The Director and the Jedi Page #6

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You're gonna pay for what you did!

I can't see yours.

Just you.

Kylo, that was the character

that I was most excited about getting into and writing,

because in the first Star Wars films,

Vader was a great villain,

but he was never someone that you identified with.

Why did you hate your father?

Whereas, with Kylo, it's almost like

Rey and Kylo are two halves of the protagonist.

And, if this is all about the transition

from adolescence into adulthood,

Kylo is that anger of adolescence.

- More!

- H Ren, surely...

More!

My favorite kind of bad guys

are the ones that you identify with,

and that was really interesting to me.

And how those two are going to develop

and affect each other,

and play off each other,

being two halves of this whole.

RI It's only when they touch

that either of them actually see what could be.

And through that they build this incredible intimacy.

Luke should be the one nurturing Rey,

and it's actually Kylo that is.

Cut.

That was really nice. Great.

Being on location has its own challenges.

It's not as convenient, necessarily,

as you're in the studio.

But I think, if I could shoot

the entire movie on location, I would.

It grounds it in reality.

This is the first time we shoot in

a city where you have tons of people,

so you have to deal

with people with cameras,

and you don't want to reveal

any creatures or characters or vehicles.

So, you have to figure out how you

can shoot what you want to shoot,

and still hope that everything you're

shooting doesn't get leaked instantly.

And we'll see how much success

we will have or not

by the time the movie comes out.

What we do for the entertainment

of millions of people around the world.

Squeeze into a rubber suit in

the middle of the night in Dubrovnik.

There you go.

You gotta be a little more over.

You really do have to protect yourself.

There you go.

Imagine you're the camera, there.

How is it?

Yeah. Well, it's mildly erotic, to be honest.

Yeah.

But I think we can get away with that, can't we?

That's what you were going for, really?

All right, here we go!

All right, shooting now!

Background, camera, and now!

And cut.

So good. So good.

Yeah.

Hello.

Look at this magic.

Look at this magic.

One thing's for sure, it has to

look like it's on the knees, like it's resting.

Otherwise, it looks you're about to do a baton act.

Yeah, right, exactly.

One, two, three...

Young Skywalker.

Frank, we're spying on you.

You have spies here.

Oh, my God.

Hey!

I'm still upset that he hasn't aged a day.

And I've aged tragically.

But you look gorgeous.

Thank you. I've always wanted to

be able to do this.

- You look handsome.

- Like a certain character in the...

I think it was a year ago, almost,

that I had lunch with Rian,

who asked me if I wanted to do Yoda.

I said, "Sure," because I thought it was just CG and a voice.

And then I found out weeks later

that he wanted to do the real Yoda.

And I thought, "Do you know

what you're getting into here?"

When we heard that we were going to do Yoda,

that was the absolute icing on the cake.

I mean, you know, come on.

So, there was this personal side of,

"Oh, my God, I'm gonna work with Frank Oz."

But now Frank's gotta be, kind of, working with me.

Hello, Frank, my name's Neal.

Neal Scanlan.

Had a meeting today with Rian

and we learned that you were

very interested in performing Yoda.

We had hoped that right from the start.

Kept our fingers crossed.

So, it's great news to hear that you'll be involved.

One of the greatest things was that

we did find the original mold for Yoda.

And, you know, it arrived in

this beautiful little wooden box.

It's such a mold of its time.

We took a positive from that

and created a master clay pour.

Then, Colin Jackman, one of our lead sculptors,

just kissed that sculpt.

One daren't even change a line, really.

We were able to replicate the puppet.

I think

it must be the closest replication

that one could possibly have.

Then your hands are under the bar, here.

- Okay.

- And this one's on top of the bar.

- The brow.

- The brow.

So, you get the idea that it's not just a slip on, slip off.

God, that's incredible!

You better watch your ass.

Frank's been with us for about a week.

And we had some script lines.

And then, completely without any warning,

he suddenly...

Dropped into Yoda's voice.

Oh, Skywalker. Missed you, have I.

I mean, just about everybody who was around,

and the hairs just went up on their back...

And it was like... There he was.

And this little character just

became what we all grew up with.

I wonder if instead of looking up for the lightning,

I wonder if the finger is enough to indicate...

And it's...

- Sure.

- You know what I mean?

Ready, and one, two, three, close.

Yeah.

For you to look past a shelf of old books.

The way Rian wrote this particular scene,

this is the only way the scene could have worked.

Mark could not work with a CG character,

because it wasn't true to the Yoda Luke knew from Empire.

- Hi, Frank.

- Hey.

- Have you met Daisy?

- Yes, we have.

- Oh, careful.

- Ooh!

We need you alive.

So, I've just been in with Frank.

I'm asking him to have Yoda all ready

to go with him under the rocks,

7:
00, for a line-up.

Stop!

Turn.

Master Yoda!

Young Skywalker.

I'm gonna burn it down.

Don't try to stop me.

Wonderful.

Okay. Guys, thank you very much

for an excellent week.

6:
00 call on Monday, same place.

Bring some marshmallows.

It's a bestseller.

Page turners they aren't.

You know, George Lucas created something,

and even now people are constantly still trying to figure out

what it was that he tapped into that resonates still today.

And, I think, a part of it is

the ideas inherent in the storytelling

were meaningful to him.

And, consequently,

they were to a lot of other people.

All right. Here we go.

- Set. Set!

- Set.

Action!

Why are you here, Rey, from nowhere?

The Resistance sent me.

They need your help.

The First Order's become unstoppable.

Why are you here?

And, so, we have to be authentic to that process.

Every single person that

steps into the Star Wars universe

has to ask themselves,

"Why is this meaningful to me?"

And I'm afraid.

I don't know what it is

or what to do with it.

And I need help.

You need a teacher.

I can't teach you.

Why not?

Your face, it can be more internal.

You're finding the words for this

for the first time, you know.

And I think that's what's interesting

about the contribution that Rian's making.

Every single decision is personal to him.

I will never train another generation of Jedi.

You asked why I came here.

I came here to die.

And let's cut.

N ice. Very nice, guys.

Dan, let me see the previous.

Play it back once more.

I mean, basically, yeah.

What they do is...

I mean, all the animation comes from ILM, right?

ILM is spending months to

make sure we get the right animation.

Then they program it into the rig.

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