ST WS MAGAZİN DERGİSİ

STAR WARS MAGAZINE

RISE & SHINE

The cast and crew on making the epic conclusion of the Sywalker saga!

THE MANDALORIAN

Exclusive interviews with Gina Carano and Carl Weathers

CONThe Meaning of Masks Peeling back the masks of Star Wars to uncover the truths hidden beneath.

Battle Beyond the Stars The starships and vehicles of Star Wars: The Rise of Skywalker.

Paths of Destiny Tracing the relationships that connect the Skywalker saga

Gina Carano The rising star of The Mandalorian on how Star Wars has changed her life.

Carl Weath The veteran actor on joining the cast of new Disney+ series The Mandalorian.

Galactic Survey The defi ning moments of the Skywalker saga, as voted for by Insider’s readers.

From Art to Artifact Artist Takashi Okazaki on his new project for model-maker Kotobukiya.

New Hopes Discover how Star Wars can help you survive life after the Skywalker saga.

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Making The Manda lorian Jon Favreau and Dave Filoni reveal how they worked together to unleash The Mandalorian on the galaxy Interview: Pedro Pascal Who is the man in the beskar mask?

Insider speaks to the Madalorian himself.

Destroy the Death Star How we took on the superweapon, in board games and on arcade machines

Rise of the Resistance An inside look at the development of the new attraction at Galaxy’s Edge.

Going Green Paul Blake and Maria De Aragon on playing Rodian bounty hunter Greedo.

Enfys Nest Who was the young woman who masqueraded as a criminal marauder, and what was she fi ghting for?

The Rise of Star Wars Kids Lucasfi lm’s James Waugh explains how fun new Star Wars Kids content is encouraging younger fans.

Noughts and Crosses Which starfi ghter will win in our X-wing versus TIE fi ghter challenge?

Or will it all end in a... tie?

TENTS

THE MEANING OF MASKS In a saga steeped in mystery, deceit, and intrigue, it’s no wonder that masks—both actual and metaphorical—have come to play such a prominent role in the Star Wars mythos. From the avuncular image projected by Chancellor Palpatine to the implacable visage of Kylo Ren, Star Wars Insider peels away the masks of the galaxy to reveal the truth beneath some of those facades…

WORDS: CLARKE

In the first of several crises that Queen Padmé Amidala is confronted with in Star Wars: The Phantom Menace (1999), she presents herself in stunning ceremonial regalia. Appearing via a viewscreen aboard the Neimoidian Trade Federation ship looming above her homeworld, we see the resolute queen wearing striking face paint; it’s imposing, elegant, and stark, evoking something tangibly ancient and earthly that reminds us how, in creating Star Wars, George Lucas and his collaborators tapped into the ways that reality creates fantasy

Amidala’s face paint is a fi ne example of the detail of the fi lmmaker’s world-building and evokes the Kumadori face-paint tradition of Japanese Kabuki theater. Donald Richie, who wrote extensively about Akira Kurosawa—the infl uential fi lmmaker that Lucas himself cites as an inspiration—once explained of Japanese art that it looks for, “Qualities existing under… outward surface.” Similarly, in the Noh theater tradition, masks accentuate rather than disguise the inner life of a character. When looking at the role of masks in Star Wars, these defi nitions echo what we often discover in the galaxy far, far away.

Masks conceal and then reveal secrets, truths, terrors and wonders

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THE MEANING OF MASKS

Darth Vader’s Dark Visage

MASKS CONCEAL AND THEN REVEAL SECRETS, TRUTHS, TERRORS AND VONDERS

The confl icts btwn the powerful and the powerless, the selfi sh and the selfl ess, were part of George Lucas’ thematic conception for Star Wars: A New Hope (1977) from the very beginning, with Darth Vader’s mask serving as the dark-hearted symbol and portal to these essential confl icts throughout the saga.

In Lucas’ development of the screenplay for Star Wars, Vader embodied the duality between humans and machines, and this dynamic was crystallized in his mask and helmet design. We should note here that Ralph McQuarrie

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originally worked from a Lucas note that Vader would need breathing apparatus to move between ships. That simple notion—a prosaic plot point—sparked the image of Vader’s helmet and mask, which later attained so much more poetic power by its necessity to compensate for the devastating injuries Anakin received during his fateful duel with Obi-Wan Kenobi on Mustafar. As the mask descends towards Anakin’s fi re-ravaged face, it signals his fi nal transition to becoming the Sith Lord, Darth Vader, and allows us to glimpse what it will feel like to be trapped forever inside the armor that masks his former self.

The visual development work that George Lucas and his team undertook for A New Hope is suffused with East Asian infl uence, and Vader’s mask evokes qualities of a kabuto samurai helmet.

When recalling how the concept for Vader’s visage evolved, Lucas acknowledged the infl uence of Japanese fi lmmaker Akira Kurosawa’s movies, revealing that he “found it very interesting that nothing was explained. I think that infl uenced me a great deal in working in science fi ction, because I

as able to get around the idea that ou have to explain everything.”

Also essential to Vader’s mask nd helmet combination is the nfluence of the samurai tradition of he mempo. The mempo is a mask ntended to protect the face, and its esign typically suggests a demonic, upernatural or beast-like power with the aim of intensifying the ense of imminent danger posed by he wearer. In his book The Masks of God, Joseph Campbell (whose work has so often been cited as ital to the character-building and mythology-inspired plotting of Star Wars) wrote that, “The mask is… evered and experienced as (an) pparition of mythical being… a tep toward rather than away from he ineluctable truth.”

Luke’s unmasking of Vader at the end of Star Wars: Return of the Jedi (1983) is powerfully symbolic, especially when recalling Obi-Wan’s observation that, “He is more machine now than man.” The trappings of technology and power are a disguise for a frail, aging being.

For all of the sentiment and delicate handling of Luke and Anakin Skywalker’s reconciliation in the closing moments of Return of the Jedi, the most powerful and unsettling role played by Vader’s mask can be seen in Star Wars: The Empire Strikes Back (1980) when Luke, as part of his Jedi training under Yoda’s tutelage on Dagobah, enters an area particularly sensitive to the dark side of the Force. It is here that the young Jedi faces his hardest test to date. Confronted by a vision of Vader, Skywalker gives in to his fear and hatred and strikes Vader down; only to be confronted by the image of his own face within Vader’s fractured helmet. The revelation offered by the mask at this point represents the trait that Luke fears he harbors: that he, too, is susceptible to the corruption of the dark side.

Troubled Soul In Star Wars, the past is always powerfully felt in the present, and often repeated to tragic effect. Masks aid in expressing this concept

THE MEANING OF MASKS

THE DARKEST OF KNIGHTS

Star Wars mask designs have been vividly infl uenced by the art and design of East Asia, but there is a notable counterpoint to this, and it’s found in the aesthetic of the Knights of Ren; the fearsome warriors whose appearance projects a sense of confi dence and invulnerability.

In the medieval era, visored helmets evolved dramatically across Europe, and those worn by the Knights of Ren evoke the particular tradition of German Gothic armor of the Sixteenth Century. Typically, up to this point knights had been depicted as the embodiment of physical and spiritual perfection, but in the German Gothic mode the concept of the anti-knight found expression. These fi gures were far removed from the domains of noble action or thought and, as such, the helmets and visors worn by them were consciously crafted to evoke associations with various forms of the hellish and nightmarish.

With his mask and hood reminiscent of earlier dark siders, Kylo Ren fuses the aesthetic of Darth Vader and Darth Sidious in an austere costume design that exudes both menace and an unsettling blankness.

This masking of facial expression intensifi es a sense of danger (as Ren’s fi rst appearance in Star Wars: The Force Awakens (2015) demonstrates) and echoes not only the samurai helmet tradition but also the aesthetic of the European medieval helmet and visor.

When Ren eventually removes his mask, he reveals the face of a young man with a clearly troubled soul. Speaking to the tragedy of how one generation repeats the failings of another, the mask of Ren’s grandfather had concealed a similarly confl icted

WHEN REN EVENTUALLY REMOVES HIS MASK, HE REWALS THE FACE OF A YOUNG MAN A CLEARLY TROUBLED SOUL

character. Ren is anxious and angry, cursed by his resentments and his pursuit of power. In the scene in which he contemplates the ashen, broken mask of Darth Vader, the artifact becomes an amulet of sorts, and a way for Ren to focus and channel Vader’s legacy as he struggles to quieten the turmoil within himself.

