overlapping a bit,
but for simplicity's sake,
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you have a completely
computer-generated version of a character
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based on scans and based on research
and old footage,
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and that's like what they used
for Grand Moff Tarkin.
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Your work exceeds all expectations.
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It's pretty easy to see what that is,
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but all these new render tools
and processing power
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is making that get better very rapidly.
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There's another technique for de-aging,
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which is actually
like an airbrush artist doing fixes,
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painting out wrinkles and things.
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And then there's Deepfake,
which is where you use machine learning
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to extrapolate
from a tremendous amount of...
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Ingestion of images.
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You feed images, either from the Internet,
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or, in our case, you feed it
from all of the existing footage
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that we have of that character
at that time,
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and it creates a library of expressions,
faces, looks, lighting scenarios.
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And then, when you have
your performer perform it,
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the AI starts to figure out
what expression would correspond
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to one that exists
from the library of faces.
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And so it's actually replacing
the face that you photographed
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with a photoreal image
that it's picking out and matching up.
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And so, by matching all those things up,
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it creates the illusion that you're seeing
this younger version moving around,
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but you're seeing photographs
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that are cherry-picked
by this incredibly robust algorithm
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that's pulling in
the proper eyeline or expression
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from the library of faces.
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So we were looking
at all three of these techniques.
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Jon was really interested in,
"Where is the technology right now?"
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And so he had Landis Fields
locked away in my office,
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like his own skunkworks,
kicking the tires on Deepfake.
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"Let's see how far we can push this."
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"Is there a version of Deepfake
that makes it into the show?"
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"Is that how we find the likeness?"
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Landis is a brilliant art director,
designer, modeler,
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and a kind of mad scientist.
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He's exactly the kind of person
that we love at ILM.
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KELLER: We locked him in a room,
I'm serious.
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We locked him in a room
for privacy and secrecy reasons
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and he just sat at his machine, Landis,
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and just doing this,
literally, all day long. All day long.
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And he's got like a command center setup,
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running Deepfake tests over and over
and over and over again.
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Anybody can download this software
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and anybody can have a go at making
these kind of Deepfake images.
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Once you have the software,
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you have to provide it the information
it needs to rebuild the face.
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So, in the instance of Mark Hamill,
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we put in a lot of footage
from the original movies.
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We obviously have access
to the 4K version of the show,
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so we fed it
as much information as we can.
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Because it was the first time
we used this particular technique,
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we also went online
and found interviews that Mark gave.
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Anything we could find
to build up the data
235
00:12:12,982 --> 00:12:15,276
that was gonna be used to provide a face.
236
00:12:15,359 --> 00:12:19,405
We can't go back in time
and reshoot Luke the way we want,
237
00:12:19,488 --> 00:12:24,785
so we were having to pull
very specific source footage.
238
00:12:25,369 --> 00:12:27,705
There was a moment
I even scoured the Internet
239
00:12:27,788 --> 00:12:30,624
and found older interviews
and that of Mark Hamill,
240
00:12:30,708 --> 00:12:32,626
that were lit really well.
241
00:12:32,710 --> 00:12:36,714
So, you know, there was a lot of things
that we were paying attention to.
242
00:12:36,797 --> 00:12:39,341
You have to have a lot of trust
in all the technicians
243
00:12:39,425 --> 00:12:41,886
that they're gonna
make you look all right.
244
00:12:42,553 --> 00:12:45,181
BLUFF: With what Deepfake technology
was at that point,
245
00:12:45,264 --> 00:12:48,559
it was felt as though
we really needed to rely
246
00:12:48,642 --> 00:12:50,644
a bit more
on the tried and true techniques
247
00:12:50,728 --> 00:12:52,104
rather than Deepfake.
248
00:12:52,188 --> 00:12:56,317
So we wanted to really kinda focus in
on the de-ageing process.
249
00:12:58,611 --> 00:13:01,238
I had had some experience
with de-ageing technology
250
00:13:01,322 --> 00:13:02,323
on the Ant-Man movies.
251
00:13:02,406 --> 00:13:05,159
In the first Ant-Man,
we de-aged Michael Douglas
252
00:13:05,242 --> 00:13:08,037
from basically 70 to 40 years old.
253
00:13:08,120 --> 00:13:13,125
And in the second one, we did Michael,
Michelle Pfeiffer and Laurence Fishburne.
254
00:13:13,209 --> 00:13:15,044
There was a company called Lola
255
00:13:15,127 --> 00:13:17,713
who had done
most of this de-ageing technology,
256
00:13:17,797 --> 00:13:20,508
so we reached out to Lola
and talked to them about it
257
00:13:20,591 --> 00:13:22,885
and had them on stage
supervising all of this.
258
00:13:23,594 --> 00:13:25,554
TRENT CLAUS: We had two actors.
We had Mark Hamill,
259
00:13:25,638 --> 00:13:27,640
and we also had
a picture double named Max.
260
00:13:27,723 --> 00:13:29,975
And we shot both on set,
261
00:13:30,059 --> 00:13:33,312
and we had also shot Max previously
with all of the cast.
262
00:13:33,395 --> 00:13:35,356
FAVREAU: Casting him was a whole thing too
263
00:13:35,439 --> 00:13:37,817
because we had to work
with Sarah Finn and say,
264
00:13:37,900 --> 00:13:39,568
"Look, we want to find somebody
265
00:13:39,652 --> 00:13:42,154
"who physically resembles
what Mark looked like
266
00:13:42,238 --> 00:13:43,739
"right after Return of the Jedi."
267
00:13:43,823 --> 00:13:47,785
You couldn't just put out a casting call,
so we created a whole list of people
268
00:13:47,868 --> 00:13:50,204
that she knew of that could be right,
269
00:13:50,287 --> 00:13:53,791
and we ended up
reading him for a different role
270
00:13:53,874 --> 00:13:57,294
and then telling him what it was,
and he was a great partner in that.
271
00:13:57,378 --> 00:14:00,422
I think, on that rehearsal,
you were a bit to the right.
272
00:14:00,506 --> 00:14:02,424
-I'd love to get you in the center.
-Dead center.
273
00:14:02,508 --> 00:14:06,512
We'd watch each other do the scenes,
so we tried to match each other.
