#cary silver

[clonewarsarchives]

SECOND STRIKE! (#113, DECEMBER 2009)

As Star Wars: The Clone Wars returns with its second season, Jonathan Wilkins talks to producer Cary Silver about the challenges of topping the TV hit of 2008!

How did you get involved with producing Star Wars: The Clone Wars?

I was approached by Gail Currey and Rick McCallum about two thirds of the way through the first season. I previously produced and supervised a number of computer generated animated TV series such as the Emmy award winning Jakers—The Adventures of Piggley Winks, as well as Pet Alien, Cosmic Quantum Ray, Dive Oily Dive and the Bratz series.

Presumably you had to keep that approach a secret—was that hard to do?

It was incredibly hard, because ifs such an exciting project! The only person who knew throughout the entire process was my wife and we were bursting with excitement over the possibilities. We used to sit up late at night talking about “what if”? I’ve long been a fan of Lucasfilm and George Lucas’ work so it was hard to contain the excitement during the interview process.

So were you a big Star Wars fan?

Absolutely, I’ve always been a big fan of Star Wars. I wasn’t dressing up and going to conventions and I certainly don’t have the encyclopedic knowledge that some folks on the production have, but I love the material. I always knew that if I sat down to watch something that’s created by Lucasfilm that it was going to be of the highest quality, and I was going to see things on screen that I’d never in my wildest dreams thought I’d be able to.

Can you explain what an animation producer does?

He or she is the person who’s solely responsible for the overall production in terms of managing the budget and the schedule, as well as the overall quality of the project. It’s an overall leadership role. My feeling all along is that producers are like conductors of an orchestra. They’re the ones who pull it together. They’re the ones who say need a little bit more from this group; I need a little bit less here; I’ve got a problem between percussion and the other rhythm section, so I’ve got to find a way for them to work better together.” A producer needs to make sure it all works in concert and ultimately create something of great quality that people want to watch week in and week out. At any given moment, a producer may need to be a friend, a shoulder to lean on, a camp counselor, a disciplinarian, or even a cheerleader depending on the needs of the production or the issue at that moment. I’ve always seen the producer role as being fairly fluid, which means that their job changes from show to show or even moment to moment. In many ways, they are the backstop for the production so they’ll need to be able to go in, understand the flow of the production, and then fill in the gaps and areas that need attending.

What are the challenges you’ve faced?

Just on the surface, any type of TV animation is difficult. It’s a complex process that takes a great deal of time and is further complicated by the fact that it’s created in different parts of the world by people from different cultures. This is made even more challenging on The Clone Wars because you’re not only producing animation, but you have to then factor in that ifs Star Wars and George Lucas. This adds to the challenge because we’re not just producing a Saturday morning television show—we’re part of the Star Wars legacy and that ups the responsibility and the level of quality we have to achieve.

In the first season, Lucasfilm Animation was a start-up studio charged with making a groundbreaking series, so there were a lot of challenges to get the production machinery to work effectively. The Season One episodes certainly show that this was done with a great deal of success, but to get to where George wanted to go for Season Two and possibly beyond meant that we needed to figure out how to refine the system and get more miles per hour out of this engine. Everyone on the team has worked really hard to find ways to get everything running smoother and tighter while still pushing the level of quality and complexity. And we’ve been able to do that and still find ways to ensure that we make delivery - not necessarily an easy task. In Season One, the team had the luxury of not having fixed airdates so they could just focus on the set-up of the studios and the creation of the series. When I came in, the focus shifted from being a start-up production to a show that had concrete deadlines and deliveries. With Season Two, we’ve had firm airdates established from the beginning and that puts a different onus on the production across the board from creative through the production team. One of the things I’m continually impressed with on this show is the effort of the whole crew, which is nothing short of amazing. It’s really due to all of these efforts that we end up with what is a breakthrough animated series.

How hands-on is George Lucas?

Far more than anybody realizes. He’s very involved in the crafting of the stories and the whole script process. He’s also involved throughout the production in terms of seeing artwork, providing reference, ideas, and concepts for designs. He personally goes through every episode in the production phase as well as the final edits of the episodes once they’re in full color.

