ATTENTION: MAJOR PLOT REVEALS: The following narrative encompasses significant events from the entire inaugural season of “Star Wars: Skeleton Crew,” now available on Disney+.
Back in 2017, filmmakers Jon Watts and Christopher Ford pitched their concept for a fresh “Star Wars” standalone movie to Lucasfilm with just the basics in hand.
He explains, “All I proposed was this concept: ‘They’re a band of children who find themselves stranded in the ‘Star Wars’ universe and must return home.’ At that point, that was all we had developed.
Tom Watts’ career took off significantly in that year with the debut of “Spider-Man: Homecoming,” and after he managed to extricate himself from Spider-Man’s web post the release of “Spider-Man: No Way Home” in 2021, Lucasfilm shifted their attention towards producing TV shows for Disney+.
In essence, Watts and Ford reworked their concept into “Skeleton Crew,” an exhilarating journey about four children: Wim (Ravi Cabot-Conyers), Fern (Ryan Kiera Armstrong), KB (Kyriana Kratter) and Neel (Robert Timothy Smith). These youngsters inadvertently flee their isolated planet, At Attin, aboard a hidden spaceship that once belonged to an infamous space pirate. Navigating through their predicament, they tentatively ally with another drifter pirate, Jod Na Nawood (Jude Law), who initially misleads them by pretending to be a Jedi using his limited understanding of the Force.
Throughout the eight-episode series, the children gradually uncover two crucial truths: firstly, their world has been secretively hidden from the wider galaxy because it was once the main mint for the extinct Old Republic; secondly, tales of At Attin have become pirate folklore, depicting it as a legendary planet brimming with riches. Jod exploits the children to bypass the protective shield surrounding At Attin, seize control of the ancient droid system that has sustained the planet for centuries, and loot its vaults filled with stacks upon stacks of Old Republic credits. In the climactic episode, the children manage to reach out to the New Republic to alert them about the pirates, and remove the barrier encircling the planet forever, thereby revealing At Attin to the galaxy for the first time.
Watts and Ford discussed various aspects of incorporating a substantial expansion into the “Star Wars” lore with ‘EbMaster’, including their experience collaborating with an elite team of directors on the project, the reason Jod’s lightsaber remains non-red, and unveiling the authenticity of “Star Wars” rules.
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In conversation with ‘EbMaster’, Watts and Ford delved into the intricacies of adding a substantial piece to the “Star Wars” storyline, sharing their insights on working alongside an illustrious group of directors, explaining why Jod’s lightsaber stays its current color, and revealing the secrets behind the principles governing the “Star Wars” universe.
Other than Jon directing a couple episodes of “The Old Man,” both of your careers have focused on feature films. So as you were building out the show, how did you want to make it feel like a TV series?
CHRISTOPHER FORD: The format we’re using is a novelty; it’s this new type of thing. These short series, consisting of eight episodes, are sort of a mix between movies and regular TV shows. So, it’s about ensuring that each episode stands alone while still contributing to the overall story. It’s all about striking the right balance.
Instead of revisiting modern television series, we opted to rewatch classic pirate serials from the ’20s and ’30s.
FORD: Those are impressive, but when you think about them now, the cliffhangers were quite misleading. They’d depict a character being pinned under a rock, only to reveal in the next episode that they had miraculously escaped. There was no intrigue or puzzle as to how they managed to get out of such a predicament; they simply reshot the scene.
Along with Jon, the list of directors is ridiculous for the show — David Lowery, the Daniels, Jake Schreier, Bryce Dallas Howard and Lee Isaac Chung. It’s rare that other directors get to work together, so what was that like? Especially since you were, essentially, their bosses?
