Lost in a Galaxy Far, Far Away: The Making of Star Wars: Skeleton Crew

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SPOILER WARNING: This article contains significant plot details from the first season of “Star Wars: Skeleton Crew,” now available on Disney+.

In 2017, filmmaker Jon Watts and his writing partner Christopher Ford initially presented a concept for a new standalone “Star Wars” film to Lucasfilm, which was quite basic.

Watts recalls, “The only thing I pitched was, ‘It’s about a group of kids lost in the ‘Star Wars’ galaxy trying to find their way home.’ That was the extent of our planning.”

Watts’ career took off that year with the success of “Spider-Man: Homecoming.” By the time he wrapped up his commitments with the Spider-Man franchise after “Spider-Man: No Way Home” in 2021, Lucasfilm had shifted its focus towards developing television series for Disney+.

Consequently, Watts and Ford adapted their idea into “Skeleton Crew,” an exciting adventure featuring four children—Wim (Ravi Cabot-Conyers), Fern (Ryan Kiera Armstrong), KB (Kyriana Kratter), and Neel (Robert Timothy Smith)—who inadvertently escape their isolated planet, At Attin, aboard a ship once owned by a notorious space pirate. As they attempt to return home, they form a tentative alliance with a rogue pirate, Jod Na Nawood (Jude Law), who initially deceives the kids into believing he is a Jedi using his limited knowledge of the Force.

Throughout the eight-episode season, the children discover that their planet has remained hidden from the galaxy because it was once the central mint for the now-defunct Old Republic. Additionally, At Attin has faded into pirate folklore as a mythical treasure-filled world. Jod exploits the children to bypass the protective barrier around At Attin, seize control of the planet’s long-standing droid infrastructure, and loot its vaults filled with Old Republic credits. In the season finale, the kids manage to alert the New Republic about the pirates and permanently lower the barrier, exposing At Attin to the galaxy for the first time.

Watts and Ford discussed with Variety the journey of creating this significant addition to the “Star Wars” universe, their experiences collaborating with a talented roster of directors, the reasoning behind Jod’s lightsaber color, and the underlying principles of “Star Wars.”

Creating a TV Series from a Film Background

 

CHRISTOPHER FORD: The format we’re working with is a new hybrid world. These limited series, with eight episodes, blend elements of movies and television, requiring us to ensure each episode is fulfilling and distinct while maintaining a balance.

JON WATTS: We revisited old 20-minute pirate serials from the 1920s and 1930s instead of contemporary TV shows for inspiration.

FORD: Those serials are fascinating; the cliffhangers often felt like cheats. Characters would appear to be in peril, only to escape in the next episode without any clever resolution.

Collaboration Among Directors

 

WATTS: I had connections with directors like Jake Schreier and Bryce Dallas Howard from film school. It was a great experience. I aimed to foster an open-minded environment similar to what I experienced with producers, allowing directors to explore their unique perspectives on the episodes.

FORD: But not Jake.

WATTS: I’ve known Jake for a long time, so I had a good idea of his approach.

Expanding the Star Wars Universe

 

FORD: Lucasfilm was very receptive to our ideas. Initially, we were hesitant to alter the established “Star Wars” lore, but they encouraged us to create our own elements. We found that there were no strict rules preventing us from innovating within the universe.

WATTS: There’s a misconception that there are rigid rules and gatekeepers in “Star Wars.” In reality, we were encouraged to explore and expand the universe.

FORD: For instance, we initially thought Neel should resemble Max Rebo from “Return of the Jedi,” but we realized he needed more expressive features to be a main character. Lucasfilm supported our redesign.

Visual Aesthetics and Canon

 

WATTS: The design process often starts with Ford sketching rough thumbnails, which are then transformed by Doug Chiang and his team into stunning visual concepts.

FORD: The animatronic suits created for the show are astonishing. For example, the crab shell-headed character is entirely real, not CGI.

Future Implications of At Attin

 

WATTS: We had drafts that explained At Attin’s backstory in detail, but we realized it would be too tedious for viewers.

FORD: We aimed to create a rich history without overwhelming the audience with exposition.

WATTS: The community surrounding “Star Wars” is engaged and insightful, making it enjoyable to see how fans interpret and connect with the narrative.

Looking Ahead

 

WATTS: I’m enthusiastic about the potential for a second season. The positive feedback from the “Star Wars” fanbase has been encouraging, and we have many more stories to tell.

This interview has been edited and condensed.

 

Person

Jon Watts, Christopher Ford, Jude Law, Ravi Cabot-Conyers, Ryan Kiera Armstrong, Kyriana Kratter, Robert Timothy Smith, David Lowery, the Daniels, Jake Schreier, Bryce Dallas Howard, Lee Isaac Chung, Dave Filoni, Jon Favreau

Company Names

Lucasfilm, Disney+

Titles

Star Wars: Skeleton Crew, Star Wars, Spider-Man: Homecoming, Spider-Man: No Way Home, The Old Man, Return of the Jedi, The Acolyte

Disclaimer: This article has been auto-generated from a syndicated RSS feed and has not been edited by Vitrina staff. It is provided solely for informational purposes on a non-commercial basis.

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