Issue link: http://digital.copcomm.com/i/1260764
9 8 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 2 0 bounty-hunter bar on volcanic Navarro, krill farms on Sorgan, deserted Mos Eisley streets, and many more beautiful scenes. Adding to the show's design was the exquisite set dressing by Amanda Serino and the inventive props by Josh Roth. Jones and Chiang were perfectly paired to carry out the Star Wars-flavored sets, set decoration, props and vehicles, and make the Mandalorian world a reality. As things were ramping up, the five guest directors began prepping their respective episodes. By that time, complete storyboard animatics of each episode were done, and the new directors would now be able to visually experience Jon's scripts as written. Each director brought something unique to the experience, and as all great directors do, they made it their own by adjusting and inventing moments. The premiere episode, "The Mandalorian," was directed by Dave Filoni, and it was his live-action directing debut. Filoni's keen sense of story, honed from his years creating the animated shows, helped to fill out and define the Mando character. With a surety of vision, Dave even drew his own storyboards, effortlessly designing scenes. Filoni would go on to write and direct "Chapter 5: The Gunslinger." Director Rick Famuyiwa, brought his experience writing and directing indie films oe and Confiation). He was never afraid to test the boundaries of the known Star Wars universe, and delivered two fantastic chapters, "Chapter 2: The Child" and "Chapter The Prisoner," which he co-wrote with Christopher Yost. In "The Child," it was a lot of fun drawing Rick's irreverent 'Mando vs the Jawas' scenes. Deborah Chow, a seasoned director of many top TV shows (Better Call Saul and The Man in the High Castle), brought her expert eye to create many wonderful moments in her two chapters, the big actioner "Chapter 3: The Sin" and "Chapter 7: The Reckoning." Bryce Dallas Howard, having directed documentaries and short films, brought a finely honed sense of character to her "Chapter 4: The Sanctuary." With Bryce's stellar acting background (Jurassic World, oetan), she made sure each moment was character-driven, and moved the story forward. Phill and I would remember her actor's approach when laying out future scenes. Taika Waititi, an immensely talented Hollywood favorite (Jojo Rabbit, Thor Ragnarok, concluded the first season with a solid "Chapter Redemption." Taika's great imagination and shot invention made the storyboards fresh and exciting. I've always looked at the on-set use of storyboards as if the boards are as much of a checklist as they are a guide. Using the boards as a starting point, the director, the director of photography, and even the actors will influence the actual staging and performance of any given scene. Sometimes, in the midst of shooting many episodes, we would A A. EPISODE FOUR STORYBOARD BY DAVE LOWERY. B. MANDO'S SIGNATURE SPACESHIP THE RAZOR CREST. DIGITAL PAINTING BY DOUG CHIANG AND THE ILM ART DEPRARTMENT. C. 'THE CHILD' CONCEIVED BY JON FAVREAU BECAME A WORLDWIDE CULTURAL PHENOMENON, FANS DUBBED HIM 'BABY YODA.' DIGITAL PAINTING BY DOUG CHIANG AND THE ILM ART DEPRARTMENT.