George has his own ideas about where the show should go and where it should be and that pushes us into directions unknown. The reason why he’s been such an amazing, innovative filmmaker alt these years is because he’s not bound by the limits of the craft of film-making today, or the levels of quality that can be readily achieved. He’s continually light years ahead of the curve, and that creates a great deal of production challenges to figure out a way to be true to that. I have to say that I think we’ve struck a good balance, and I know he’s very happy with the show and the way it’s looking.

It must be quite an education to work with him.

It really is, it’s incredible working with him. To sit in script sessions with George, or to sit in edit sessions, is an absolute master-class in filmmaking.

Do you have a favorite episode from the first season?

I have a number of episodes that I really like. I love Trespass, which is a phenomenal episode. It’s not only visually breathtaking in terms of the snow planet and the effects, but for me the story is what’s really compelling. To see Senator Chuchi find her balance and her bearing to address a difficult situation and to grow into a leadership position is fascinating. I also really like Jedi Crash. It’s an episode where the leader of the Lurman questions the Jedi’s role in the war as peacekeepers. There’s a great line where he says, Only when you lay your arms down and pursue a course of non-violence can you make this claim to me that the Jedi are ‘peacekeepers’— It’s an interesting challenge to the Jedi way by questioning whether fighting for peace is really the best way to achieve it. Another one of my favorite episodes is Innocents of Ryloth, where the clones are on Ryloth and stumble across a little girl while checking a deserted city. The episode takes on large political issues in the galaxy, then dials them down to show how a child is affected by war and being displaced from home. It’s beautifully told and the animation’s gorgeous. Heartfelt stories like that help bring different dimensions to the whole Clone Wars saga.

Is the writing the key to making a great episode?

Yes, absolutely. The old adage of “if it ain’t on the page, it ain’t on the stage” really does apply. But as you work through each production step, the contributions of Dave Filoni, as supervising director, the episodic directors and the artists are what really bring these stories to life. They take an excellent story, work with George to fine-tune how it’s told and bring it into the world of Star Wars. Even the things that George adds and changes take something that’s really great at its core and turn it into something that’s even more special.

What singles out George Lucas as such a great storyteller?

There’s a reason why Star Wars has continued to resonate with several generations. There’s a certain methodology and a philosophy in how George likes to tell stories; how he likes to engage the audience; and how he likes to set certain things up and then have them pay off. That’s part of his daily contribution to the show.

What lessons have you learned from Season One that you’ve applied to Season Two?

When you look at syndicated TV shows and see the first few episodes of Seinfeld, it doesn’t quite feel the same. It doesn’t have the same feel as when it found its rhythm. I really feel that The Clone Wars has found its rhythm in terms of storytelling. We know what an episode should feel like, so now it’s just a case of making sure we can keep George happy by pushing the creative boundaries within the constraints of a tighter production system; that’s my daily challenge.

Beyond Season Two, it’s a matter of figuring out how to get the most out of this production system so we can hit our marks and keep delivering while ratcheting up the quality, the animation, the lighting, and all the things we’re constantly pushing to improve. The show is growing in quality, almost from episode to episode.

What’s coming up as Season Two progresses?

The show is getting bigger, better, and a little more intense and complex. We’ve got our battles and our space adventures as you’d expect from Star Wars. But we’ve also taken some more time to flesh out characters and include a bit more of the overall tapestry of the Clone Wars by providing quieter moments that illuminate a particular issue or a character’s journey. There are many great, fun episodes, and some quieter stories too. Everybody tells me how amazing Season One looked, but you ain’t seen nothing yet! I think our biggest fans are going to love the new episodes!

Can you see the show going on for years and years?

I can. The joke here is that M*A*S*H went on longer than the Korean War. Again, I think it’s only limited by George’s imagination, and there are a million stories to tell from all angles that shed light on the conflict as well as the politics of the era. I think it could continue as long as the audience wants to see it.

[clonewarsarchives]

PRODUCING MAGIC (#129, NOV 2011)

Star Wars: The Clone Wars producer Cary Silver tells Star Wars Insider why Season Four breaks new boundaries. Interview by Jonathan Wilkins

What have the challenges been this season?

