|FRANK COSTANZADARTH VADERSTAR WARSSEINFELD|
Giancarlo Esposito says he's taking his main inspiration from James Earl Jones' Darth Vader in The Mandalorian Season 2. Esposito's Moff Gideon is believed to be the big bad in the upcoming second season of the successful Disney+ series. At the end of season 1, Star Wars fans were introduced to the live-action version of the Darksaber, which is an ancient and unique black-bladed Lightsaber created by Tarre Vizsla, the first Mandalorian ever inducted into the Jedi Order. It's a pretty big deal and the actor admits he's already broken three props on the set, trying to look as cool as he can.
When it comes to joining the Star Wars universe, sword handling is going to more than likely come into play. Mark Hamill, Alec Guinness, Daisy Ridley, Ewan McGregor, and more have all had their fair share of time learning how to wield a Lightsaber, and it's not as easy as it looks, according to Giancarlo Esposito. The actor had a bit of a tough time at first, but took it all in stride. He explains.'I'm decent. I'm getting better. But you have to respect the power of it, the energy of it. It's long, dude. I've bopped myself three times already. Pop in the head, I'm like oh my God, what do I do? I start laughing. People look at me, they want me to be the expert right off the bat, because I'm the bad ass. But you know what? It takes practice. So we have long ones, we have short ones. Because sometimes they have to put it in. And guess what? I can say this? I can say it, I can say it. I'm going through it in my head, spoilers, blah blah blah. I can say it. I've broken three of those bad boys.'
The Darksaber props cannot be cheap to produce, so that may have been a bit of a problem on The Mandalorian set. We all know that the Child, aka Baby Yoda, props are ridiculously expensive to produce, so an ancient piece of Mandalorian history is more than likely costly. As for where Giancarlo Esposito is getting inspiration, he's gone right back to the source. He had this to say about playing the villain.'And then thinking about what that character is, you ask a lot of questions as I do, and then I thought immediately, 'Wow, James Earl Jones. Darth Vader.' How he affected me in my life. Who was inside that helmet, who was inside that costume. That could be a part of who Moff Gideon is, but guess what? I don't have to wear the helmet.'
The Mandalorian season 1 has been widely praised for bringing the Star Wars franchise back to its roots. While it's all new, Jon Favreau and Dave Filoni have made something very familiar at the same time and fans are very excited to see what happens in season 2. So far, Rosario Dawson has reportedly been cast as Ahsoka Tano and original Terminator star Michael Biehn is reportedly playing a mystery character.
While some new characters are going to be introduced, it is believed that season 2 of The Mandalorian will put a great focus on Moff Gideon and the Darksaber. It's unclear where this is...
There’s one particularly telling and effective moment in The Skywalker Legacy, the feature-lenght documentary that’s included on the Star Wars: The Rise of Skywalker home release that sums up much of the ambivalence and consternation that some had with J.J. Abrams’ return to the Star Wars universe. After showing the intricate construction of a giant, practical snake monster, the doc cuts back to footage of Jabba The Hutt, that old analogue beast that slithered its way into our hearts. The sentiment is clear – we’re making movies like we used to! A celebration of practical effects, the dripping of k-y jelly to give viscosity just like the old costume days, it’s all there. There’s excitement on set, everyone talking about how amazing it looks, how lifelike, how this is how you’re supposed to do movies like this.
Cut to Visual Effects Supervisor Roger Guyett who shatters the myth, letting us know the creature was replaced by a CGI version in post.
Guyett’s resume is mighty. Having made his bones on groundbreaking films like Twister and Casper, he helped Spielberg bring the events of D-Day to screen in Saving Private Ryan, helped bring to life the best looking film in the Harry Potter series, Alfonso Cuarón’s Prisoner of Azkaban, and even made the theatrical version of Rent feel more than a stage production. Guyett has had many collaborations with Abrams – from the Star Trek Reboots through The Force Awakens and The Rise of Skywalker he was even second unit director on the former, as well as working with George Lucas on Episode III to round off the prequels. He’s in a unique position to speak to these changing landscapes of epic filmmaking.
We spoke at length about the apparent contradictions and indulgences in making a Star Wars film, and he made the case for why nothing was wasted and all contributed to the final presentation. He was erudite and open to the discussion, making for a dream conversation with a man who quite literally has helped shape what amazes us on screen for decades.
The following has been edited for clarity and concision.
We see practical effects being championed as almost a marketing ploy with the “postquels” as a mix of nostalgia and an attempt to delineate from Lucas’ second trilogy. In some ways the love of the practically-realized snake undercuts the extraordinary CGI you and your team accomplished, and raises questions about why the need to fetishize the on-set inclusions when they’re replaced anyway. Could you talk about that ethos, that somehow doing stuff on a computer is a “cheat” while doing an effect practically is not?
I think at the end of the day we’re all trying to do the best that we can, trying to make the best, most dramatic or emotional movie we can visually. I’m coming from figuring out how do you get the most...
Thanks to Pixar’s Onward, Tom Holland has been plopped in front of several microphones, which is almost always a guarantee that he’ll drop some clues about what’s next for Spider-Man, including the eagerly-awaited sequel to Spider-Man: Far From Home. For now, that film is simply being referred to as “Spider-Man 3” even though we’re all doing our best to forget disco-dancing Tobey Maguire.
But according to Production Weekly, the third Spidey installment now has a working title that continues the Seinfeld theme from the first two movies. To avoid confusion, a working title serves not only as a placeholder while studios prep the actual title of the film, but also as a cover for the movie’s production to stave off curious onlookers. For example, Return of the Jedi used the working title “Blue Harvest” to keep rabid Star Wars fans and the media at bay while filming in the U.S. Spider-Man: Homecoming went by “Summer of George,” Far From Home was “Fall of George,” and Spider-Man 3 just picked up the name “Serenity Now.”
Seinfeld fans will instantly recognize “Serenity Now” from the final season of the hit sitcom. In the episode, Frank Contanza uses the mantra to calm his anger, which is rapidly growing while trying to sell computers out of his garage with the help of George, who pretends to be unloading them on customers, but is actually hiding them in Kramer’s apartment. In the end, Frank eventually explodes from bottling his anger because it turns out the real mantra is “serenity now, insanity later.”
Could this be a clue about the plot of Spider-Man 3? Possibly. Far From Home ended with Peter Parker’s identity revealed to the world, so he definitely could use some calming methods during this new chapter in his life. The phrase could also be a reference to the very messy and public dispute between Marvel and Sony that almost saw Spidey kicked out of the MCU. In a recent interview with MTV, Holland revealed that Sony was fully prepared to brave a world ahead without Marvel:
“[The] future for Spider-Man was still very bright with Sony and we had a really, really wonderful idea how we could sort of transition into a Spider-Man without the MCU and Tom Rothman and Amy Pascal were really confidant that they were gonna do justice and make a film of the calibre that Spider-Man requires… But that said, I’m really glad to be back in the MCU and to have the team back together because I kind of feel like it’s where he belongs now.”
Fortunately, a drunken phone call between Holland and former Disney CEO Bob Iger fixed everything, and Spider-Man 3 is back on track right down to the Seinfeld jokes.
Via Screen Rant, Comic Book Movie