There are tons of fun and interesting ways that The Mandalorian ties into Star Wars canon. Are you aware of all the Easter eggs when you’re working on the show?
There’s plenty that are pointed out to me and there’s plenty that are obvious, but I think it would be impossible for me to remember them all. On top of the Easter eggs, what I love the most is the reference to very specific genres of cinema.
Can you give us an example of that from the second season?
For season two, the set of the second episode [“The Passenger”] was the first set that I walked on to. It was this shipwrecked Razor Crest on this snowy set, and I’d seen the illustrations of the spiders that were so incredible. The spiders hatching out of those eggs were right out of Alien. Working on the show fires off all of these references to me. And then, of course, there are the specific references to the Star Wars past as well. It’s impossible to keep up with everything, but it’s endlessly fascinating.
What did you enjoy the most about working on the first episode of season two, “The Marshal”?
Working with Timothy Olyphant and being on Tatooine with Jon Favreau was incredible. I don’t know if I’m allowed to say this, but you wouldn’t believe the kind of rehearsal that the three of us had early on for that episode, in order to understand and block a sequence. You know the scene where we’re in the bar and then we step out to the main square of the town to see the Krayt Dragon? We had to rehearse it virtually first. We put on these mechanisms [VR headsets] with remote controls where we were literally able to be in a virtual world. We were actually able to rehearse it all before getting on the set. We were able to physically block the scene, which was crazy to me.
How would you describe the relationship between the Mandalorian and the Child in season two?
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