The challenge has really been to maintain the high level of quality that George [Lucas] has tasked us with. One of George’s big tenets is to always push the boundaries, and this challenges us to constantly find ways to get better, to push the quality of the lighting, animation and effects as well as the storytelling. You’ll see all of this in the coming months. So buckle your clone helmets on tight because it’s going to be another amazing season of The Clone Wars!

Lead writer Christian Taylor recently told us you've been known to hold your head in your hands when you hear incredibly expensive ideas in the writers' room. What's the most expensive idea someone's come up with?

You know, it’s funny. I saw that quote and probably sometimes do get concerned about where we’re going, but honestly my feeling is that in a writers’ conference it’s not my job to cringe or try to limit what George wants to do. It needs to be a freeform, creative environment. It’s all about getting the idea right, going as far as we can, and then we’ll figure out how to do it and find ways to make it producible. So, although I do grimace at times, I don’t think that’s something we should worry about at a writers’ conference. The sky’s the limit!

Surprisingly enough, one of the most challenging things in this season was put forward by George himself. It’s the three opening episodes of Season Four and we’ve set them almost completely underwater. And for a TV series to completely change everything for one story arc is amazing and ambitious. Think about it: basically every asset we had previously used no longer applied. Every camera move as well as the simplest walk cycles or fighting cycles that we’d created up to that point had to be rethought and redone.

So we had to create a completely new construct for the series, which I think we did spectacularly. It was incredibly challenging and not something any other CG series would even think about doing, but for us it’s just another story arc. That’s just a small example of the level and ambition for the show that George is constantly pushing us to reach.

Presumably, having made those episodes, you’ve got the assets in the bank if you want to revisit it later.

Certainly, being in CG gives it that ability, although it never works as easily as you think. You might go back and say, “Oh great, let’s do another water episode,” and then realize there are all these other things you’ve got to change. But, yes, we do now have the basic concept in the digital world that we can pull from.

More than that, though, is that it helps create more confidence amongst the crew. We can enjoy the fact that we really pulled the impossible off! And for me, that’s the true achievement. We have the most amazing hard-working and talented crew, and there isn’t anything we can’t figure out how to do at this point.

As you've gone on, has the process of making the episodes become more streamlined through experience?

It has. One of the tenets of the company is to never rest on our laurels; so with every season we want to figure out how to make things more efficient and the production process more effective.

Usually when you try to streamline a production, the quality and complexity goes with it, and you simplify things. But we’ve been able to streamline the process and the production system while pushing the quality through the roof. They’re almost opposing agendas, but we’ve been able to figure out how to balance the two. Again, it’s really a testament to the talent and dedication of the entire team.

The Clone Wars has evolved every season. What have been the big advances in Season Four?

The big advances have really been the great strides that Joel Aron, [lighting and effects supervisor] has been able to do in terms of the overall look and feel of the show. We’ve also brought in a new animation supervisor, Keith Kellogg, who I think has helped us take the animation to a whole other level.

Those are some of the real breakthroughs, beyond continuing to hit our stride and build on everything we’ve learned along the way. As Joel has said, we learn from each passing episode and then apply it in the next episode. For us, it’s about constantly finding a way to up our game and push the boundaries creatively.

You've described working with George as being a masterclass in filmmaking. What's been the most important thing you've learned from him?

His storytelling sense. There’s a reason why George’s movies and stories have resonated with generations of fans.

They have a level of clarity in how the story unfolds that really involves an audience and brings them along on an amazing journey. But beyond that, it’s his editing sense and his creative inspiration. It’s amazing working with a visionary of his stature. For many people in this industry, particularly in my role, it can sometimes be hard to think out of the box and to break the mold, because you’ve built that mold and are trying desperately to live within it. But George is constantly imploding the mold and saying, “Let’s go further.” That continues to challenge us and ultimately inspire us to do great things. The Clone Wars is not your average animated series and George really makes us feel as if we’re making a Star Wars feature every week.

Walter Murch [acclaimed editor, sound designer, and director of Return to Oz] is directing an upcoming episode. How did that come about?