“Show me the way, grandfather,” Ren urges the mask.

His angst and inner struggle as Ben Solo, represented through both his own and Vader’s masks, intensifi es in Star Wars: The Last Jedi (2017). When Supreme Leader Snoke orders Ren mask, it is with the disparaging command to, “Take that ridiculous thing off,” before further diminishing Ren’s sense of stature and infl uence with

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THE MEANING OF MASKS

the observation that he is, “Just a child in a mask.” Soon after, we see Ren smash it to pieces until its shattered form echoes the remnants of Vader’s.

Like Anakin Skywalker before him, Kylo Ren is a petulant young man hiding behind a mask that he uses to project what is really driving him. Ren’s mask provokes us to consider the self-image he wants to project, and in this respect its function very powerfully connects to classical ancient Greek drama in which the mask is known as the prosopon. It is from this word, when translated into Latin, that we arrive at the word persona. As the events of Star Wars: The Rise of Skywalker (2019) unfold, Ren’s mask is reconstructed, now marked with vivid red scars where its fragments have been fused together. J.J. Abrams revealed that these jagged lines were intended as a visual representation of Ren’s fractured persona, and that the “mask doesn’t ultimately hide him, and his behavior is revealed.”

To Strike Fear Young people fi ghting back against their corrupt and deceitful elders is a well-established fairy tale trope, and is one of the fundamental points of resonance and appeal in Star Wars, too. Enfys Nest, the masked antagonist of Solo: A Star Wars Story (2018), perfectly embodies this youthful heroism. As a female teenage fi ghter, Nest resonates particularly in the current political climate, in which young women are so powerfully leading public debate on matters of global signifi cance, yet her mask is a counterpoint to the person behind it. Intended to strike fear into those who behold it, the mask obscures the truth of her young age and renders Nest genderless, a primal force who becomes almost supernatural in nature.

WAdorned with Aurebesh text that reads: “Until we reach the last edge, the last opening, the last star and can go no higher,” her face piece is not only a disguise, but an overt symbol of resistance to oppressive

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DECEPTION AND DECOYS As we follow Amidala’s story through The Phantom Menace, the mask of the queen is critical in ensuring her survival, concealing both the true identity of Padmé and the purpose of her selfl ess handmaidens in their role as decoys. Indeed, the use of the word “phantom” in the fi lm’s title speaks to the idea of what is, or is not, obviously there in front of us.

The decoy role also shapes the opening scenes of Attack of the Clones, when Amidala, disguised as a Naboo guard, survives an assassination attempt only to helplessly watch her decoy, Cordé, dressed in the regalia of the queen, die on a Coruscant landing platform.

Even the planet is shrouded in clouds, masking the realities of a place where both those who thrive on integrity and peace (the Jedi) and those who are fueled by aggression and deceit (Senator Palpatine) reside.

forces that seek to shut down those who resist.

Nest’s rebellion and conviction are reminiscent of a very particular young woman who has so often been imagined as the apogee of heroic youth: Joan of Arc. Mythographer Marina Warner has written of the allure of Joan that, “Her image acts as a magic mirror of personal and political idealism and, in particular, changing ideas about women’s heroism.”

Invisible Masks Not all masks are as tangible as those worn by Vader, Ren, and Nest. Some are behavioral, and at fi rst glance go almost unseen.

Such self-conscious creations of a false identity are key to the dramatic

INTENDED TO STRIKE FEAR INTO THOSE WHO BEHOLD IT, THE MASK OBSCURES THE TRUTH OF HER YOUNG AGE AND RENDERS NEST GENDERLESS

THE MEANING OF MASKS

intrigues of Star Wars, particularly when it comes to Obi-Wan Kenobi and Yoda.

Discovering that what you expect is often quite different to what you get is a lesson that binds together the experiences of any number of Star Wars protagonists, particularly the younger ones as they move from innocence to experience. Seemingly lacking stature of any kind, Yoda reveals his greatness to Luke, who responds he will still be strange and with a combination slightly crazy.” of wonder tempered The tension between with confusion—after Yoda’s humility and all, there is nothing OBI-WAN’S the concealment of apparently warrior-like HUMBLE, his physical agility is about his diminutive ROUNGH-HEWN demonstrated in Star host. Instead, the Jedi APPERANCE Wars: Attack of the Master is playful, silly, CONCEALS Clones (2002), during his and non-threatening.

GREAT climactic duel with Count When George Lucas WISDOM, AND Dooku. Signifi cantly, the was developing the A PROFOUND showdown concludes in screenplay for the fi CONNECTION time for Yoda to revert he suggested some TO THE GALAXY to his familiar stoop just of Yoda’s mask-like as Anakin and Obi-Wan behavior in a side note awake from their injuries. that, “He could be very Similarly, when we childlike even though meet the elderly Obi-Wan he’s an old man… It’s Kenobi of A New Hope on Tatooine, not until the end of the third act his appearance is at odds with the that you realize this guy is not a dashing, agile young Jedi that we crazy little thing, but an agent of the knew from The Phantom Menace, Force… [Yoda] will get serious, but

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Attack of the Clones, and Revenge of the Sith (2005). So much of ObiWan’s life is lived behind a mask of sorts, his true identity concealed for years behind the (admittedly slender) pseudonym, Ben Kenobi. Gentle, polite, caring, and with a sparkle in his eye, the sadness and regret that mark the truth of his life are yet to be revealed, as are the masterful Jedi skills that we but glimpse in a brief skirmish in the Mos Eisley Cantina.

Much like Yoda, Obi-Wan’s humble, rough-hewn appearance conceals great wisdom, and a profound connection to the galaxy.

An Insidious Pretense Whilst the examples of Enfys Nest and Yoda reassure us that different forms of mask can obscure both great kindness and great courage,

THE MEANING OF MASKS

it’s important to remember they can also conceal greed and an all-consuming hunger for power. If there is one face in the galaxy that embodies these malignant impulses, it is that of Palpatine: senator, Chancellor, and evil Emperor.

Darth Sidious’ hood is a mask of another sort and, like a number of characters in Star Wars, there is a potent medieval infl uence at work.

When a robed Sidious fi rst appears in The Phantom Menace, during a covert meeting with Darth Maul on Coruscant, the face concealed beneath is glimpsed only in profi le.

It’s an introduction that anticipates his subsequent appearances in the Skywalker saga: Sidious is the true self that’s hidden beneath the genteel persona of the seemingly benign Sheev Palpatine. When we fi rst encounter the senator during his conversation with Queen Amidala, his decorum and politeness mask his aggression and contempt for the political arrangement he seeks to destroy.

His apparent surprise and distaste at political games in the Senate is, in fact, a deceit.

The motif of the mask, then, carries a broader resonance that touches on political realities we recognize in terms of populist politicians. At the close of The Phantom Menace, Palpatine declares enthusiastically—and apparently with generosity—that he will watch the career of Anakin Skywalker,

IN THE SENATE, PALPATINE DONS A NEW MASK: POSING AS THE SAVIOR OF THE GALAXY

“with great interest.” How nurturing the kindly politician seems, yet how destructive he truly is. In the Senate, Palpatine dons a new mask: posing as the savior of the galaxy.

The deception is complete, and the menace is no longer a phantom, but instead something all too real and dangerous.

Star Wars has long demonstrated the power of allegory and its focus on masks as dramatic devices and symbols of theme (notably

around that of deception) chimes with the work of the 20th century philosopher Hannah Arendt, who witnessed World War II and the Holocaust, and wrote that, “No matter how large the tissue of falsehood that an experienced liar has to offer, it will never be large enough… to cover the immensity of factuality.” This analysis could not be truer of the masked machinations of Palpatine. Eventually, Palpatine drops his disguise entirely in Revenge of the Sith, gleefully revealing himself as the vampiric Darth Sidious who drains others of their potential to sate his own needs and ambitions.

Truths hidden behind masks are an essential element in the allure of Star Wars storytelling. In the book Star Wars: The Magic of Myth, the point is made that the fi lms have been able to, “open our hearts to the dimension of mystery in our own lives.” Masks, then, allow creators of stories and their audiences to project onto them. How we respond to the mysteries and functions of masks says as much about us as they do about the characters who lurk behind them.