SCHREIER: Jake Schreier and Bryce Dallas Howard were acquaintances from film school. It’s wonderful. Previously, I had worked with producers who were incredibly open-minded to my suggestions and allowed me the creative freedom to execute my vision. I aimed to replicate this approach for this series. Fortunately, everyone on board shared a common understanding of the show’s tone and setting, minimizing micromanagement when directors were on set. Instead, we encouraged them to build upon our foundation and add their distinct perspectives to each episode. As a director, as you mentioned, I rarely get to observe other directors at work – in this case, I was eagerly observing how Isaac would approach the scene compared to Bryce or David.
FORD: But not Jake.
WATTS: Not Jake. I’ve known Jake forever. I knew what Jake was going to do.
You also expanded “Star Wars” canon considerably with the creation of At Attin. How did Lucasfilm work with you on that process?
FORD: They’re very receptive to our ideas. Initially, we were cautious because we held “Star Wars” in high regard and didn’t want to ruin it. However, they urged us to create something new. There are small elements that we adjust to ensure continuity, but overall, they encouraged us to push boundaries.
WATTS: There’s a common misconception that there are strict guidelines limiting what you can and cannot do, with gatekeepers standing in the way of innovation. However, we discovered just the opposite. We approached things with curiosity, asking questions like, “Is this possible? Can we incorporate this idea? Can we create such a world?” And they responded with encouragement, saying, “Go ahead, give it a try!
FORD: Neel is a great illustration, as he initially resembled Max Rebo from “Return of the Jedi”, but his eyes lacked the necessary expressiveness for a leading role. We had to make some adjustments, fearing they might not approve. However, we were reassured that there are already many elephant-like aliens, so creating a unique one was acceptable.
I will say, Jude Law has talked about how there were some rules…
WATTS: He mentioned some sort of shot, and I found myself wondering, “Who made that comment?” Then it dawned on me, “I believe I was the one who said it.” It seemed to be related to a quick zoom, if I’m not mistaken.
He’s said that you can’t take the camera from space into a ship within the same shot.
FORD: To prevent the issue similar to David Fincher’s perspective through glass, when arranging the spaceship scenes, we attempted to mimic the constraints of working on a motion controller rig. This meant that you wouldn’t be able to rotate completely around an object, as this would reveal where the armature is connected. Instead, we had to carefully position the camera to maintain a realistic and aesthetically pleasing shot.
Instead of following the “Star Wars” rule strictly, it’s more about developing a look that evokes the Star Wars universe rather than another. Back in ’77, they couldn’t pass through glass digitally because such technology didn’t exist yet.
In the episode set in the pirate city of Port Borgo, there are even more brand new aliens that you introduce into the canon. How does that process work with Lucasfilm?
WATTS: Typically, Ford would sketch a rough idea on paper, which is then handed over to Doug Chiang and his team of talented artists. They’d return with about ten stunningly detailed variations based on that initial sketch.
FORD: Then it became an actual functioning robotic suit that’s just mind-blowing. That large crab-like creature with the head – I still find myself thinking, “That’s computer-generated.” But no, it’s all real. The way his mouth moves is really impressive.
ME: Absolutely, I’d love to explore more about that man and Port Borgo. In fact, I’m keen on delving deeper into everything related to the topic.
As the show progresses, the show implies that At Attin’s origins come from a much earlier era in “Star Wars” mythology. How much was all of that in your heads?
WATTS: There are drafts where we we really explained everything at certain points in the show.
They entered the Supervisor’s office where he clarified all the details. However, we found ourselves thinking, “Hold on, this is dull and uninteresting.
On your end, you must work out all the specifics and decide which parts are best to disclose for dramatic purposes. Consequently, you construct a world with layers, but not every aspect of it needs to be shown to everyone.
FORD: It’s like playing “Rosencrantz and Guildenstern Are Dead,” since there’s a pre-existing storyline. The secretive nature of our planet being concealed allows it to blend seamlessly, causing minimal disturbances.
So how long had At Attin existed with zero contact with the outside galaxy?
FORD: Um. Well? Should we just say stuff? Tell our secrets?
