Rose Tico — from concept art to screen
From The Art of Star Wars: The Last Jedi by Phil Szostak:
ROSE CORRIDOR VERSION 01 by Kevin Jenkins
The escape pod corridor of Leia’s Resistance cruiser, where we meet Rose, was designed to represent the more industrial guts of the ship: less high-tech, but still reflective of its overall Resistance and Mon Calamari aesthetic. The temporary or engineering bridge set, as it was called by the art department, is similarly located in the underbelly of the cruiser and similarly designed: lower decks where skilled crewpeople like Rose toil to keep the starship running.
ROSE GROUND CREW A72B by Jock (Mark Simpson)
“When we were figuring out Rose’s outfit, we didn’t even know who the actress was. But we knew it was going to be a basic coverall. Rian wanted it to be pretty shapeless, something that a man or woman could wear. But it’s in her character: She’s not someone that has to look good for work. Rose is a no-nonsense character. She just plugs along and she’s spunky. So it does work. They decided to keep her in that outfit throughout the whole Canto Bight situation.” — Michael Kaplan, costume designer
ROSE PENDANT by Matthew Savage
“The initial brief, as per the script, was to design a two-part pendant that would be split between Rose and her sister. Story-wise, that developed into two identical pendants—one for each sister—but the ‘yin and yang’ aspect led the design. Set decorator Richard Roberts suggested some Celtic reference that influenced one design, which quickly became Rian’s favorite, and that design stuck.” — Matthew Savage, prop concept designer
CABARET REVAMP ENTRANCE VERSION 01 by Adam Brockbank, Rick Heinrichs
Costume designer Michael Kaplan recalls, “There was supposed to be a scene where Rose and Finn broke into a shop window when they got to Canto Bight. She put on a gown and he put on a futuristic tuxedo. So that was going to be a reveal for Rose, going from this frumpy-dumpy coverall to a beautiful gown, which never happened.”
STABLES AND SUPPLY VERSION 10 by Rodolfo Damaggio
“Immediately after escaping the jail, we see the fathiers in their environment, riffing off of that because the fathiers are the ones who are truly in the dungeon, maligned, mistreated, and abused.” — Rick Heinrichs, production designer
“The instant you see the fathiers, you need to feel sympathy for them—to feel like you want to help them. It’s a tough thing to communicate, design-wise.” — Rian Johnson, writer and director
HANDS UP VERSION 02 by Fernández Castro
“We built quite a bit of the crashed shuttle. And Chris Corbould’s special effects team has it running in and dragging through, coming a halt at the end. It was another one of those mandates from the director: Do as much in-camera as possible. And we actually ended up doing it. That scene played out beautifully.” — Rick Heinrichs, production designer
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