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BATTLE BEYOND THE STARS Two fl eets meet in the fi nal epic space battle of the Skywalker saga. Insider profi les the starships and vehicles upon which the fate of the galaxy depends.

WORDS: CHRISTOPHER COOPER

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BB THE STARS

FORCES OF GOOD

A rag-tag fl eet of ships composed of battered freighters, capital ships, and starfi ghters held together by spare parts and hope, the Resistance has gathered all the forces it can muster for one fi nal confrontation against the First Order and an even darker enemy

X-WING S

Synonymous with oppression, the R Incom-FreiTex T-7 supply following a action, with a mer service and ready

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BB THE STARS

MILLENNIUM

The old Corellian YT-1300 freighter, formerly owned

by Lando Calrissian and Han Solo, and which is now in possession of the Wookiee Chewbacca, has long been a totemic icon of freedom, fi rst for the Rebel Alliance and now to the Resistance.

STARFIGHTER

h the fi ght against galactic Resistance’s squadron of 70 X-wings are now in short a year of intense combat re 8 ships remaining y to engage the First Order.

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BB THE STARS

A-WING STARFIGHTER

An improved upgrade over the original RZ-1, the RZ-2 version of the tenacious A-wing fighter is capable of high speeds without engine burnouts, hull compromises, or the loss of stability that blighted the earlier model.

The played a the origina service decad

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THE MEANING OF MASKS

WING STARFIGHTER

In service as long ago as the Clone Wars, the Resistance’s fl eet of Y-wings come courtesy of pilots who brought their own ships into the fold as well as vessels brought from those who dwell in sympathetic systems.

TANTIVE IV

e Alderaanian consular ship that that a key role in the theft of the plans for al Death Star has been pressed into e once again, after spending several des mothballed in the Yarma system.

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BB THE STARS

AXIS OF EVIL

With all the might and resources of the First Order, and a secret fl eet of Star Destroyers hidden in the depths of space, the odds are stacked in favor of the agents of the dark side. Evil’s goal? Total domination of the galaxy

THE NIGH

Formerly a dungeon prisoners to the pen the Oubliette-class t by the sinister Knights o modifi ed into a mena

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BB THE STARS

WALKER

The First Order’s Urban Assault Triped Transporter (UA-TT) is designed for urban pacifi cation and to nullify any opposition met during a planet’s subjugation.

HT BUZZARD

n ship used to transfer nal world of Osseriton, transport was liberated of Ren and extensively acing portent of doom.

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BB THE STARS

TIE WHISPER A stealth variety of TIE, fi tted with enhanced and braced solar panels, sensorinhibitin systems, and a hyperdrive

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BB THE STARS

WING STARFIGH

In service as long ago as the Clone Wars, the Resistance’s fl eet of Y-wings come courtesy of pilots who brought their own ships into the fold as well as vessels brought from those who dwell in sympathetic systems.

TIE DAGGER

A Sith affi liated craft, the TIE dagger’s triangulated wings spread defl ector shield energy and keep the ship’s power cells energized. In addition to the laser cannons below the cockpit, the fi ghter also includes heavy lasers in its wings.

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PATHS OF DESTINY Spanning a galaxy of star systems and unfolding across multiple generations, the Skywalker saga swirls with complex action and intricate detail. Yet the tremendous galactic events portrayed are driven by the associations formed between a core group of characters. To graphically illustrate the connections at the center of this epic adventure, Star Wars historian David West Reynolds has crafted a trio of diagrams that reveal the fateful links between father and son, master and Padawan, Jedi and Sith, and more.

Words: David West Reynolds

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PATHS OF DESTINY

THE HOUSE OF SKYWALKER There is a restlessness in the Skywalker line, a latent impulse that drives one member after another to great heights or to terrible depths. Traits repeatedly resurface, even when children are separated and raised by adoptive families. Leia Organa becomes a powerful political leader in the mold of her mother, Padmé; Luke Skywalker dreams of living a life of adventure like his father, Anakin; and Ben Solo lacks discipline and generosity, choosing self over duty—much like his grandfather, who became Darth Vader

Shmi Skywalker

Shmi Skywalker faced the trials of a slave’s life with the same calm resolution that she showed in the face of torture and death at the hands of the Sandpeople. Her strength of spirit was a key wellspring of the extraordinary nature of the Skywalker clan.

Luke Skywalker Cliegg & Aika Lars

Separated from his first wife, Aika, Cliegg Lars and his son Owen settled on the outer-rim world of Tatooine.

Cliegg later freed and married Shmi Skywalker.

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Owen & Beru Lars

Owen inherited his father’s stubbornness and practicality. As the somewhat reluctant guardian of Luke Skywalker, Owen feared the forces that corrupted Anakin would resurface in the boy. Beru, on the other hand, recognized and accepted the differences that set Luke apart from their farming community

Growing up among moisture farmers wit no real knowledge of his parents, Luke Skywalker felt different to those around him, forever aspiring to a more exciting li that seemed eternally beyond his reach.

Longing for something more throughout his early years, he developed a certainty of identity that remained steadfast, even when his inner strength and clarity of judgement were sorely tested later.

Facing Darth Vader and the devastating truth about his parentage, Luke held fi rm against all temptation, mastering his Skywalker heritage instead letting it master him. A largely self-taught individual, Luke Skywalker’s achievement was unique in the annals of the Force.

PATHS OF DESTINY

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PATHS OF DESTINY

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PATHS OF DESTINY

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GİNA CARANO Tough, brave, and resourceful characters defending freedom and fi ghting the good fi ght have always been central to the Star Wars mythos. But what of those women who exist in the shadows of the galaxy far, far away, who must survive in the lawless orbit of crime lords, crooks, and bounty hunters?

Can’t they be heroes too?

As The Mandalorian’s no-nonsense Cara Dune, actor Gina Carano introduces a new and intriguing character to the Star Wars pantheon of characters.

WO R D S : TA RA B E N N E T T

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GİNA CARANO

Gina grateful to be welcomed into a world that is likely to change her life. For Carano, playing Cara Dune in The Mandalorian marks her transition from struggling actor to emerging star, and she can’t wait for fans to discover the secrets she’s been keeping about the live-action Star Wars TV show.

Star Wars Insider: What was it like spending many months workin in complete secrecy on The Mandalorian?

Gina Carano: It was really fascinating, the secrecy part of it. It’s a good reminder of how important Star Wars is to so many.

It’s such a powerful thing. To be a part of it all just gives me chills.

How did the role first come to you? Was it a standard audition?

I’ve been working in the indie film world for a while now, and it can be tough out there as an artist.

My agent at the time called me, and he said to me, “Hey, a phone call just came in from a casting agent, and they said Jon Favreau wants to meet you.” And I was like, “Did I hear that right?” I’ve been a fan of his since I was a little girl, after watching Swingers (1996), to the point of telling myself as a teenager, “I’m going to meet that man one day.” For me, this was a big deal. So, I asked my agent, “Do you know what it’s about?” And he had no clue. He didn’t know!

So, when I met Jon, he asked me, “You know why you’re here?” I said, “No. It’s just such an honor to meet you.” That’s when he told me, “Well, you’re here for a Star Wars project.”

That must have been the definition of a goosebumps moment?

I’ve had a couple of moments in my career where I’ve been blessed enough to have that feeling that this could be a game changer, you know? And that was definitely one of those moments. I think my adrenaline shot through the roof.

He probably kept on talking and trying to explain stuff, but my mind had switched to autopilot. (Laughs) How much did Jon Favreau reveal to you in that meeting?

Jon showed me all the concept art, and then he brought over this concept of a female character in armor, and asked me what I thought of it. I said, “That’s badass.

That’s really cool.” Then he told me, “That’s your character.” It did look like me, but I hadn’t wanted to make any assumptions. Plus, I don’t think I was firing on all cylinders at that point. Jon told me that they hadn’t interviewed anybody else for it, and that I was the first actor they’d met with.

That revelation must have been overwhelming, considering that in a Star Wars project, you could be playing anything?

Yes! I was wondering who I was going to be, thinking, “Are they going to put me on some stilts and make me the female Chewbacca?”