He’s a friend of George’s. Most of the guest directors over the years have all had some kind of connection with George, whether they’ve been a friend or whether they’ve worked with him before. We were incredibly fortunate that Walter was available and able to come in and work with our crew. The episode he directed is really pivotal in an upcoming four-episode arc in Season Four. It’s some of the deepest and most complex storytelling we’ve done on The Clone Wars, and Walter’s episode helped bring that home. He really is a genius when it comes to filmmaking and editing, and everyone on the crew was very excited to work with him and learn from someone of that stature.

As a producer, what do you look for in a director?

Obviously you’ve got to find someone who’s incredibly talented and creative and who isn’t afraid to push boundaries. But for me, the best productions are where I’ve felt that I can partner with the director. I really see a creative endeavor as a two-headed monster and you have to balance the creative with the production side. If the project is all creative, you run the risk of nothing ever getting done, and if it’s all production, then you run the risk of the project not being any good. Different sides may win the day based on what’s the most important at that moment, but ultimately both sides have to find a way to reach a balance and co-exist. Navigating these waters is always tricky but to me, the best work comes from when the director and producer are working together.

What's the biggest misconception people have about producers?

I think the biggest is that all we care about is saving money and being cheap. To me, that is so secondary to our overall role. Obviously as producers, we’re tasked with being responsible for the business side-we have to manage the show and manage the schedule. But that’s not what makes a producer worth his salt. To me, everything we do should support the creative vision. That’s what we’re in it for: to tell great stories and to put great visions on screen. So to me, all of the production decisions I make are to bolster that. I would hate to short-change creative so that I can save a few dollars on the budget. I would rather try and trim other areas in order to support a great idea.

Do we have to balance the creative with the amount of time and money we have to spend on certain things? Absolutely. But first and foremost, it’s got to be about supporting the creative endeavor that we’re a part of, because that’s really why we’re here.

You looked like you were having a great time at Celebration V. How important is fan reaction to you?

It means everything. It has such a profound effect on all of us, and certainly on me personally. We’re so wrapped up in making the series that we can lose sight of who we’re affecting and the fans we’re inspiring. One of the big things about San Diego Comic-Con and Celebration is to see the fans’ reactions; to see the eyes light up in little kids who are wearing Clone Wars outfits and T-shirts. It’s amazing!

To me, the great thing is when you realize how big it is. And I know that may sound silly if you think, “Yeah, Star Wars, of course it’s big.” But when you actually see the fans’ reactions-the generations of kids, parents, and grandparents-you really think, “Wow!” You get to see that The Clone Wars is an integral part of this huge, revered universe and in some ways, I feel that The Clone Wars is the torch-bearer taking Star Wars into the future for many more generations to enjoy.

If the opportunity arose to do another Clone Wars movie, would you do it?

Are you kidding? That would be an amazing opportunity! I really like The Clone Wars feature that was made, but I feel that with where the show and this crew are at now, we could hit it out of the park. I would love to be a part of something like that. It’s something Dave and I have talked about. As I’m sure you can imagine, Dave’s absolutely percolating with ideas. So we’ll see what George wants to do, but right now we have our hands full with keeping The Clone Wars TV series rolling!

Do you have a favorite episode so far? Or is that like choosing you favorite child?

You know what, it really is! I’ve got a million favorite episodes and I like them all for different reasons. I think the “Nightsisters” episodes and story-arc are just incredible; not only for storytelling but also for the visuals. The “Mortis” arc took us to places unknown and was handled beautifully. But if I had to pick a favorite episode at this moment, it might just be “R2 Come Home” from Season Two, which I loved-and not just because there’s a clone named Captain Silver! There’s just something about the storytelling in the episode that I love.

I also really love “Wookiee Hunt.” I mean, when we see that silhouette of Chewie, and he slowly stands and Looks up, and you hear those little tickles of the Star Wars theme.... I’m getting chills just thinking about it! It was a huge leap forward for the show and is a really beautiful episode.

Then again, we’ve got stuff coming up in Season Four that I think the fans are going to love. And I know we’ve said this in past seasons, but we’ve really kicked the show into a whole new gear. It’s going to be an epic, epic season.