Since 2019 and Disney’s entry into the subscription streaming sector, the science fiction license has been written on the small screen. Lucasfilm has not yet initiated a return to cinemas, contenting itself with the shelves of Disney+ to do its work. The Mandalorian was the first in a long series of productions devoted to the galaxy far, far away and its many characters. Andor, The Book of Boba Fett or even Obi Wan, Star Wars plays the completionist… The firm seems to want to dwell on all the gray areas of its cinema saga, going into detail about numerous events crucial to the mythology.
Yet, Skeleton Crew has chosen to cultivate its singularity by limiting its references to known characters and places to the strict minimum. Here, there is no question of replaying the fight between the Jedi and the Sith, of lingering more than necessary on Tatooine or of preparing a possible return of the saga to the cinema. It is alongside young adventurers sent against their will to the ends of the galaxy that the narrative evolves. And if this freedom was precisely what was missing from previous productions Star Wars South Disney?
Jon Watts: It started with a very simple concept. We liked the idea of a group of kids who don’t know much about the Star Wars galaxy, getting lost in the galaxy and then telling the story of their quest to get home.
JDG: You’re exploring a part of the galaxy that we’ve never seen before. There is a kind of freedom I imagine in evolving in a new environment. It’s a Star Wars series of course, but it doesn’t seem to have a direct connection with a film or series in the franchise…
Christopher Ford: Yes, we had a lot of freedom, we always let the story guide our creative choices. At the same time, we had Jon Favreau and Dave Filoni as producers, they’re always looking out for you and making sure everything is on track. If you deviate, they will let you know and help you. It’s great to have freedom, but honestly… It’s also kind of scary. I didn’t realize that we would have so much room for maneuver and that we could create new things in Star Wars. Dave was asked: “Is this allowed?”. He answered us “You can invent anything you want, now that you’re doing the show you have to invent new things…”
Jon Watts: You’re always afraid that you’ll do something bad and Darth Vader will call you (laughs)
JDG: George Lucas recently said that Star Wars was always designed for children. Putting children at the center of the narrative was a bit of a way of giving substance to this idea, I imagine…
Jon Watts: I think Star Wars works great because it makes you feel like a kid when you watch, no matter how old you are. I think that’s one of the reasons why people love this saga and why this success is lasting. Being able to literally change the perspective by telling the series through the eyes of children around ten years old offers the possibility of rediscovering a universe that people already love but in a completely new way.
JDG: Speaking of characters, how do you hatch such a group? They are friends of fortune who must face dangers…
Jon Watts: We started with archetypal characters. But once we selected the four children, we rewrote the story. It was about immortalizing as best as possible what children are like in real life. It was a mirror of reality, as they were becoming friends and experiencing the discovery of a great series like this. I think it’s something you can see on screen. We just had to believe that the kids were going to be great. They just need to have a personality! And then we love the idea that Jude Law’s character comes from a more serious, darker part of the galaxy and BAM! it’s chaos and he must evolve alongside four children who don’t know what they’re doing.
JDG: Let’s talk a little about the character of Jude Law…
Christopher Ford: Jude has a unique energy. Jude is basically a mentor in real life, he was helping them with their lines. He made sure they hit their target. It’s an incredible dynamic and some of my favorite scenes are the ones where the kids really stand up to Jude.
JDG: Besides, we can’t talk about what strikes us when we discover the episodes. The series is obviously reminiscent of the Amblin films, classics of 80s cinema. Was that an inspiration for you? Were there any books or films that inspired you for the series?
Christopher Ford: Part of what inspired us was not just the films of that period but more importantly how we were at that time. What were we like when we went outside to play? We could imagine that something was going to happen to us, being chased by pirates or finding treasure. We wanted to pay homage to childhood, to explore something universal like the desire to escape and adventure. The 80s were definitely a great time for movies about kids because for some reason kids were the protagonists and they were taken seriously. Steven Spielberg is the originator of this. They were in real trouble, in real danger. I think that Skeleton Crew is a sort of legacy of these films. This is what we are exploring.
JDG: This invitation to playfulness is not only reflected through the narration, it is also true for the costumes and the sets. Was it complicated to bring all this together?
Jon Watts: It was a lot of work, but it was never difficult. It was really fun and we were surrounded by an incredible team of artisans. The most incredible way to bring your ideas to life. It was always fun. (laughs)
JDG: What was your favorite thing to create?
Christopher Ford: Oh… for some reason we were both interested in the very mundane parts of the galaxy Star Wars. It was just interesting to be able to design things like the school bus. Little droids. All these little details are so fascinating. That’s what makes it feel like it’s a step away from our world, that you can really go there. And then there’s Neel… Having one of the main characters be an alien and his appearance evoke childhood is something interesting. He has big, beautiful eyes, with very long eyelashes… He’s just cute. With his adorable little trunk. We’re very lucky to have a team of special effects artists who allowed us to make this happen.
JDG: We can’t not talk about the general aesthetic of the project, the techniques used for this series. You relied on digital effects obviously, but also matte painting, stop-motion…
Jon Watts: I wanted it to be as immersive as possible for kids, so they could really get lost in this world. Whenever we could rely on practical effects, we did so. And then selfishly, it’s also a lot of fun for us to rely on old-fashioned techniques. And when you have special effects supervisors like John Knoll, who has used every technique imaginable and are among the pioneers in the field, you’re really encouraged to do it. They’re just different instruments in your toolbox and you can find ways to make them fit your approach. It’s a constant source of joy… And then Neel.
Skeleton Crew is still streaming on Disney+. The series is approaching its conclusion, the episode which will be broadcast this Wednesday will mark the end of hostilities for the moment. Lucasfilm has yet to rule on the future of the Onyx Cider crew.
Source: www.journaldugeek.com