(Laughs). I thought they were just going to cover me with a mask, which, by the way, I totally would have done as well. But then here I am. I can see my character. She doesn’t have a mask on. She’s herself, but she is wearing this cool armor.

Once you were onboard, what did you do to prepare for the part?

“Star Wars is such a powerful thing. It stands on its own.”

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I feel like I had so much catching up to do. When you become involved in Star Wars, you form a different relationship with Star Wars, so you go back and you pay attention. And, I tell you, watching the original movies again from the beginning to the end, I was like, “Oh my God, this is why people are obsessed!” I hadn’t paid attention

“I was wondering who I was going to be, thinking, ‘Are they going to put me on some stilts and make me the female Chewbacca?’”

GİNA CARANO

DECEPTION AND DECOYS As we follow Amidala’s story through The Phantom Menace, the mask of the queen is critical in ensuring her survival, concealing both the true identity of Padmé and the purpose of her selfl ess handmaidens in their role as decoys. Indeed, the use of the word “phantom” in the fi lm’s title speaks to the idea of what is, or is not, obviously there in front of us.

The decoy role also shapes the opening scenes of Attack of the Clones, when Amidala, disguised as a Naboo guard, survives an assassination attempt only to helplessly watch her decoy, Cordé, dressed in the regalia of the queen, die on a Coruscant landing platform.

Even the planet is shrouded in clouds, masking the realities of a place where both those who thrive on integrity and peace (the Jedi) and those who are fueled by aggression and deceit (Senator Palpatine) reside.

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GÄ°NA CARANO

Cara Dune (Carano) wields her signature blaster

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GİNA CARANO

I was in tears, thinking “I cannot believe this.”

And when I got the script… I’ve really been struggling trying to make acting my career, and I’ll be honest, it hasn’t been easy. So, to be given this opportunity, surrounded by so much talent across the board, it’s been a dream come true. I am so incredibly grateful.

What was it like working with Favreau, after being a fan of his for so many years?

I remember thinking how much I admired this man. And at the same time, how comfortable and warm he was to be around. I think he’s an emotional genius and he’s brought in an incredible team. Even though there were different directors on several episodes, Jon would still come in in the morning, and he would sit down with the actors and we’d go over the scene. Then he would take that to the next level and talk it out through everybody there. He blows my mind. He’s so caring, and at the same time, when you’re sitting next to him and he’s eating a bowl of rice, you realize, “Hey, he’s just a regular guy.”

How was it working with director/executive producer, Dave Filoni?

Dave is pretty cool. He’s so relaxed.

It wasn’t even until halfway through the shoot that I realized who Dave Filoni really is and his incredible contribution to Star Wars.

The passion that he has put into Star Wars for all of these years is completely amazing.

“The commitment shown by everyone on this project has helped capture the feeling of the original Star Wars movies, from the characters to all the quirkiness.”

The series looks amazing, with the scale of the Star Wars fi lms.

Had you worked on anything like that before?

The show looks so amazing because everyone who is working on it is so committed. Even on the longest days, the whole crew would say, “But we’re working on Star Wars!

We don’t really have that much to complain about.” (Laughs) I’ve been in indie-land, and it has been hard, so I’m happy to say, “I’ll stay all day—all day. I’ll just live in this studio if it’s needed.”

I feel like the commitment shown by everyone n this project has helped capture the feeling of the original Star Wars movies, from the characters to all the quirkiness, Dave and Jon have taken all those things and put them into a new story, and in new

environments, keeping it current.

Somehow, they were able to protect all of that through their own passion for the saga. They’re very intuitive.

They’re delivering something that, I think, any genuine Star Wars fan is going to absolutely adore.

Are you ready for what being a part of the Star Wars family is going to bring to your life?

I’m grateful, I am eager, and I am excited to be where I’m at. I put my nose down and I’ll work harder than anyone. I just want to live an honest, passionate life. I don’t want to do stuff I don’t want to do.

Finally, this job came to me, and it was so refreshing when I showed up to set. Everything was bigger and better than I could’ve ever

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CARL WEATH Tough, brave, and resourceful characters defending freedom and fi ghting the good fi ght have always been central to the Star Wars mythos. But what of those women who exist in the shadows of the galaxy far, far away, who must survive in the lawless orbit of crime lords, crooks, and bounty hunters?

Can’t they be heroes too?

As The Mandalorian’s no-nonsense Cara Dune, actor Gina Carano introduces a new and intriguing character to the Star Wars pantheon of characters.

WO R D S : TA RA B E N N E T T

37

CARL WEATH

ever Disney+ live-action Star Wars television series, the “must watch” factor of the show was upped tenfold. Across his fourdecade movie career, Weathers has become one of cinema’s most recognizable faces, bringing to life a host of iconic characters such as Apollo Creed in the Rocky films, Colonel Dillon in Predator (1987), the eponymous lead in Action Jackson (1988), and more recently voicing Combat Carl in Toy Story 4 (2019). That’s without mentioning his laundry list of

“I don’t remember ever approaching a character that I’ve played as being a good guy or a bad guy.”

38

television work, which began in the 1970s with appearances in Starsky and Hutch, The Six Million Dollar Man, and Kung Fu. In the wake of those iconic shows, Weathers is now taking on the mantle of Greef Carga, leader of a bounty hunters’ guild, in The Mandalorian.

As a person negotiating clandestine missions in a world broken by the war between the Rebellion and the Empire, Carga is the personification of how complicated it is to survive in the parts of the galaxy where picking a side—good or evil—is a luxury.

It’s also a role that Weathers never expected to come his way, although it looks like the 71-year-old former professional football player has yet another unforgettable character to add to his impressive resumé.

Star Wars Insider: You’ve starred in many famous film franchises throughout your career, but you’ve never been in anything related to Star Wars. Was the saga on your acting bucket list?

Carl Weathers: Not on a bucket list, no. Of course, I knew of the Star Wars galaxy—it’s not even a galaxy, it’s so much bigger—and I know so many people who are fans, but it wasn’t on my radar particularly.

PROFILE CARL WEATHERS Destined for a career in sport from an early age, Carl Weathers won an athletic scholarship at the prestigious St. Augustine High School when he was in eighth grade. A natural sportsman, at high school he boxed, wrestled, played soccer, and learned judo, among other disciplines, but eventually focused on football while at college, later playing professionally from 1970 to 1974.

His acting career began in 1973 with various bit parts on television and in movies before his career took off in the original Rocky (1976), in which he starred alongside writer/ director Sylvester Stallone as the eponymous boxer’s rival, Apollo Creed.

CARL WEATH

“When you work on something that is unlike anything you’ve ever done before, there’s so much opportunity to learn.”

So how was it that you became a part of The Mandalorian?

The way this all came about was that I know Jon Favreau through the Directors Guild of America (DGA). I’m also a DGA member, and I’ve been a very active participant for a number of years now. Jon is also an active member, so over time we’d made a connection there. He approached me with his idea for the show.

Did he immediately pitch the character of Greef Carga to you, or was it more a case of showing you the script?

Boy, I don’t really remember exactly what the sequence of events was. But I know that, at fi rst, he just talked about the project. Then

he sent me a script, which he’d also written, and I’m sure he mentioned in the email who the character was. After I read it, taking the part was a no brainer. I thought, “Wow, man, this is really good!” I liked the character, and I liked the story, and I liked the world. And then, of course, on top of all that it’s Star Wars. It’s one of those offers you can’t refuse (Laughs).

Was the prospect of working with Jon Favreau also a big sell for you?

To get to work with Jon, I thought, “That’s a great one. I’d love that!”

Good people are always the fi rst consideration. To work with really talented people is, I think, for all of us who are professionals—no matter what industry you’re in—

that’s one of the most important things. You not only get a chance to play in a sandbox with people that you really want to play with, but also there’s a lot to learn from people of great talent. That whole combination was super enticing.

So, Carga is the leader of a bounty hunter guild, and you connected with Jon through the director’s guild. There’s some synergy there!

I hadn’t thought of that one, necessarily! (Laughs) Anyone who represents bounty hunters is likely to have an ambiguous moral compass. Is that how you approached Carga?