274
00:14:06,595 --> 00:14:09,515
I would look at the monitor
and, of course, the image is small,
275
00:14:09,598 --> 00:14:13,018
but I thought, "Oh, my gosh,
he looks more like me than me."
276
00:14:13,102 --> 00:14:16,230
It was just uncanny, this guy.
277
00:14:16,313 --> 00:14:17,898
And he's a good actor.
278
00:14:17,982 --> 00:14:20,734
What I think is more magical than the tech
279
00:14:20,818 --> 00:14:26,073
is seeing Mark trying to teach someone
to be a younger version of himself.
280
00:14:26,156 --> 00:14:30,578
If you really remove all of the tools
and all of the processes away from that,
281
00:14:30,661 --> 00:14:32,872
it's a very beautiful, endearing thing.
282
00:14:32,955 --> 00:14:33,956
LUKE: Come, little one.
283
00:14:34,832 --> 00:14:37,585
BLUFF: I desperately wanted to have
a conversation with myself,
284
00:14:37,668 --> 00:14:40,921
a seven-year-old boy
that I think is still inside me,
285
00:14:41,005 --> 00:14:42,923
to remind myself, just think about
286
00:14:43,007 --> 00:14:44,800
where you are right now,
what you're seeing.
287
00:14:44,884 --> 00:14:46,844
Maybe it's the English person inside me,
288
00:14:46,927 --> 00:14:49,138
which is that
professionalism was still there.
289
00:14:49,221 --> 00:14:52,308
I didn't have my photograph
taken with him or go over and say
290
00:14:52,391 --> 00:14:53,559
"I was the biggest fan", but...
291
00:14:53,642 --> 00:14:56,228
Deep down in everybody
that's what we were all feeling.
292
00:14:58,522 --> 00:15:02,359
Okay. Look who returns
and they're headed down the corridor.
293
00:15:02,443 --> 00:15:06,322
CLAUS: So, when we shot Mark,
we shot him on the set
294
00:15:06,405 --> 00:15:10,409
of the bridge of the Imperial
light cruiser in the Volume
295
00:15:10,492 --> 00:15:13,329
and let him drive that performance.
296
00:15:13,412 --> 00:15:15,205
And immediately following that,
297
00:15:15,289 --> 00:15:19,710
we walked him over to our lighting rig,
which we call the Egg,
298
00:15:20,336 --> 00:15:23,339
and basically recreated
everything that he had just done
299
00:15:23,422 --> 00:15:29,386
But doing that separately allows us to get
ultra-high resolution textures of his face
300
00:15:29,470 --> 00:15:32,848
and have ultimate control
over very technical things
301
00:15:32,932 --> 00:15:35,851
involved with lighting
and positioning and timing.
302
00:15:36,268 --> 00:15:38,520
So then we can take
both of those performances,
303
00:15:38,604 --> 00:15:40,814
the one on set and the one in the Egg,
304
00:15:40,898 --> 00:15:43,859
and use both of them
to achieve the final result.
305
00:15:46,904 --> 00:15:51,533
The Egg itself is a assemblage
of thousands of little LED lights
306
00:15:51,617 --> 00:15:53,744
that we have control over and can animate.
307
00:15:53,827 --> 00:15:55,829
We can set lighting to match on set.
308
00:15:55,913 --> 00:15:57,873
We can add interactive lighting,
309
00:15:57,957 --> 00:16:01,210
so it's not that dissimilar
from the Volume itself.
310
00:16:01,293 --> 00:16:03,879
KELLER: We would do a take,
we would do a line.
311
00:16:04,338 --> 00:16:08,384
And then we would go through the dailies
and actually live cut it into an edit
312
00:16:08,467 --> 00:16:13,472
where Jon and Dave and Peyton
could make a select on a line delivery.
313
00:16:13,973 --> 00:16:17,643
And then from that, we would start
giving it over to Lola and Trent at Lola.
314
00:16:17,726 --> 00:16:19,603
And they would program it into the Egg,
315
00:16:19,687 --> 00:16:22,314
so as we were shooting,
they were doing circle-takes
316
00:16:22,398 --> 00:16:24,024
and feeding the Egg at the same time.
317
00:16:24,858 --> 00:16:27,111
We had to do this whole thing in one day.
318
00:16:27,695 --> 00:16:30,656
One day with Mark, one day with the Egg,
319
00:16:31,365 --> 00:16:34,702
was a very long day
as you can probably imagine.
320
00:16:34,785 --> 00:16:37,121
Part of the secrecy too, right?
321
00:16:37,204 --> 00:16:41,000
Anybody that doesn't need to be up here?
If we could clear, thank you.
322
00:16:41,083 --> 00:16:44,169
BLUFF: Even when we'd be shooting
with these characters on set,
323
00:16:44,253 --> 00:16:47,172
most of the company
would be on location at Simi Valley
324
00:16:47,256 --> 00:16:48,674
for Robert Rodriguez's episode.
325
00:16:48,757 --> 00:16:52,720
And so, the shooting crew that was gonna
be kept behind for the moment
326
00:16:52,803 --> 00:16:54,972
when Mark Hamill walked on set
327
00:16:55,055 --> 00:16:59,226
was gonna be the smallest possible team
we needed to get the work done.
328
00:16:59,309 --> 00:17:02,688
To give us the best chance possible
to keep this secret.
329
00:17:02,771 --> 00:17:06,066
HAMILL: I said to the guys,
"You don't have any worries from me.
330
00:17:06,150 --> 00:17:09,069
"I've learned a long time ago
how to keep a secret.
331
00:17:09,153 --> 00:17:12,364
"That Empire secret,
I had to keep it for a year and a half."
332
00:17:12,448 --> 00:17:14,366
But that's before social media.
333
00:17:14,450 --> 00:17:18,787
I said, "All it takes is one person
in a lab, treating the film,
334
00:17:18,871 --> 00:17:24,918
"color correction, there's just
so many variables and so many unknowns.
335
00:17:25,002 --> 00:17:29,882
"One person who sees that
and goes on social media, goes,
336
00:17:29,965 --> 00:17:31,216
"'Guess what I saw today.'"
337
00:17:31,300 --> 00:17:32,634
BLUFF: It was one of those times
338
00:17:32,718 --> 00:17:35,929
when everybody was biting their nails
right to the bitter end.
