The Director and the Jedi Page #5

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I said, "I agree, there will be parts

that are better done with a double,

"but also there's parts

where we really want to see

"that it's you doing your thing."

"So, we need to make sure

you learn the whole thing correctly,

"and then we can pick out those moments."

Make sure he's aware

his performance will be better.

Listen, at the end of the day,

the more we get with him,

it's gonna be better.

Right now, we 're on the Jedi village set.

This is a set that we built here

because we knew we'd be doing

some night work in the rain.

Eventually, we're going to break this set down,

and ship it out to lreland,

and rebuild this entire thing

on the side of a cliff.

All right.

Let's have Mark and Daisy.

Take cover if you don't need to stand out in it.

And roll, please!

- Camera rolling.

- Sound speed and board.

Action!

You failed him by thinking his choice was made.

It wasn't.

There's still conflict in him.

If he were to be turned from the dark side,

that could shift the tide.

This could be how we win.

This is not going to go the way you think.

Rey shows up to the island with a set of expectations,

saying, "I need someone to show me

my place in all this."

And that's what she's trying to find.

And she doesn't exactly know

what that is going to be yet.

Rey, don't do this.

So Luke slamming a door in her face

seemed like the most obvious thing in the world

to throw a bucket of cold water on her head.

Action!

Tell me the truth.

There's folks in your life that

you expect to fulfill a certain thing,

and, as we grow up,

we realize that doesn't always happen.

And cut it. Oh, my God.

Camera reloads.

Is it true?

Did you try to murder him?

Leave this island now!

Stop.

Stop!

I've never really edited in earnest

while we've been going in production

on any of my other films.

But, on this one, I'm gonna have to.

Did you do it?

Did you create Kylo Ren?

You would give us up to the dark side

for a pair of pretty eyes.

Right here, we just...

We need to read that she is rearing back to swing.

It's nice having Bob in the cutting room, here at the studio.

I can just go over there

at the end of the day, when we wrap.

BOB Because the other take,

she's not really doing as much.

It's weird, you have, like, in your head,

a memory of what takes you think are best and what worked.

And it can be like that thing

when you saw a movie a long time ago,

and you remember a scene one way,

but then you watch it again and you're like,

"Oh, that's completely different

than I thought it was."

I feel like I need to rewrite

the opening sequence,

in terms of the big-picture stuff

of what's going on.

Watching the whole thing together, I freaked.

- You watched it?

- Yeah, and I freaked out.

Because I'm like, "This doesn't track."

"You can't follow what's happening.

"You can't follow what the big stakes are."

I got really scared.

He can have his anxieties.

I just need to make sure,

if need be, to give him the confidence that, like,

"No, dude.

Everything you're doing is great."

Or, "Yeah, that thing maybe wasn't great.

"No biggie. We can fix it."

Part of my job is

to support him at every level.

- We had, like, a budget meeting.

- Yeah.

How we doing?

Fine, it's not important.

And you look, and you say,

"Okay, we're at day 50."

You look in the breakdown,

we have another 44 sets to build.

Jesus Christ.

I said, "Are you kidding me?

Forty-four sets."

Not believable.

- Staying on schedule. That's impressive.

- Yeah. Absolutely. Absolutely.

Ireland is the big...

- I don't know about the weather.

- Yeah.

The only thing that's different is that

that ramp in the back was tilted up,

which was what we had.

H EI N Right. So, this is correct,

as far as the ramp goes.

We just need a lot more rocks here.

This just isn't a big enough pile.

- That's it.

- No problem.

- Is this too big?

- U h, I don't think so.

I just think maybe...

It's always a surprise to a director

when you actually tell them

how many sets that they have in their script,

because they don't sit and count them.

And neither should they.

That's a practical concern

that we figure out, and manage.

This sample that I want to do

for the throne room,

I want it to feel kind of monolithic.

It's not quite perfect

in the same way that that is.

It's got a little bit of...

A little bit of character on the edges.

Is it that bunched up,

or is it spread out?

Oh, no, that's the whole thing.

It's a whole thing.

It's gonna go all around.

Wow, that's exciting.

Looking off to the side,

more Praetorian guards,

at the oculus beyond,

and just getting a sense

of what our set's gonna look like.

Giving a real sense to the director of

being able to put his head into the set,

when it's still in an extremely rough

condition here on stage.

So, yeah, this is all the hand props for Vlll.

This is our hero table.

This is where we have

a lot of the hero props,

like Kylo Ren's lightsaber.

This is the original warrior hilt.

Yoda's cane, which we made for this one.

We made these dice,

which were hanging

from the Millennium Falcon cockpit.

Apparently it's what Han Solo used

to win the Millennium Falcon,

so he's always kept them hanging up.

We're the action vehicles,

and our job is to make all the

interiors and exterior decoration.

We're always looking to improve

the durability of the weapons,

and the reliability of them as well.

But this time around,

we're trying to introduce

as many airsoft weapons as we can into them,

so that the actors can actually fire them.

Obviously you've got your sound there,

as well, which gives a slight kickback.

So, it'll give you the feel of

actually firing a rifle.

Just want to see that in comparison.

- Right, right, right. Mmm.

- Yeah.

Probably another couple of millimeters,

so it's really quite...

It's two mills difference

between those two.

When we came to the process of designing the scar for Kylo Ren,

that probably took around five, six months.

I think the scar

can be a little more significant.

- A bit more defined, okay.

- You know what I mean?

- More defined. More significant.

- Yeah, sure.

And I think we make it wider.

And no one says,

"Oh, my God, you had so much prep time on Star Wars."

It seems a lot.

I mean, it was still a push at the end.

I have to say, if you're given

two weeks or six months,

it's still always a push at the end.

The other option is we pick him up

in his medical chamber.

It could be taking that thing off,

and revealing the fine scar, you know.

There you go.

Yeah, that's a good idea.

Peeling it off, and...

- And the thing coming off.

- Yeah.

All right, here we go.

And sense something.

And cut. Very nice. That was a nice one.

Adam is so...

When he's here, he's, like, so...

- He's intense.

- Intense.

I know.

- That's fine. That's great.

- Yeah. Yeah, yeah. It's very good.

You'll bring Luke Skywalker to me.

Can you see my surroundings?

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