I don’t remember ever approaching a character that I’ve played as

39

CARL WEATH

being a good guy or a bad guy. My approach has always been that this is their story, and if it’s their story, how does this character work his way through his world to basically get what he’s after? When characters, particularly in cinema, are after whatever they’re after, sometimes they’ve been “ruled” out. So, they’ll break those rules, or sometimes just bend them, to achieve what it is they want to achieve. Those characters are far more interesting because they may be headed down the wrong path, then something occurs to them, or

“Working in scenes with Werner Herzog, I must tell you, are some of the highlights of my career.”

40

something happens that dials them a different way, which is very much like life.

With Greef Craga, there are times when he is tested. And what’s most fascinating about him is that I, the actor, get a chance to delve into why he decides to go one way or another.

I get to see how far I can take him, while staying in the realms of reality within the context of the piece.

You’ve been on a lot of sets during your career. What stood out about this production?

What this team provides is such dynamic professionalism from each area. Whether it’s wardrobe or set design, or the effects aspect of it.

And then there are the directors.

We have Dave Filoni, who has been with Lucasfi lm forever, and who knows that brand, and that galaxy, as well as anyone. There’s just such an array of professionals that the tone is set, from the fi rst

time you read the script through to going into wardrobe and makeup and hair or dealing with the sets.

It’s all just so spectacular that you can’t help but submerge yourself into that world. This show is really phenomenal. I mean, when you see it, and all of the talent that’s involved and how it all comes into being, with all the multifaceted areas of creating something of this size, you just think, “Wow, am I lucky or what?”

As more of a casual Star Wars fan, was it intimidating entering a project with so much history and detail surrounding it?

For me, it was a joy, because there’s something about learning, and constantly being open to learning, that provides such enjoyment in the job. When you work on something that is unlike anything you’ve ever done before, there’s so much opportunity to learn, and so much

CARL WEATH

DECEPTION AND DECOYS As we follow Amidala’s story through The Phantom Menace, the mask of the queen is critical in ensuring her survival, concealing both the true identity of Padmé and the purpose of her selfl ess handmaidens in their role as decoys. Indeed, the use of the word “phantom” in the fi lm’s title speaks to the idea of what is, or is not, obviously there in front of us.

The decoy role also shapes the opening scenes of Attack of the Clones, when Amidala, disguised as a Naboo guard, survives an assassination attempt only to helplessly watch her decoy, Cordé, dressed in the regalia of the queen, die on a Coruscant landing platform.

Even the planet is shrouded in clouds, masking the realities of a place where both those who thrive on integrity and peace (the Jedi) and those who are fueled by aggression and deceit (Senator Palpatine) reside.

all things Star Wars. It’s been really wonderful to be around him, and to ask questions of him because you get so much background.

Sometimes, when you don’t have background and you’re working in a vacuum of sorts, it’s a little tougher to fi ll out the space as an actor. If you have background, you have context. If you know nuggets about how this relates to past Star Wars stories, and what this means in relation to that past, then you have some chance of utilizing it in the present. Dave is a wealth of information and a wealth of nuance that otherwise I wouldn’t have, so it’s really been a joy to be around him. I continue to ask questions about things, you know?

It’s just great.

And Jon was always there on set.

You had the guy who wrote all of these scripts, so what you had was the benefi t of his vision translated through the vision of the director of the episode. In my mind, Jon’s an invaluable talent and somebody I really, really admire. As a director, as a creator, as a producer, he’s a phenomenon, he really is. In conjunction with Dave Filoni, what we also had were two guides who know the franchise really well and had a clear idea of what this thing

should be. It gave us a wealth of knowledge to draw from.

The series has an incredible cast. Was there a co-star you had particular fun with?

Working in scenes with Werner Herzog, I must tell you, are some of the highlights of my career. His presence and his commitment to the role, and to every scene, and to getting it right was just phenomenal. What an absolute joy! I never could have imagined that would happen in that capacity, actor to actor. But I’m telling you, it was truly one of the highlights of my career. He’s stunningly chilling in that role, in what he does and the way in which he does it. And of course, that voice. I’m really into voices, and his is just spectacular.

You’re a grandfather, and your grandchildren love Star Wars. Has taking the role of Greef Carga upped your cool factor to new heights with them?

I think my cool factor has gone up a couple of notches, for sure, because that was the operative word when I told them: Cool.

They’re really excited about seeing it, and now I’m a lot cooler than I used to be (Laughs).

41

GALACTIC SURVEY This tempestuous family saga, played out across the backdrop of a galaxy in turmoil, has captured the hearts of generations—and to commemorate its finale Star Wars Insider asked our readers to vote on the defining moments of this awe-inspiring story. With those votes counted, calculated, and quantified, we’re delighted to present this snapshot of opinion on the highlights of the epic Skywalker saga.

WORDS: CHRISTOPHER COOPER

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GALACTİC SURVEY

Leia Organa Leia’s winning moment, collecting 38% of reader votes, may on the face of it seem like a throwaway line of dialogue.

However, the scene it represents is one that perfectly defi nes her character: brave, resourceful, smart, and unwilling to put up with nonsense from anyone—especially a bunch of hapless rescuers without an actual escape plan.

Released from her cell by a complete stranger in ill-fi tting stormtrooper armor, Leia quickly takes control of the situation, and no doubt gets the measure of Han Solo and “walking carpet” Chewbacca in less time than it takes her to recognize the immediate danger they’ve put her in. No damsel in distress, Leia’s lateral thinking saves her would-be saviors, even if they end up dunked in trash a few seconds later. Dare we also suggest that, as fi rst dates go, Leia and Han’s “when I met your mother” moment pretty much sums up their entire future relationship.

ALMOST THERE The numbers were so close for second place in this category that we’ve bent our own rules and allowed Leia two equally defi ning moments, taking joint silver medal position with 16% of the vote apiece. And who could really choose between the rebellious contempt Leia displays for Grand Moff Tarkin in A New Hope (“I recognized your foul stench when I was brought on board.”), and her unexpected declaration of love for Han Solo in the carbon freezing chamber of Cloud City?

General Leia had many fi ne moments in The Last Jedi, but her assurance to Rey on the Millennium Falcon that, “We have everything we need,” is more evidence of her resilience and eternal hope, scoring third place with 11% of your votes.

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ROUNGH-HEWN APPERANCE CONCEALS GREAT WISDOM, AND A PROFOUND CONNECTION TO THE GALAXY

GALACTİC SURVEY

“I will fi nish what you started.”

Linking the sequel trilogy neatly with the original, Kylo Ren’s conversation with the twisted mask of his grandfather, Darth Vader, in Star Wars: The Force Awakens (2015) was your choice for ultimate Kylo Ren moment, with 42% of votes cast. If you’ve already seen The Rise of Skywalker before reading this, then you may well know exactly what it was he set out to fi nish, but back in 2015 it was all to play for—all we can confi rm here, for the sake of avoiding spoilers, is that it wasn’t his lunch.

In The Force Awakens, it’s clear that Kylo Ren has a confl icted soul, determined to be one thing but unable to fully resist the pull of another. Is this a fi ght between his light and dark sides, or between the opposing facets of his lineage as the son of rebel heroes and the grandson of the Empire’s most fearsome enforcer? Of all the crises of the Skywalker saga, that of Kylo Ren versus Ben Solo is the most existential.

ALMOST THERE The Last Jedi supplied our runners-up for the most defi ning Kylo Ren moment, although the events of The Rise of Skywalker could send them tumbling in your estimation. Gaining 24% of your votes, Kylo’s cunning turn of a lightsaber saw him fool Supreme Leader Snoke and strike the vile First Order villain down. Or rather, in half.

Proving once again that he’s not a man to be trusted (just ask his old boss, except, well…), Kylo Ren’s insistence that Rey came “from nothing.

You’re nothing,” was another cruel dig designed to break her, scoring 6% of your votes. What a nasty piece of work.

“Don’t do this.”

Having already shown that she could defend herself from Kylo Ren’s mind-probing powers in The Force Awakens, Rey is equally capable of parrying his mind-games in The Last Jedi. Standing amid the carnage of their battle with Snoke’s Praetorian Guard, Kylo is even more set on his chosen path, much to Rey’s horror and regret. Begging him, “Don’t do this,” her tears show that she recognizes her cause is lost as he fi rst tempts her to join him in ruling the galaxy, and then invokes the truth that her parents were nothing more than fi lthy junk traders who didn’t care about her. Much as Darth Vader tried to manipulate Luke’s emotions on Bespin, Ren offers Rey something he believes she lacks—someone who cares about her. But Rey has found her true family in Finn and Leia, in BB-8, Chewbacca, and the Resistance, and she makes a choice of her own, turning decisively towards the light. Just over a third of you chose this as Rey’s moment.