339
00:17:36,013 --> 00:17:38,849
Every day, to be honest,
before the episode aired,
340
00:17:38,932 --> 00:17:41,602
folks would kinda google online,
"The Mandalorian,"
341
00:17:41,685 --> 00:17:44,730
just to see whatever
the latest information was out there.
342
00:17:44,813 --> 00:17:46,774
Double checking that the one character
343
00:17:46,857 --> 00:17:50,069
that we knew we had to keep secret
was not gonna get leaked.
344
00:17:50,152 --> 00:17:52,488
FAVREAU: Everybody knew that Rosario
was gonna be Ahsoka.
345
00:17:52,571 --> 00:17:55,574
Everybody knew that Temuera
was gonna be Boba.
346
00:17:55,657 --> 00:17:57,910
Everything leaked,
we didn't announce anything.
347
00:17:57,993 --> 00:18:00,496
But little by little, leaks spring,
348
00:18:00,579 --> 00:18:04,541
and you want the ship to get back to
the harbor before the whole thing is done.
349
00:18:04,625 --> 00:18:06,293
REED: We had to keep Mark a secret.
350
00:18:06,376 --> 00:18:08,712
That went
from creating misleads in the script,
351
00:18:08,796 --> 00:18:11,381
creating art work that was not Luke,
352
00:18:11,465 --> 00:18:15,302
creating some temporary visual effects
that were the character of Plo Koon.
353
00:18:19,056 --> 00:18:22,893
It's fairly well known by deep core fans
that Plo Koon's my favorite Jedi.
354
00:18:23,310 --> 00:18:28,649
(CLEARS THROAT) And a lot of people,
if Plo Koon from the script got out,
355
00:18:28,732 --> 00:18:33,153
would assume, "Well, of course,
'cause Dave likes Plo Koon."
356
00:18:33,237 --> 00:18:36,698
So there's these layers of intrigue
that we try to weave.
357
00:18:36,782 --> 00:18:42,121
We had a digital Plo Koon head
placed on the actor in dailies.
358
00:18:42,204 --> 00:18:43,705
So it looked like Plo Koon.
359
00:18:43,831 --> 00:18:46,250
In the first season,
Jon was able to successfully
360
00:18:46,333 --> 00:18:50,087
keep Grogu a secret, but was revealed
at the end of the first episode.
361
00:18:50,170 --> 00:18:53,423
Second season, we had to make it
through the entire season
362
00:18:53,507 --> 00:18:57,010
to the end of the last episode
and not have this spoiled.
363
00:18:57,094 --> 00:19:00,514
In hindsight, it's a bit
of a miracle that it remained a secret,
364
00:19:00,597 --> 00:19:01,807
and I'm thrilled
365
00:19:01,890 --> 00:19:06,395
because for people to be able to
discover that in real time was magical.
366
00:19:06,478 --> 00:19:09,690
BLUFF: I remember the first time
we all crowded into the editing room
367
00:19:09,773 --> 00:19:10,941
once Peyton had a rough cut.
368
00:19:11,024 --> 00:19:14,903
There was about seven of us
and six folks had tears in their eyes.
369
00:19:14,987 --> 00:19:17,156
It was spectacular.
370
00:19:17,239 --> 00:19:19,366
And then, the realization was,
371
00:19:20,325 --> 00:19:23,495
"Oh, boy, this really works.
We've now gotta change his face."
372
00:19:23,579 --> 00:19:25,706
Only now would we realize what it is...
373
00:19:25,789 --> 00:19:28,917
The responsibility we have
to make this moment work,
374
00:19:29,001 --> 00:19:31,461
once we do the visual effects.
It was frightening.
375
00:19:31,545 --> 00:19:32,671
(LAUGHS)
376
00:19:32,754 --> 00:19:37,259
REED: This is a character that people have
over a 40-year relationship with, right?
377
00:19:37,342 --> 00:19:41,471
There is an emotion that just comes
out of seeing that character again.
378
00:19:41,555 --> 00:19:44,183
Certainly seeing that character
show up in this show.
379
00:19:44,266 --> 00:19:45,601
And also for fans...
380
00:19:45,684 --> 00:19:48,437
You know, I was 13
when the original Star Wars opened,
381
00:19:48,520 --> 00:19:50,731
so I grew up with Star Wars.
382
00:19:50,814 --> 00:19:54,651
And there was always that fanboy
part of me that wanted to see,
383
00:19:54,735 --> 00:19:58,447
"What's he like in full, peak-Jedi mode
post-Return of the Jedi?"
384
00:19:58,530 --> 00:19:59,698
We had a chance to do that.
385
00:19:59,781 --> 00:20:02,743
There should be some injury,
and then it's the Force...
386
00:20:02,826 --> 00:20:04,328
(IMITATING CRACKLING NOISES)
387
00:20:05,746 --> 00:20:07,456
HAMILL: I remember
joking with George, I said,
388
00:20:07,539 --> 00:20:12,127
"You know, when Return of The Jedi ends,
it's all over for me."
389
00:20:12,211 --> 00:20:17,257
And that would almost be like
taking three movies to tell you
390
00:20:17,341 --> 00:20:22,262
how James Bond earned his license to kill.
And then it's over.
391
00:20:22,346 --> 00:20:25,724
No Dr. No, no Goldfinger,
no From Russia with Love.
392
00:20:25,807 --> 00:20:27,517
And I was joking, really,
393
00:20:27,601 --> 00:20:30,354
but it did occur to me
that he went from a farm boy,
394
00:20:30,437 --> 00:20:32,814
then to a trainee to a Jedi.
395
00:20:32,898 --> 00:20:39,029
And yet, then it's over, and there's no
tales of his exploits as a Jedi.
396
00:20:39,112 --> 00:20:41,865
So, it was nice to have a rare look
397
00:20:41,949 --> 00:20:47,537
at what he would be doing
prior to establishing the Jedi Academy,
398
00:20:47,621 --> 00:20:49,289
but post Jedi.
399
00:20:49,373 --> 00:20:51,667
This last hallway,
it's the crescendo, right?
400
00:20:51,750 --> 00:20:55,545
So, we've now seen on every deck,
him moving through.