WATTS: I always talked about it as, like, being a potential wedge [of time].
FORD: If someone needs that for future story, we don’t want to [say it].
WATTS: “Star Wars” has such an engaged, intelligent fanbase that it’s fascinating to see them draw diverse connections and fill in the blanks of the storyline we’re considering. It’s enjoyable to leave some elements open-ended for now, then if we revisit it in a future season, we can decide on the definitive details.
FORD: To put it simply, the complexity makes it less suitable for episodes that resemble a ride. Essentially, the planet was intentionally concealed for a long time in the past. Over time, it became almost forgotten except by a select few. Tragically, those who remembered were eventually eliminated. This is a multi-layered process of forgetting.
Did you talk with Lucasfilm about the implications of At Attin being revealed to the full galaxy?
JIM: Absolutely. Should we discuss the potential developments for a second season, there are numerous consequences stemming from everything we’ve already accomplished.
FORD: Beyond just the tale of these characters, it struck executive producers Dave Filoni, Jon Favreau, and others that this material could serve as a valuable resource for crafting a new piece within the Star Wars universe.
I’VE PUT IT ON THE BOARD: It’s there now, visible for all to see. There’s a substantial amount of riches waiting to be claimed by whoever desires it.
Maybe I’m over-nerding here, but the fact that the lightsaber that Jod uses doesn’t turn red like it does when the lead character of “The Acolyte” turns to the Dark Side made me think he wasn’t truly a bad guy.
FORD: The aspect of the lightsaber changing to red is somewhat particular. I believe they handled it in “The Acolyte,” as the crystal was visible due to its role in a ritual. We avoided delving into that detail since he’s not a Sith.
WATTS: When I saw that in “Acolyte,” I was texting Ford, “Is that how that works?” [Laughs]
FORD: To be honest, the thing that really got me pumped about Jod’s Force-using side was that he wasn’t a highly skilled Jedi or Sith, more like an apprentice in training.
WATTS: Yeah, he wouldn’t be able to change anything to any color.
FORD: He has a few small abilities. It’s intriguing to see some people online say things like, “You can tell by the way he wields the lightsaber that he hasn’t been trained.” I can’t help but wonder if Jude would take offense to that remark, but it seems to be the implication.
He’s similar to someone who had a few piano lessons as a child, enabling him to play just one tune that he mastered.
Was there a version of the story where Jod does cross a line and hurt one of the kids or one of their parents?
FORD: We didn’t really expect him to act in such a way, as his personality was more about being a swindler, deceiver, and bluffer rather than a violent killer.
As a Cinema Enthusiast: Jude’s portrayal of the character is captivatingly complex – he’s not your typical hero, yet he isn’t wholly villainous either. His acting skills make you sense his internal turmoil throughout the performance. Every action that seems malicious, carries a hint of struggle and reluctance. You can’t help but feel that he’s been pushed into this role, leaving us, the audience, questioning our own moral compass.
FORD: The reason for his action in that instant when he discards the weapon is because he could have fired at the children. He understands that Wim can’t deflect bullets with a lightsaber. And he’s essentially saying, “I won’t kill them. I surrender.
Separate from a second season of this show, would you ever want to do television again?
WATTS: Absolutely, I’m fond of television. The broader format it offers appeals to me. Delving further into the intricate narrative of episodic storytelling is quite enticing. We’ve been discussing potential elements for a second season, possibly expanding on that aspect. If the first season had a more miniseries-like structure, now that we’ve introduced the characters, we can spend more time with them and delve into their world through a slightly different narrative approach.
Are you optimistic about a second season?
WATTS: Absolutely, it’s out there now, and you never truly predict the reactions when you release something. However, the “Star Wars” community is quite vocal, and we’ve been overwhelmed with positive feedback. Our aim is to ensure as many people get to experience it as we have more stories to share.
This interview has been edited and condensed.
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2025-01-17 06:17