ALMOST THERE Grabbing 18% of votes, Rey summoning Luke Skywalker’s lightsaber to her hand while facing Kylo Ren on Starkiller base— having previously refused to take it on Takodana—was your second choice for her defi ning moment. In terms of the classic hero’s journey arc, it’s the point at which she accepts the call to action and truly takes her fi rst step on the path to learning the ways of the Force.

Of course, no path is entirely clear of obstructions, although Rey couldn’t have imagined her biggest obstacle would be a disillusioned Luke Skywalker.

Taking third place in this category was Rey’s admission to Kylo Ren, during their Force-connected fi reside chat in The Last Jedi, that the answers she’d sought on Ahch-To were not to be found there

45

FROM ART TO ARTÄ°FACT With a new line of Artist Series Star Wars statues due to ship in early 2020, Masahiro Miyazaki of Kotobukiya and artist Takashi Okazakireveal how 2D artwork is transformed into 3D masterpiece.

WORDS:CHRISTOPHERCOOPER

47

FROM ART TO ARTİST

Descendant Of Light The fi rst artist to be brought on board for the Artist Series was Kamome Shirahama, a popular manga artist in Japan who has also made a name for herself by drawing cover art for Marvel Comics that has included several issues of Star Wars: Doctor Aphra and issue #2 of the Star Wars: The Last Jedi comic-book adaptation.

“I met Kamome Shirahama at Tokyo Comic Con, and we bonded over our shared interest in Star Wars,” Miyazaki-san reveals. “I felt she perfectly represented the type of artist that I was looking for in this new series. Her manga, Atelier of Witch Hat, is a comic that has been translated and released worldwide, so she has the ability to create characters and designs that are unique to her style, yet can be seen as a work of art by fans.”

The eventual outcome of this initial meeting was the release of the fi rst two statues in the Artist Series line-up: Rey, Descendant of Light, and Kylo Ren Cloaked in Shadows.

But what was the process that took place between these two points?

“We started things off with a concept meeting where we discussed which characters the artist would be most interested in drawing, and the themes that the design might include. After that had been decided, we began to expand the initial concept into a full work of art,” Miyazaki-san explains. “That’s the part that takes a long time. Each character has its own particular concept and theme, and we work with the artist and Lucasfi lm to develop a title that best represents those themes.”

Armed with a fully realized character drawing, the team at Kotobukiya communicate with Lucasfi lm’s product development team to refi ne each concept still further, before a detailed sketch for the eventual sculpt is undertaken.

It’s at this point that modern technology and Kotobukiya’s modelling expertise comes into play.

“It can take some time turning a 2D piece of art into a 3D version,” says Miyazaki-san. “We mainly

48

FROM ART TO ARTİST

“Becoming involved in a project where I get to represent the Japanese Star Wars community is astonishing, and a dream come true.”

use 3D software sculpting techniques. First we create 3D data, based on the sketch provided to us by the artist, and that model is then printed using a hi-resolution 3D printer. We then meticulously finetune the sculpt by hand and add more delicate details to the statue.”

Once that sculpt has been completed, a further round of approval discussions takes place, with the 3D model undergoing further edits until it flawlessly represents the image that the artist set out to depict. “This statue series takes much more time than our others,” adds Miyazaki-san, “So, we really hope fans appreciate all of the detailed planning that went into it!”

Of the many characters that have appeared in the original, prequel, and sequel trilogies, are there any that lend themselves particularly to being depicted in the Artist Series?

“The best part about this range is that it gives artists the opportunity to interpret characters from any of the Star Wars series, be that the movies, television and animated shows, or the comic books and novels. By working with a broad range of artists, it opens a gateway for new fans to learn about the movies. We strive not only to offer statues that cater to Star Wars fans, but to create statues that can

be seen as works of art that people worldwide would want to collect.”

Over To Okazaki The second artist designing statues for the Artist Series is Takashi Okazaki, who is best known for his striking character designs in both manga and animation.

“Okazaki-san is somebody I have known for many years, and he’s a huge Star Wars fan,” Miyazaki-san enthuses. “When I asked him to participate in this series, he was ecstatic about the opportunity, and has applied his unique style to

depict the Tusken Raider from Star Wars: A New Hope (1977).”

For his part, Okazaki-san is proud to have been given the opportunity to explore the Star Wars galaxy with his art.

“Becoming involved in a project where I get to represent the Japanese Star Wars community is astonishing, and a dream come true,” Okazaki-san says, revealing that his dominant memory from watching A New Hope in the theater was the fi rst appearance of the Sand People.

“I was four years old at the time, and was absolutely enthralled by the Tusken Raiders. They are so mysterious and scary, yet cool all at the same time! The image of them riding on a bantha left a lasting impression on me.”

The artist was determined that his evocative design capture the dangerous Tatooine native, and the atmosphere of the planet itself. “I wanted to depict this badass and almost savage character that made me a fan of the Star Wars galaxy,” he says. “I hope fans will almost be able to smell the world of Tatooine in the way that the robe, hood, and fl ag fl ies and fl utters. I want people to feel like they are actually there while staring at this statue.”

For the latest news on upcoming Kotobukiya releases, search for twitter handle @Kotobukiya_EN.

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NEW HOPES The Skywalker saga has ended but Star Wars lives on. Insider looks to the future, and how embracing the past will help us all take our fi rst steps into a larger world.

WO R D S : JAY STO BI E

51

NEW HOPES

Unprecedented and historic story arc that has spanned nine fi lms and ignited the imaginations of Star Wars fans for more than four decades. It’s a real possibility that many audience members may feel disheartened and bereft as they exit the theater, perhaps yelling “No!” into the void, à la Darth Vader upon learning of Padmé Amidala’s demise. Dealing with bittersweet emotions is never easy, but we can rely upon one another for support as we celebrate our beloved franchise’s journey into a new era an unprecedented and historic story arc that has spanned nine fi lms and ignited the imaginations of Star Wars fans for more than four decades. It’s a real possibility that many audience members may feel disheartened and bereft as they exit the theater, perhaps yelling “No!” into the void, à la Darth Vader upon learning of Padmé Amidala’s demise. Dealing with bittersweet emotions is never easy, but we can rely upon one another for support as we celebrate our beloved franchise’s journey into a new era

52

Luke’s comforting advice to Leia during a desperate moment on Crait in Star Wars: The Last Jedi (2017) takes on new meaning when placed in context with the release of this monumental fi nal chapter. The story may be complete, but the nine episodes will forever endure in our hearts and minds, as well as in our home entertainment libraries. With The Rise of Skywalker screening across the globe, we can now appreciate this saga in its entirety.

The sheer depth of these movies makes them perfect for endless re-watches, during which Star Wars enthusiasts old and new will surely Luke’s comforting advice to Leia during a desperate moment on Crait in Star Wars: The Last Jedi (2017) takes on new meaning when placed in context with the release of this monumental fi nal chapter. The story may be complete, but the nine episodesg across the globe, we can now appreciate this saga in its entirety.

The sheer depth of these movies makes them perfect for endless re-watches, during which Star Wars enthusiasts old and new will surely

previously unnoticed themes, and be caught up once again in the action that drew us to these trilogies in the fi rst place.

When Anakin Skywalker consulted Yoda about the prospect of losing loved ones in Star Wars: Revenge of the Sith (2005), the Jedi Master wisely advised, “Mourn them do not, miss them do not.”

Yoda recommended rejoicing for those who transform into the Force, and we should do the same for the fi lms that have provided us with countless hours of adventure over the years. In addition to simply viewing and enjoying the episodes again, our fandom has the unique opportunity to continue discussing our favorite elements depicted in the fi lms, from memorable moments and scene-stealing quotes to iconic characters and exhilarating space battles. A friendly debate is a healthy outlet to keep yourself engaged with Star Wars while bonding with other fans.

NEW HOPES

“You’ve taken your fi rst step into a larger world.”