401
00:20:55,629 --> 00:20:56,838
FILONI: We had a discussion
402
00:20:56,922 --> 00:21:02,844
about it would be very easy to just
make him so over-the-top skilled,
403
00:21:02,928 --> 00:21:06,807
but I was like, "You know,
what's interesting is, he's had training,
404
00:21:06,890 --> 00:21:09,810
"but I don't know who's been
teaching him sword-fight training."
405
00:21:09,893 --> 00:21:14,815
So, he had to have a style that was better
than what we saw in Jedi,
406
00:21:15,232 --> 00:21:19,987
but fundamentally still of the same tree
of sword-fighting technique.
407
00:21:20,070 --> 00:21:22,990
And his technique and Ahsoka's technique
should be very different.
408
00:21:23,073 --> 00:21:26,493
And technically, she's had
vastly more training than he ever has.
409
00:21:26,576 --> 00:21:29,496
She's his senior,
which is difficult for people to remember
410
00:21:29,579 --> 00:21:31,957
'cause of when these characters
were created.
411
00:21:32,040 --> 00:21:36,169
So, a lot of consideration
given to every detail.
412
00:21:36,253 --> 00:21:39,381
FAVREAU: We decided to have him
look like he did in Return of the Jedi.
413
00:21:39,464 --> 00:21:42,509
I knew it as I was an usher in the movie
theater when it was playing.
414
00:21:42,592 --> 00:21:43,593
I saw it a lot.
415
00:21:43,677 --> 00:21:47,055
Interestingly, the Luke costume from Jedi
is not the color you think it is.
416
00:21:47,139 --> 00:21:50,600
We have to make decisions like,
"It's really brown, but it looks black."
417
00:21:50,684 --> 00:21:53,562
There's something
very dramatic about this.
418
00:21:53,645 --> 00:21:56,773
FAVREAU: Part of it was,
"Well, it should look black."
419
00:21:56,857 --> 00:22:00,777
The reason they went with that costume
was to create some moral ambiguity
420
00:22:00,861 --> 00:22:02,571
whether he had turned to the dark side,
421
00:22:02,654 --> 00:22:05,657
with him doing a bit of
a Force choke on the Gamorreans.
422
00:22:05,741 --> 00:22:09,953
That's a part of the story of Luke,
which isn't part of the story for us.
423
00:22:10,037 --> 00:22:12,331
But if we didn't have that look,
424
00:22:12,414 --> 00:22:15,417
it would deviate
from people's collective memory
425
00:22:15,500 --> 00:22:18,086
of what Luke Skywalker
looks like at that moment.
426
00:22:18,170 --> 00:22:20,422
So, there's a million little
conversations we had.
427
00:22:20,505 --> 00:22:23,800
And fortunately, Peyton Reed's a huge fan,
Dave's a huge fan,
428
00:22:23,884 --> 00:22:27,220
and so we all kind of look at photos,
and then we make decisions together.
429
00:22:27,304 --> 00:22:31,558
And go down. Is it like a downward motion
or just that fist?
430
00:22:31,641 --> 00:22:33,393
-MAN: I think it's just the fist. Yeah.
-Okay.
431
00:22:39,191 --> 00:22:42,944
What makes Luke, Luke?
What expressions make Luke, Luke?
432
00:22:43,028 --> 00:22:45,113
What lighting scenarios make Luke, Luke?
433
00:22:45,197 --> 00:22:47,741
It's really interesting
if you look at the footage.
434
00:22:47,824 --> 00:22:51,495
In every scene, in every shot,
he looks a little bit different.
435
00:22:51,578 --> 00:22:53,663
And when you start getting down to it
436
00:22:53,747 --> 00:22:56,958
and you analyze his cheek shape
or his nose shape,
437
00:22:57,042 --> 00:23:00,170
he's the same person,
but in different lighting scenarios,
438
00:23:00,253 --> 00:23:03,632
it can definitely read differently.
439
00:23:03,715 --> 00:23:05,258
BLUFF: In Jabba's palace,
440
00:23:05,342 --> 00:23:08,678
with some very stark lighting on him,
he looks a particular way.
441
00:23:08,762 --> 00:23:11,598
And then he's on Endor
and he's hanging upside down
442
00:23:11,681 --> 00:23:14,101
when the Ewoks have captured him,
he looks very different.
443
00:23:14,184 --> 00:23:18,939
So, if you line up all the likeness
of Luke across all those movies,
444
00:23:19,022 --> 00:23:20,690
people will point to different images
445
00:23:20,774 --> 00:23:23,985
as to what their version of Luke
in their mind looks like.
446
00:23:24,069 --> 00:23:26,947
That was the same
when we were doing the work.
447
00:23:27,030 --> 00:23:29,741
We would look at something,
whether it was a haircut,
448
00:23:29,825 --> 00:23:31,827
whether it was a pose,
whether it was a smile,
449
00:23:31,910 --> 00:23:33,745
or a glint in his character's eye.
450
00:23:33,829 --> 00:23:38,542
And people had a different impression of,
"Is the likeness on-target?"
451
00:23:38,625 --> 00:23:41,294
And so, we would experiment
with different things.
452
00:23:41,378 --> 00:23:44,214
We would change the hair,
we would put it over the ears,
453
00:23:44,297 --> 00:23:47,092
we would have it fall
further behind his neck.
454
00:23:47,175 --> 00:23:50,929
We would change his neck size,
bring his collar up, his shoulders down.
455
00:23:51,012 --> 00:23:52,889
And all of this is to test.
456
00:23:52,973 --> 00:23:56,768
To see when do we go too far.
When does the likeness stop?
457
00:23:56,852 --> 00:24:03,525
Digital faces are the most difficult
visual effect in the entire world.
458
00:24:03,608 --> 00:24:06,236
And it's not just
because it's technically hard
459
00:24:06,319 --> 00:24:08,613
or the technology is still emerging.
460
00:24:08,697 --> 00:24:12,284
It's because every human
is an expert in faces.
461
00:24:12,367 --> 00:24:17,289
There's something so magical
and innate about the human face.
462
00:24:17,372 --> 00:24:23,879
And everybody has a point of view
on how to read a human face.
463
00:24:23,962 --> 00:24:28,300
And then you add on top of it,
such a recognizable human face
464
00:24:28,383 --> 00:24:32,095
that means so much to so many people.
