I was fortunate to have Jon, people like Greig Fraser on board to help guide me through the process and help realize what I was trying to do shooting-wise and performance-wise. So while it's a world that's familiar to me, it was a medium that was not as familiar to me - though George had prepared me well over the years with his training. "I was taught by George and there are a lot of things that I want to do with Star Wars, that I feel make something feel like Star Wars and very classic," Filoni says, "but of course everything I was doing was the first time I was doing it, in a way, because it's live-action. In addition to Favreau's mentorship, Filoni also studied at the right hand of George Lucas for many years through his work at Lucasfilm Animation. So that was a great honor and responsibility." Check out the video before to learn how the fallen Empire fits into the world of The Mandalorian: I was very flattered that he was willing even to have me direct the pilot. "I really appreciate that he brought me into this process and that he values my point of view because I've been with Star Wars so long," he says, "but I really wanted to accomplish the story that he set out to make. A pilot director has a pivotal role in establishing the tone and aesthetic of a new series, but Filoni said that first and foremost, he approached the first episode as a chance to fulfill Favreau's vision for the show. Meanwhile, special effects legend John Knoll crafted a special motion-control rig in his garage so the model could be used for composite shots." Favreau has previously admitted that he wrote four of the scripts for The Mandalorian before he even had a deal to make the show, and Filoni notes that when the director of Iron Man brought him on board to direct and executive produce the series, "it was the first time in a long time that I was working on a Star Wars script that I hadn't written or been deeply involved with the writing process." Filoni directed two episodes in The Mandalorian's first season - the first episode, and a later installment. According to, "ILM model maker John Goodson built the craft using old-school techniques combined with cutting-edge 3D printing and LEDs for the engine lighting effects.
Fans will be pleased to know that the Razor Crest was built as a practical model, not CGI, just like the ships in the original trilogy. Stylish and practical! While the exact model of the Razor Crest is yet to be revealed, it does share some design similarities with a number of gunships used during the Clone Wars, like the Low Altitude Assault Transports used by the Republic to transport Clone troopers, the Auzituck-class gunships built by the Wookiees, and the SS-54 assault ships favored by the likes of the bounty hunter Sugi. There's also a handy accessory hook on the wall - because obviously you don't want your precious swag sliding all over the floor during a dogfight. We're speculating here, but the dual control sticks are probably useful for maneuverability, while also keeping the weapon triggers in easy reach - vital for when "Mando" inevitably finds himself in a battle (which we're guessing happens quite often), and since he's a Mandalorian, we're betting this ship also has a lot of hidden tricks up her sleeve. So I feel really good about the show and what we've done." The Razor Crest We don't know much about The Mandalorian's ship so far - aside from its awesome name - but here we get a first look inside the cockpit, which, unsurprisingly, appears to be configured for a single pilot - since we know our titular hero is a lone wolf.
He's such an accomplished filmmaker and he's really challenged me to grow, which is what you always want in your field.
"The storytelling I've done in the very serialized space of television has helped with some framework and discussions Jon and I have had about the story ," Filoni tells IGN of the lessons he learned from his previous shows, noting that it's been useful to have had experience "telling Star Wars stories in a somewhat shorter period of time" through the animated series, even though, when it comes to plotting an ongoing narrative, "in some ways you arc it over a longer period of time than even the movies." Filoni says that "having written now on Star Wars for 15 years," he's enjoying the chance to flex new storytelling muscles in a different medium with The Mandalorian: "I definitely think working with Jon, I've been able to achieve new personal levels that I wasn't at before.