Obi-Wan Kenobi’s elation at witnessing Luke connect with the Force for the fi rst time aboard the Millennium Falcon stemmed from his excitement about young Skywalker’s potential. In a similar sense, Star Wars will now move forward into uncharted territory, as exciting live-action projects that include The Mandalorian, the currently untitled Cassian Andor series, and a slate of fi lms debuting in the near future move to serve as the franchise’s fl agship programming. From exploring the realm of post-Return of the Jedi (1983) bounty hunters to pondering the secretive storylines related to upcoming features, a staggering amount of intriguing content is on the horizon for every fan who cherishes the galaxy far, far away.

In addition, the Star Wars Story fi lms offer alternative perspectives on the stories we know so well, affording afi cionados the chance to follow Jyn Erso’s pursuit of the Death Star plans in Rogue One: A Star Wars Story (2016) or meet witnessing Luke connect with the Force for the fi rst time aboard the Millennium Falcon stemmed from his excitement about young Skywalker’s potential. In a similar sense, Star Wars will now move forward into uncharted territory, as exciting live-action projects that include The Mandalorian,

young Han Solo during his escapades with Chewbacca, Qi’ra, Tobias Beckett, and Lando Calrissian in Solo: A Star Wars Story (2018).

Prefer animation? Then go back and check out the fan-favorite series Star Wars: The Clone Wars, Star Wars Rebels, and Star Wars Resistance.

Combine these programs with an expanding array of novels, comic books, games, and projects that we are not even aware of yet, and you’ll fi nd no shortage of tales to distract you from dwelling on the end of the Skywalker saga.

“Its energy surrounds us and binds us. Luminous beings are we.”

Yoda’s iconic description of the Force applies equally as well to the Star Wars fandom as a whole, and there are numerous hobbies, activities, and venues that extend beyond the big and small screens that have the potential to bolster any post-The Rise of Skywalker ennui that takes root. Constructing Star Wars cosplay attire is a fun way to spend your downtime while learning new skills, with the added

bonus that it allows for countless opportunities to meet other fans in our ever growing community.

Meanwhile, Star Wars: Galaxy’s Edge and Star Wars Celebration provide places to immerse yourself in the franchise and show off your costuming expertise, while grabbing a refreshing blue milk in social settings. The most crucial thing to remember is that you’re not alone. We’re all coping with saying farewell to the Skywalker saga, and can support each other by withstanding this process as a united Star Wars family.

“Pass on what you have learned.”

That pint-sized source of wisdom, Master Yoda, presented Luke with this challenge on Dagobah, and we encourage you to do the same. Star Wars may not be everyone’s cup of Jawa Juice, but there are many people who simply haven’t had the chance to watch these cinematic marvels. Share your enthusiasm with friends, family members, and neighbors by introducing them to the saga on a special movie night. Whether or not they opt to invest themselves in the trilogies any further is obviously their own choice, but you will at least have one memorable get together where

53

MAKING THE MANDA LORIAN With a second season already in production, Star Wars Insider talks to Jon Favreau and Dave Filoni on working together to bring The Mandalorian to fans around the world.

WO R D S : B RYA N YO U N G

57

MAKING MANDA LORIAN

To be some I guiding light for the use of comedy in Star Wars, and he relied on Filoni to help him craft those guidelines. “Dave was very clear about it. There are certain types of humor that can be used in Star Wars and there are certain types that can’t be,” Favreau explains. “If we’re making fun of Star Wars, we’re stepping outside of it.”

Something Old and Something New The tone and craft of the longrunning saga is something that is baked into Favreau’s DNA as a storyteller and as a fi lmmaker, and it was his love of Star Wars that grabbed his heart and held onto it at a very young age. “My whole taste

58

in movies was probably formed in a big way from seeing George Lucas’ original fi lm,” he says. “I learned about cinema through the lens of A New Hope. While watching it, my father would explain to me how things were inspired by something you would see in a samurai movie or a western or a World War II fi lm.

That fi rst movie was my inroad.”

As they developed the series, Favreau and Filoni agreed they would embark on The Mandalorian with an eye on staying true to the things that made George Lucas’ Star Wars fi lms great. “We really tried not to make it a refl ection of what we interpreted Star Wars to be,” Favreau explains, “but instead went back to the source code and looked at

in movies was probably formed in a big way from seeing George Lucas’ original fi lm,” he says. “I learned about cinema through the lens of A New Hope. While watching it, my father would explain to me how things were inspired by something you would see in a samurai movie or a western or a World War II fi lm.

That fi rst movie was my inroad.”

As they developed the series, Favreau and Filoni agreed they would embark on The Mandalorian with an eye on staying true to the things that made George Lucas’ Star Wars fi lms great. “We really tried not to make it a refl ection of what we interpreted Star Wars to be,” Favreau explains, “but instead went back to the source code and looked at

MAKING MANDA LORIAN

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 fi lms 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 yo Filoni adds. “The trick is in getting FACTS AND that formula right. It’s very hard.”

FIGURES THE PITCH

Keeping It Unreal Just as George Lucas had done with Star Wars, Favreau and Filoni worked to push the technology on making The Mandalorian. Their challenge was to create a the quality experience for a streaming television service. “That’s one of the dreams George had even I worked with him on The Clone Wars,” Filoni reveals. “He would talk about the future; the idea of streaming and being episodic.”

The disconnect between the affordability of effects and the quality of fi lmmaking required to make Star Wars work on the small screen had previously prevented hopes for a live-action Star Wars TV series taking shape, but technology has since taken huge leaps forward. At 2019’s SIGGRAPH event (an annual

“After the stories of Jango and Boba Fett, another warrior emerges in the Star Wars galaxy. The Mandalorian is set after the fall of the Empire and before the emergence of the First Order. We follow the travails of a lone gunfi ghter in the outer reaches of the galaxy far from the authority of the New Republic.”

Number of Episodes: 8 First Aired: November 12, 2019 WRITERS: Jon Favreau (Chapters 1-4, 7, 8) Dave Filoni (Chapter 5) Christopher Yost and Rick Famuyiwa (Chapter 6) DIRECTORS: Dave Filoni (Chapters 1 & 5) Rick Famuyiwa (Chapters 2 & 6) Deborah Chow (Chapters 3 & 7) Bryce Dallas Howard (Chapter 4) Taika Waititi (Chapter 8)

computer graphics conference), Jon Favreau revealed that The Mandalorian was utilizing the Unreal Engine—a method of rendering photo-real graphics in video games—to replace a lot of the traditional green-screen work audiences might normally expect to fi nd on a Star Wars production. This iteration of Star Wars has worked to break barriers in technology like all the best Star Wars projects before it, and fi lmmakers on The Mandalorian were able to simultaneously work with both the actors and environments on a live set as well as the digital elements that would traditionally be inserted in post-production.

Instead of the green screens for set expansions like George Lucas pioneered on The Young Indiana

59

MAKING MANDA LORIAN

Darth Vader’s Dark Visage

MASKS CONCEAL AND THEN REVEAL SECRETS, TRUTHS, TERRORS AND VONDERS

The confl icts btwn the powerful and the powerless, the selfi sh and the selfl ess, were part of George Lucas’ thematic conception for Star Wars: A New Hope (1977) from the very beginning, with Darth Vader’s mask serving as the dark-hearted symbol and portal to these essential confl icts throughout the saga.

In Lucas’ development of the screenplay for Star Wars, Vader embodied the duality between humans and machines, and this dynamic was crystallized in his mask and helmet design. We should note here that Ralph McQuarrie

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originally worked from a Lucas note that Vader would need breathing apparatus to move between ships. That simple notion—a prosaic plot point—sparked the image of Vader’s helmet and mask, which later attained so much more poetic power by its necessity to compensate for the devastating injuries Anakin received during his fateful duel with Obi-Wan Kenobi on Mustafar. As the mask descends towards Anakin’s fi re-ravaged face, it signals his fi nal transition to becoming the Sith Lord, Darth Vader, and allows us to glimpse what it will feel like to be trapped forever inside the armor that masks his former self.

The visual development work that George Lucas and his team undertook for A New Hope is suffused with East Asian infl uence, and Vader’s mask evokes qualities of a kabuto samurai helmet.

When recalling how the concept for Vader’s visage evolved, Lucas acknowledged the infl uence of Japanese fi lmmaker Akira Kurosawa’s movies, revealing that he “found it very interesting that nothing was explained. I think that infl uenced me a great deal in working in science fi ction, because I

as able to get around the idea that ou have to explain everything.”