465
00:24:32,846 --> 00:24:34,681
May the Force be with you.
466
00:24:37,559 --> 00:24:39,269
Every aspect of this is important.
467
00:24:39,352 --> 00:24:43,982
The build-up of X-wing, to lightsaber,
to lightsaber color, to fighting style,
468
00:24:44,065 --> 00:24:46,401
to outside the door with the cloak,
to reveal,
469
00:24:46,485 --> 00:24:49,279
builds the anticipation
that says, "I want this."
470
00:24:49,863 --> 00:24:52,616
When you want this
'cause you're bought in as the audience,
471
00:24:52,699 --> 00:24:56,119
then the face and the voice
are gonna work better, right?
472
00:24:56,203 --> 00:24:58,872
And suddenly you have this fusion moment
473
00:24:58,955 --> 00:25:02,876
where the wish fulfillment
meets the expectation of the story,
474
00:25:02,959 --> 00:25:06,171
what it's telling, and it's just ballistic
and it all happens.
475
00:25:06,254 --> 00:25:12,010
But if any one of those things fails,
it's gonna derail the rest of it.
476
00:25:13,053 --> 00:25:17,474
You know, I think people focus
on one thing and say, "Well, the face..."
477
00:25:17,557 --> 00:25:21,186
Okay, but it's probably
a lot of other things
478
00:25:21,269 --> 00:25:23,271
that are making the buy-in work or not.
479
00:25:23,563 --> 00:25:26,107
FAVREAU: That's the first time
in that last episode
480
00:25:26,191 --> 00:25:28,568
that we actually hear any music
481
00:25:28,652 --> 00:25:31,071
that's from the original trilogy.
482
00:25:31,154 --> 00:25:33,073
(BINARY SUNSET PLAYING)
483
00:25:41,456 --> 00:25:42,749
THE MANDALORIAN: Are you a Jedi?
484
00:25:44,042 --> 00:25:45,043
I am.
485
00:25:46,419 --> 00:25:50,131
Everything up to that point
had been original music by Ludwig.
486
00:25:50,215 --> 00:25:54,302
And that's the first time
you could hear any John Williams music.
487
00:25:55,011 --> 00:26:00,475
And that also... Let's never underestimate
the importance of John Williams.
488
00:26:00,559 --> 00:26:01,601
(CHUCKLES)
489
00:26:02,394 --> 00:26:05,355
Because that's part
of what makes Star Wars, Star Wars.
490
00:26:05,438 --> 00:26:09,693
And so, for us to not use
any of those themes for any of the show
491
00:26:09,776 --> 00:26:14,030
and then to use it at this point,
it's saving a very powerful tool
492
00:26:14,114 --> 00:26:17,117
that I think all those things
help to sell the visual effect.
493
00:26:17,701 --> 00:26:19,744
THE MANDALORIAN:
He doesn't want to go with you.
494
00:26:20,829 --> 00:26:22,205
He wants your permission.
495
00:26:23,415 --> 00:26:26,334
You know, many years ago,
I think it was 1993,
496
00:26:26,418 --> 00:26:31,172
I was directing a making-of documentary
for Forrest Gump with Robert Zemeckis.
497
00:26:31,256 --> 00:26:35,135
ILM at that time was doing
stuff where they made JFK talk
498
00:26:35,218 --> 00:26:39,347
and President Johnson, and people
Forrest Gump meets along the way.
499
00:26:39,431 --> 00:26:42,225
I remember, Ken Ralston and Bob Zemeckis,
500
00:26:42,309 --> 00:26:46,146
all the visual effects people
who were working on that movie
501
00:26:46,229 --> 00:26:48,690
having that very conversation
in the early '90s,
502
00:26:48,773 --> 00:26:51,776
about, like, this is really, you know...
503
00:26:51,860 --> 00:26:54,863
"We're just sort of starting
to crack this technology
504
00:26:54,946 --> 00:26:56,698
"in a kind of remedial way."
505
00:26:57,365 --> 00:27:00,452
But there's gonna come a point
where it'll be so sophisticated
506
00:27:00,535 --> 00:27:04,581
that, you know, it could certainly
be used in really bad ways.
507
00:27:04,664 --> 00:27:08,668
KNOLL: Well, a tool is neither
good nor bad in and of itself.
508
00:27:08,752 --> 00:27:11,921
It's kind of
how the artist wields the tool
509
00:27:12,005 --> 00:27:16,718
and, you know,
we try to apply ethics to what we do,
510
00:27:16,801 --> 00:27:19,763
where we're only
using these tools for good.
511
00:27:20,221 --> 00:27:23,558
FAVREAU: Much like
in The Sorcerer's Apprentice in Fantasia,
512
00:27:23,642 --> 00:27:26,686
you have a new technology
available to you,
513
00:27:26,770 --> 00:27:29,022
just as Mickey had the magic book.
514
00:27:29,105 --> 00:27:30,523
That magic book allowed him
515
00:27:30,607 --> 00:27:33,610
to have the mops carry the buckets
and do the work for him.
516
00:27:33,693 --> 00:27:35,487
And every technology is like that,
517
00:27:35,570 --> 00:27:38,657
and there are unintended consequences
with new innovations
518
00:27:38,740 --> 00:27:42,786
if you don't fully appreciate
what these things are capable of.
519
00:27:42,869 --> 00:27:44,663
I think in the case of Deepfake,
520
00:27:44,746 --> 00:27:47,248
you know, as we're exploring
these different technologies
521
00:27:47,332 --> 00:27:49,626
to make Luke Skywalker
look young for a story
522
00:27:49,709 --> 00:27:52,587
we couldn't tell any other way,
and we're telling you how we do it,
523
00:27:52,671 --> 00:27:54,881
showing you this is stuff
we didn't develop,
524
00:27:54,964 --> 00:27:56,800
this is stuff that's available, readily,
525
00:27:56,883 --> 00:28:00,720
it sort of is a reminder
that it might be used for purposes
526
00:28:00,804 --> 00:28:03,556
that are more misleading
and more detrimental.
527
00:28:04,307 --> 00:28:07,560
And what's nice about doing this
is we could point to it and say,
528
00:28:07,644 --> 00:28:11,815
"Well, we still have a few years
before it really gets indistinguishable."
