Page 29 - Star Wars Insider #195

MAKING THE MANDALORIAN

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World War II generation and their
ideals of good and evil—from his
perspective as a Baby Boomer. “With
the subversiveness of their movies in
the 1970s, George’s generation had

respect for the films they grew up
with, but they put a twist on them,”
says Favreau. “Then my generation
was presented a cinematic view
through the lens of George Lucas.
And now we’re telling stories for
another generation.”
“I think it’s as exciting to a
50-year-old fan as it is to a 10-year-
old fan, when you do it right,”
Filoni adds. “The trick is in getting
that formula right. It’s very hard.” FACTS AND
FIGURES
Keeping It Unreal computer graphics conference), 01 Pedro Pascal
Just as George Lucas had done THE PITCH Jon Favreau revealed that The plays the
“After the stories of Jango and Boba Mandalorian.
with Star Wars, Favreau and Filoni Fett, another warrior emerges in the Mandalorian was utilizing the
worked to push the technology used Star Wars galaxy. The Mandalorian Unreal Engine—a method of 02 The Child,
on making The Mandalorian. Their is set after the fall of the Empire and rendering photo-real graphics around whom
before the emergence of the First the plot of
challenge was to create a theatrical Order. We follow the travails of a in video games—to replace a lot the series
quality experience for a streaming lone gunfi ghter in the outer reaches of the traditional green-screen hinges.
television service. “That’s one of of the galaxy far from the authority work audiences might normally 03 Dave Filoni
of the New Republic.”
the dreams George had even when expect to find on a Star Wars (left) with

I worked with him on The Clone Number of Episodes: 8 production. This iteration of Jon Favreau
(right) at
Wars,” Filoni reveals. “He would First Aired: November 12, 2019 Star Wars has worked to break Star Wars
talk about the future; the idea of barriers in technology like all Celebration
WRITERS: 2019.
streaming and being episodic.” the best Star Wars projects
Jon Favreau (Chapters 1-4, 7, 8)
The disconnect between the Dave Filoni (Chapter 5) before it, and fi lmmakers on
affordability of effects and the Christopher Yost and The Mandalorian were able to
Rick Famuyiwa (Chapter 6)
quality of fi lmmaking required simultaneously work with both
to make Star Wars work on the DIRECTORS: the actors and environments on
small screen had previously Dave Filoni (Chapters 1 & 5) a live set as well as the digital
prevented hopes for a live-action Rick Famuyiwa (Chapters 2 & 6) elements that would traditionally
Deborah Chow (Chapters 3 & 7)
Star Wars TV series taking shape, be inserted in post-production.
Bryce Dallas Howard (Chapter 4)
but technology has since taken Taika Waititi (Chapter 8) Instead of the green screens for
huge leaps forward. At 2019’s set expansions like George Lucas
SIGGRAPH event (an annual pioneered on The Young Indiana

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