Also essential to Vader’s mask nd helmet combination is the nfluence of the samurai tradition of he mempo. The mempo is a mask ntended to protect the face, and its esign typically suggests a demonic, upernatural or beast-like power with the aim of intensifying the ense of imminent danger posed by he wearer. In his book The Masks of God, Joseph Campbell (whose work has so often been cited as ital to the character-building and mythology-inspired plotting of Star Wars) wrote that, “The mask is… evered and experienced as (an) pparition of mythical being… a tep toward rather than away from he ineluctable truth.”

Luke’s unmasking of Vader at the end of Star Wars: Return of the Jedi (1983) is powerfully symbolic, especially when recalling Obi-Wan’s observation that, “He is more machine now than man.” The trappings of technology and power are a disguise for a frail, aging being.

For all of the sentiment and delicate handling of Luke and Anakin Skywalker’s reconciliation in the closing moments of Return of the Jedi, the most powerful and unsettling role played by Vader’s mask can be seen in Star Wars: The Empire Strikes Back (1980) when Luke, as part of his Jedi training under Yoda’s tutelage on Dagobah, enters an area particularly sensitive to the dark side of the Force. It is here that the young Jedi faces his hardest test to date. Confronted by a vision of Vader, Skywalker gives in to his fear and hatred and strikes Vader down; only to be confronted by the image of his own face within Vader’s fractured helmet. The revelation offered by the mask at this point represents the trait that Luke fears he harbors: that he, too, is susceptible to the corruption of the dark side.

Troubled Soul In Star Wars, the past is always powerfully felt in the present, and often repeated to tragic effect. Masks aid in expressing this concept

MAKING MANDA LORIAN

THE DARKEST OF KNIGHTS

Star Wars mask designs have been vividly infl uenced by the art and design of East Asia, but there is a notable counterpoint to this, and it’s found in the aesthetic of the Knights of Ren; the fearsome warriors whose appearance projects a sense of confi dence and invulnerability.

In the medieval era, visored helmets evolved dramatically across Europe, and those worn by the Knights of Ren evoke the particular tradition of German Gothic armor of the Sixteenth Century. Typically, up to this point knights had been depicted as the embodiment of physical and spiritual perfection, but in the German Gothic mode the concept of the anti-knight found expression. These fi gures were far removed from the domains of noble action or thought and, as such, the helmets and visors worn by them were consciously crafted to evoke associations with various forms of the hellish and nightmarish.

With his mask and hood reminiscent of earlier dark siders, Kylo Ren fuses the aesthetic of Darth Vader and Darth Sidious in an austere costume design that exudes both menace and an unsettling blankness.

This masking of facial expression intensifi es a sense of danger (as Ren’s fi rst appearance in Star Wars: The Force Awakens (2015) demonstrates) and echoes not only the samurai helmet tradition but also the aesthetic of the European medieval helmet and visor.

When Ren eventually removes his mask, he reveals the face of a young man with a clearly troubled soul. Speaking to the tragedy of how one generation repeats the failings of another, the mask of Ren’s grandfather had concealed a similarly confl icted

WHEN REN EVENTUALLY REMOVES HIS MASK, HE REWALS THE FACE OF A YOUNG MAN A CLEARLY TROUBLED SOUL

character. Ren is anxious and angry, cursed by his resentments and his pursuit of power. In the scene in which he contemplates the ashen, broken mask of Darth Vader, the artifact becomes an amulet of sorts, and a way for Ren to focus and channel Vader’s legacy as he struggles to quieten the turmoil within himself.

“Show me the way, grandfather,” Ren urges the mask.

His angst and inner struggle as Ben Solo, represented through both his own and Vader’s masks, intensifi es in Star Wars: The Last Jedi (2017). When Supreme Leader Snoke orders Ren mask, it is with the disparaging command to, “Take that ridiculous thing off,” before further diminishing Ren’s sense of stature and infl uence with

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MAKING MANDA LORIAN

being a good guy or a bad guy. My approach has always been that this is their story, and if it’s their story, how does this character work his way through his world to basically get what he’s after? When characters, particularly in cinema, are after whatever they’re after, sometimes they’ve been “ruled” out. So, they’ll break those rules, or sometimes just bend them, to achieve what it is they want to achieve. Those characters are far more interesting because they may be headed down the wrong path, then something occurs to them, or

“Working in scenes with Werner Herzog, I must tell you, are some of the highlights of my career.”

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something happens that dials them a different way, which is very much like life.

With Greef Craga, there are times when he is tested. And what’s most fascinating about him is that I, the actor, get a chance to delve into why he decides to go one way or another.

I get to see how far I can take him, while staying in the realms of reality within the context of the piece.

You’ve been on a lot of sets during your career. What stood out about this production?

What this team provides is such dynamic professionalism from each area. Whether it’s wardrobe or set design, or the effects aspect of it.

And then there are the directors.

We have Dave Filoni, who has been with Lucasfi lm forever, and who knows that brand, and that galaxy, as well as anyone. There’s just such an array of professionals that the tone is set, from the fi rst

time you read the script through to going into wardrobe and makeup and hair or dealing with the sets.

It’s all just so spectacular that you can’t help but submerge yourself into that world. This show is really phenomenal. I mean, when you see it, and all of the talent that’s involved and how it all comes into being, with all the multifaceted areas of creating something of this size, you just think, “Wow, am I lucky or what?”

As more of a casual Star Wars fan, was it intimidating entering a project with so much history and detail surrounding it?

For me, it was a joy, because there’s something about learning, and constantly being open to learning, that provides such enjoyment in the job. When you work on something that is unlike anything you’ve ever done before, there’s so much opportunity to learn, and so much

MAKING MANDA LORIAN

DECEPTION AND DECOYS As we follow Amidala’s story through The Phantom Menace, the mask of the queen is critical in ensuring her survival, concealing both the true identity of Padmé and the purpose of her selfl ess handmaidens in their role as decoys. Indeed, the use of the word “phantom” in the fi lm’s title speaks to the idea of what is, or is not, obviously there in front of us.

The decoy role also shapes the opening scenes of Attack of the Clones, when Amidala, disguised as a Naboo guard, survives an assassination attempt only to helplessly watch her decoy, Cordé, dressed in the regalia of the queen, die on a Coruscant landing platform.

Even the planet is shrouded in clouds, masking the realities of a place where both those who thrive on integrity and peace (the Jedi) and those who are fueled by aggression and deceit (Senator Palpatine) reside.

all things Star Wars. It’s been really wonderful to be around him, and to ask questions of him because you get so much background.

Sometimes, when you don’t have background and you’re working in a vacuum of sorts, it’s a little tougher to fi ll out the space as an actor. If you have background, you have context. If you know nuggets about how this relates to past Star Wars stories, and what this means in relation to that past, then you have some chance of utilizing it in the present. Dave is a wealth of information and a wealth of nuance that otherwise I wouldn’t have, so it’s really been a joy to be around him. I continue to ask questions about things, you know?

It’s just great.

And Jon was always there on set.

You had the guy who wrote all of these scripts, so what you had was the benefi t of his vision translated through the vision of the director of the episode. In my mind, Jon’s an invaluable talent and somebody I really, really admire. As a director, as a creator, as a producer, he’s a phenomenon, he really is. In conjunction with Dave Filoni, what we also had were two guides who know the franchise really well and had a clear idea of what this thing

should be. It gave us a wealth of knowledge to draw from.

The series has an incredible cast. Was there a co-star you had particular fun with?

Working in scenes with Werner Herzog, I must tell you, are some of the highlights of my career. His presence and his commitment to the role, and to every scene, and to getting it right was just phenomenal. What an absolute joy! I never could have imagined that would happen in that capacity, actor to actor. But I’m telling you, it was truly one of the highlights of my career. He’s stunningly chilling in that role, in what he does and the way in which he does it. And of course, that voice. I’m really into voices, and his is just spectacular.

You’re a grandfather, and your grandchildren love Star Wars. Has taking the role of Greef Carga upped your cool factor to new heights with them?

I think my cool factor has gone up a couple of notches, for sure, because that was the operative word when I told them: Cool.

They’re really excited about seeing it, and now I’m a lot cooler than I used to be (Laughs).

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