529
00:28:11,898 --> 00:28:15,151
But it will get to a point
where you can't tell them apart.
530
00:28:16,027 --> 00:28:20,573
And it made us think about it,
because when you know it's there,
531
00:28:20,657 --> 00:28:22,826
it's kind of fun
and a point of discussion.
532
00:28:22,909 --> 00:28:26,621
But something people didn't realize
is that his voice isn't real.
533
00:28:26,705 --> 00:28:28,832
His voice, the young Luke Skywalker voice,
534
00:28:28,915 --> 00:28:34,295
is completely synthesized
using an application called Respeecher.
535
00:28:34,379 --> 00:28:38,216
It's a neural network you feed
information into and it learns.
536
00:28:38,299 --> 00:28:40,760
So I had archival material
from Mark in that era.
537
00:28:40,844 --> 00:28:43,596
We had clean recorded ADR
from the original films,
538
00:28:43,680 --> 00:28:45,890
a book on tape he'd done from those eras,
539
00:28:45,974 --> 00:28:49,519
and then also Star Wars radio plays
he had done back in that time.
540
00:28:49,602 --> 00:28:52,689
I was able to get clean recordings
of that, feed it into the system,
541
00:28:52,772 --> 00:28:56,401
they were able to slice it up and feed
their neural network to learn this data.
542
00:28:56,484 --> 00:29:01,948
The computer is sampling sounds and tones
from younger Mark Hamill
543
00:29:02,031 --> 00:29:06,286
and creating a performance
that sounds like that Luke Skywalker.
544
00:29:06,369 --> 00:29:07,954
LUKE: He is strong with the Force.
545
00:29:08,955 --> 00:29:11,166
But talent without training is nothing.
546
00:29:11,249 --> 00:29:13,918
You know, it makes you realize
that it becomes harder
547
00:29:14,002 --> 00:29:16,463
to trust your eyes and ears
when it comes to this stuff.
548
00:29:16,546 --> 00:29:19,632
And, so... I mean, the good news
is that technology is probably...
549
00:29:19,716 --> 00:29:23,052
You know, technology is not going away,
in any event.
550
00:29:23,136 --> 00:29:25,638
But other people
who understand technology,
551
00:29:25,722 --> 00:29:27,223
if we can anticipate these things...
552
00:29:27,307 --> 00:29:30,894
Even now, there's blockchain technology,
like we talk about chain codes.
553
00:29:30,977 --> 00:29:34,105
My chain code has been encoded
in this armor for 25 years.
554
00:29:35,273 --> 00:29:38,067
You see, this is me. Boba Fett.
555
00:29:38,151 --> 00:29:39,861
FAVREAU: We were alluding to that there's
556
00:29:39,944 --> 00:29:42,655
a blockchain identification
that everybody has.
557
00:29:42,739 --> 00:29:47,577
I wonder if certain images or videos
that are released in official capacity
558
00:29:47,660 --> 00:29:49,412
could have some kind of a stamp with it.
559
00:29:49,496 --> 00:29:52,499
Something... When you see something,
that you know it's real.
560
00:29:52,582 --> 00:29:55,919
Because it's becoming harder
to tell fake from real.
561
00:29:56,002 --> 00:29:59,130
And if we know that, we have
the technology that could address that.
562
00:29:59,631 --> 00:30:02,091
Now, having tokens that are associated,
563
00:30:02,175 --> 00:30:06,554
that have, "Where does this image
come from?" Built into the blockchain.
564
00:30:06,638 --> 00:30:10,266
"How has it been edited or changed?
When was it created?"
565
00:30:10,767 --> 00:30:16,105
Those are identifiers that don't require
a database or a central governing body.
566
00:30:16,189 --> 00:30:19,692
However, if the big tech companies
got together and say,
567
00:30:19,776 --> 00:30:23,279
"Come up with a standard of verification,"
they do it in social media.
568
00:30:23,363 --> 00:30:27,700
I know if somebody's giving a real quote
as they're verified with a blue checkmark,
569
00:30:27,784 --> 00:30:29,869
if they're somebody
who's of social consequence,
570
00:30:29,953 --> 00:30:32,288
that they've deemed
somebody they would verify.
571
00:30:32,372 --> 00:30:36,042
And like in Fantasia,
when the wizard comes in
572
00:30:36,125 --> 00:30:42,632
and he's able to undo the things
that Mickey did in his haste.
573
00:30:43,299 --> 00:30:46,344
And because he was
engaging with technologies,
574
00:30:46,427 --> 00:30:50,390
or, in this case, magic, that he didn't
understand the full ramifications of.
575
00:30:50,473 --> 00:30:51,474
The good news is
576
00:30:51,558 --> 00:30:55,103
we have all these wonderful technologies
available to us to tell stories.
577
00:30:55,186 --> 00:30:56,312
Only gonna get better.
578
00:30:56,396 --> 00:31:00,275
Part of our responsibility,
you guys and me,
579
00:31:00,358 --> 00:31:04,779
is to keep an eye on that
and see how we can help
580
00:31:04,863 --> 00:31:09,742
maximize the benefit while diminishing
or eliminating the downside.
581
00:31:13,162 --> 00:31:14,455
FILONI: Growing up with Star Wars,
582
00:31:14,539 --> 00:31:16,291
you never think
you'd be a part of making it.
583
00:31:16,374 --> 00:31:20,587
For Jon, I think it's so special
to have a character like Grogu
584
00:31:20,670 --> 00:31:26,426
that can stand right next to R2-D2
in the same frame and talk to him.
585
00:31:27,051 --> 00:31:28,970
You don't ever imagine that.
586
00:31:29,053 --> 00:31:33,933
And it's a huge responsibility to put
that character next to those characters.
587
00:31:34,017 --> 00:31:35,435
(R2-D2 BLEEPING)
588
00:31:37,312 --> 00:31:39,397
FILONI: I remember the look on Jon's face.
589
00:31:39,480 --> 00:31:41,691
We were talking about the scene,
getting into it,
590
00:31:41,774 --> 00:31:45,028
and I said, "Well, if we bring
Luke in, you get Artoo."
591
00:31:45,111 --> 00:31:47,989
And Jon was like, "Artoo."
592
00:31:48,072 --> 00:31:49,991
My favorite character when I was little.
593
00:31:50,074 --> 00:31:54,412
Oh, my God... They didn't even have
toys of him. Had the little figures.
594
00:31:54,495 --> 00:31:56,456
If I could have a radio-control one
595
00:31:56,539 --> 00:31:58,833
like they have now,
I would've lost my mind.
596
00:31:58,917 --> 00:32:01,085
FILONI: You know that you see
someone's inner child,
597
00:32:01,169 --> 00:32:06,841
and I saw in Jon, I saw in him that
young person that first saw Star Wars.
598
00:32:06,925 --> 00:32:10,762
It was right there in front of me
when I mentioned Artoo.
599
00:32:10,845 --> 00:32:17,101
And so I immediately did a sketch
of Artoo talking to Grogu.
600
00:32:17,185 --> 00:32:18,937
And I was like, "The moment we want
601
00:32:19,020 --> 00:32:21,773
"is the one that's
like when Wicket meets Artoo."
602
00:32:21,856 --> 00:32:23,274
(R2-D2 BLEEPING)
603
00:32:23,358 --> 00:32:27,362
In post, we reanimated his little lights.
That was a lot of fun, actually.
604
00:32:27,445 --> 00:32:30,073
For his lens that's right in front
that moves around,
605
00:32:30,156 --> 00:32:33,076
gives you an indication of his mood
and what he's thinking,
606
00:32:33,159 --> 00:32:37,705
we took an animation
directly from Return of the Jedi
607
00:32:37,789 --> 00:32:41,417
and reanimated it for the scene
and got to put it in there.
608
00:32:41,501 --> 00:32:44,879
So we got to use some Return of the Jedi
directly on Artoo.
609
00:32:44,963 --> 00:32:46,464
(R2-D2 BLEEPING)
610
00:32:48,174 --> 00:32:49,384
MAN: And action!
611
00:32:50,051 --> 00:32:51,886
FAVREAU: It was already intense because...
612
00:32:51,970 --> 00:32:55,264
My God, here's Mark Hamill
dressed as Luke Skywalker,
613
00:32:55,348 --> 00:32:57,725
on our set in a starship hallway.
614
00:32:57,809 --> 00:33:00,895
It was just... It felt like a dream.
It was very strange.
615
00:33:00,979 --> 00:33:04,232
And I was fine. And then R2-D2 rolled on.
616
00:33:04,857 --> 00:33:07,527
And I just had a moment
where R2-D2 was there
617
00:33:07,610 --> 00:33:10,029
and I... That's when I broke down.
618
00:33:10,113 --> 00:33:13,449
And it felt... I didn't understand
why it felt silly, you know?
619
00:33:14,200 --> 00:33:15,618
But I started tearing up.
620
00:33:16,285 --> 00:33:18,663
And I was like,
"Let me remember this moment."
621
00:33:18,746 --> 00:33:20,206
Uh, even now, I'm sort of moved.
622
00:33:20,289 --> 00:33:22,417
But I don't understand why,
I really don't.
623
00:33:22,917 --> 00:33:24,293
I don't understand why.
624
00:33:24,836 --> 00:33:27,338
But it just shows you
how deep that stuff goes,
625
00:33:27,422 --> 00:33:31,175
and what it touches from your childhood
and how you felt then.
626
00:33:31,259 --> 00:33:32,719
For a generation of kids now,
627
00:33:32,802 --> 00:33:35,930
Grogu represents something
that Artoo represented to me,
628
00:33:36,014 --> 00:33:37,598
that Yoda represented to me.
629
00:33:37,682 --> 00:33:42,645
It's a magic, special character
that we take very good care of, I hope.
630
00:33:44,063 --> 00:33:45,773
(COOS)
631
00:33:47,817 --> 00:33:50,486
HAMILL: The Grogu puppet is so believable.
632
00:33:50,570 --> 00:33:54,657
Déjà vu with Yoda, you know?
I mean, Yoda was so real to me.
633
00:33:54,741 --> 00:33:57,744
I just thought,
when I was watching the episodes,
634
00:33:57,827 --> 00:34:01,956
I said, "I've got to meet the Child,"
and it's justified
635
00:34:02,040 --> 00:34:04,959
because I'm the only one
that has any experience
636
00:34:05,043 --> 00:34:06,210
with the species.
637
00:34:06,294 --> 00:34:07,420
THE MANDALORIAN: Hey, go on.
638
00:34:09,088 --> 00:34:11,549
That's who you belong with.
He's one of your kind.
639
00:34:14,427 --> 00:34:19,432
It was important that the end of that show
have a really strong, slow build,
640
00:34:19,515 --> 00:34:21,517
and build in emotion
641
00:34:21,601 --> 00:34:25,730
about how the audience was responding
to the appearance of that character
642
00:34:25,813 --> 00:34:29,484
and to the separation of Mando and Grogu.
643
00:34:30,526 --> 00:34:32,862
I talked to Jon a lot
about the ending of E.T.
644
00:34:32,945 --> 00:34:36,657
The way that you spend
a whole movie with E.T. and Elliott.
645
00:34:36,741 --> 00:34:40,078
And then, there's a certain point
where E.T. has to go.
646
00:34:40,161 --> 00:34:43,039
And that whole ending
where Spielberg goes around
647
00:34:43,122 --> 00:34:47,418
and you're just witnessing
the emotion between E.T. and Elliott.
648
00:34:47,502 --> 00:34:50,338
The emotion of E.T.'s mom and brother,
everybody in that scene,
649
00:34:50,421 --> 00:34:53,508
and it is all through
this amazing John Williams score.
650
00:34:53,591 --> 00:34:56,928
I said, "We want to introduce a bit
of that into the Star Wars universe."
651
00:34:57,011 --> 00:35:00,306
Let's not be afraid
of that emotion at the end of the thing,
652
00:35:00,389 --> 00:35:03,810
'cause that's...
To me, that was the win of that episode.
653
00:35:03,893 --> 00:35:07,230
And it felt like it merited it,
because to split up those two characters
654
00:35:07,313 --> 00:35:11,025
at the end of that season
broke a lot of hearts.
655
00:35:13,736 --> 00:35:15,947
All right, pal. It's time to go.
656
00:35:21,744 --> 00:35:23,037
Don't be afraid.
657
00:35:23,121 --> 00:35:26,666
BLUFF: What was interesting
about watching Peyton's episode, 208,
658
00:35:26,749 --> 00:35:28,209
I was watching it with my family,
659
00:35:28,292 --> 00:35:31,254
and so there was a little bit of a gap
in your muscle memory
660
00:35:31,337 --> 00:35:33,339
of how the episode played out.
661
00:35:34,549 --> 00:35:36,676
I got pretty choked up watching it.
662
00:35:36,759 --> 00:35:39,345
And not only seeing the character
and emotion come though
663
00:35:39,428 --> 00:35:41,305
and, of course, the spectacular music,
664
00:35:41,389 --> 00:35:45,184
but I think it was
the finally letting go of the emotion of,
665
00:35:46,310 --> 00:35:47,478
"Now the world knows.
666
00:35:47,562 --> 00:35:50,898
"Now we can let go of some
of what's been inside this whole time."
667
00:35:50,982 --> 00:35:54,652
And maybe I can say "Luke Skywalker"?
Maybe not. I'm not sure. (CHUCKLES)
668
00:35:57,655 --> 00:36:01,701
FAVREAU: To see the reactions, that was
a high point of my whole career.
669
00:36:01,784 --> 00:36:05,997
That was definitely on those moments
you could count on one hand,
670
00:36:06,664 --> 00:36:10,459
of what makes you grateful
that you're doing what you're doing,
671
00:36:11,085 --> 00:36:15,423
and to hear Peyton react and Dave react
and especially Mark.
672
00:36:16,090 --> 00:36:19,510
When Mark was seeing the stuff...
And we live in an interesting time.
673
00:36:19,594 --> 00:36:24,557
We live in a time when people
make their feelings known. (LAUGHS)
674
00:36:24,640 --> 00:36:28,186
And if you choose to,
you could dip into that river
675
00:36:28,269 --> 00:36:30,688
of information, of feedback.
676
00:36:31,189 --> 00:36:37,737
Jon sent me links to reaction videos,
which were just, you know...
677
00:36:37,820 --> 00:36:40,198
'Cause I don't get to
see these things in the audience.
678
00:36:40,281 --> 00:36:42,575
To see grown men cry.
679
00:36:42,658 --> 00:36:45,620
And just those people
screaming their heads off.
680
00:36:46,329 --> 00:36:51,918
It was really, really thrilling for me
to see them enjoying it so much.
681
00:36:55,880 --> 00:37:00,218
We love the fans. If it weren't for them,
I wouldn't be sitting here talking to you.
682
00:37:00,301 --> 00:37:03,429
They are the most loyal,
passionate group of people
683
00:37:03,512 --> 00:37:05,973
that I've ever encountered.
684
00:37:06,390 --> 00:37:10,895
I just have a deep gratitude
to their enthusiasm over the years.
685
00:37:10,978 --> 00:37:15,983
I never expected that, and it's just
been something that I really cherish.
686
00:37:19,028 --> 00:37:23,282
FILONI: This job is great in so many ways,
and I think people think the job is great,
687
00:37:23,366 --> 00:37:26,369
'cause we get to tell the story,
because we do these effects,
688
00:37:26,827 --> 00:37:30,414
because we get these experiences,
because we go to Celebration, right?
689
00:37:30,498 --> 00:37:32,625
But also great
is just standing on the side
690
00:37:32,708 --> 00:37:34,043
and watching somebody...
691
00:37:34,126 --> 00:37:37,630
Like I said, I saw the child inside Jon,
that he experienced Star Wars.
692
00:37:37,713 --> 00:37:41,926
I sit there with Peyton, you see
your crew just staring at Mark
693
00:37:42,510 --> 00:37:45,221
and you realize they're remembering
what it meant to them.
694
00:37:46,180 --> 00:37:49,141
And you realize that you've been
a part of constructing something
695
00:37:49,225 --> 00:37:51,018
that's giving that experience to people.
696
00:37:51,644 --> 00:37:56,691
This good feeling, which, fundamentally,
Star Wars should deliver a good feeling.
697
00:37:57,108 --> 00:38:01,279
An uplifting feeling in you
and your family, your kids, whatever.
698
00:38:03,406 --> 00:38:05,825
A lot of Star Wars fans are of this age
699
00:38:05,908 --> 00:38:08,786
where they're not
the Luke Skywalkers anymore.
700
00:38:08,869 --> 00:38:11,580
They're the parents now,
and they're saying goodbye to their kids
701
00:38:11,664 --> 00:38:14,083
as they go off to school
or off to college.
702
00:38:14,667 --> 00:38:18,087
And I think that what's nice
about a good myth and a good story
703
00:38:18,170 --> 00:38:19,797
and the world that George created
704
00:38:19,880 --> 00:38:22,425
is that there's room
for all the archetypes of every age,
705
00:38:22,508 --> 00:38:25,553
and I think that's part of why it becomes
an intergenerational experience.
706
00:38:25,636 --> 00:38:28,055
And just as my father brought me
to the first Star Wars,
707
00:38:28,723 --> 00:38:31,851
there's a lot of people
sitting on the couch with their kids.
708
00:38:31,934 --> 00:38:34,979
They may be watching for
different reasons, like different things.
709
00:38:35,062 --> 00:38:39,400
But I like, you know, in this atomized
entertainment economy
710
00:38:39,483 --> 00:38:42,403
where everybody is looking at things
that are bespoke for them
711
00:38:42,486 --> 00:38:44,322
and everybody has their own log-in
712
00:38:44,405 --> 00:38:47,366
and everybody has their own platform
that they like to look at,
713
00:38:47,450 --> 00:38:53,873
to have a moment where you could have
several members of a family together,
714
00:38:53,956 --> 00:38:57,918
watching the same thing
and sharing the same experience.
715
00:38:59,211 --> 00:39:02,214
That's what good television
and good movies are all about
716
00:39:02,298 --> 00:39:05,092
and I really... I'm very proud of that,
717
00:39:05,176 --> 00:39:09,472
The Mandalorian has that element to it.
718
00:39:10,765 --> 00:39:14,977
And it's a great way to introduce
the next generation to Star Wars.