#i129

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The Clone Wars on Star Wars Insider covers in 2011

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TAYLOR MADE (#129, NOV 2011)

James Arnold Taylor can make the prestigious claim of having played Obi-Wan Kenobi longer than any other actor. With Season Four of Star Wars: The Clone Wars taking the show in exciting new directions, he tells us why the character is the rock at the center of the drama. Interview: Jonathan Wilkins 

Why do you think Obi-Wan is so popular?

His accent! And his charm! Actually, I think that the biggest reason is the prequels. The prequels kind of turned Obi-Wan into a leading man, even though the story is about Anakin and Darth Vader and the Skywalkers. I think that he had a new grace with Ewan McGregor, and now The Clone Wars has taken the character even further.

Obi-Wan constantly attempts to keep everybody on track, but he also tries to be realistic. You saw that in The Citadel episode in Season Three where they’re losing clones left, right, and center. I remember when we were in the studio voicing that stuff, Dave [Filoni] kept telling me that Obi-Wan is the one who says we must move forward and we have to keep going. I had to strike a balance when recording those lines to show he has sympathy and heart for the clones, but at the same time he knows the mission. I think that sort of sums up the character. He’s strong when other characters don’t necessarily know what to do, and he’s a voice of reason.

What can we expect from Obi-Wan in Season Four?

There are some things in this season that took me by complete surprise. It’s going to be an awesome season for Obi-Wan and the fans who follow him. The fans on Twitter and Facebook always say, ‘More Obi-Wan! More Obi-Wan!’ Well, I think they’ll definitely get a lot more Obi-Wan this season. Oh, there are a lot of things I want to tell you, but I just can’t!

The drama got pretty intense last season. Is that something you anticipated when you signed up to do the show?

You know, I think it’s something I hoped for. Star Wars is essentially about a dramatic series of events: they’re fun and exciting, but there’s also a lot of intensity to them. Even if you go back to The Empire Strikes Back when Han Solo’s put into carbonite-that’s dramatic and compelling. As a kid I was like, “He’s gone! He’s dead! They’ve killed Han Solo!” I think with the way filmmaking has progressed, we’re able to push things so much further now with The Clone Wars. The drama in it feels real, and it also goes back to Dave Filoni and George Lucas’ vision, which tells us that life is sometimes filled with challenges but if you keep on the right path, you will always prevail. They’re made The Clone Wars into exciting, compelling TV that you want to go back to.

Do you think it’s unusual for an animated series to be that deep?

I never would have expected it on any other show. Even if you compare it to a film like [2007’s] Teenage Mutant Ninja Turtles, where we did get pretty deep, The Clone Wars has taken it to a whole new level. It’s like those sci-fi adventure shows that I love, such as Lost, Battlestar Galactica, and Heroes, which have that level of drama, realism, and characters you care about. Well, the makers of The Clone Wars have created that in 22 minutes every Friday night! I think that not only goes back to the writing, but also the artistry of it all.

Has it been important to have people on board like Christian Taylor who have a background in live-action?

When he did the “Mortis” episode, my reaction was, “Wow, this is something we haven’t ventured into before!” I really admire Christian’s writing and storylines. The writers take it from a viewpoint that it’s live-action. And with the technology they have now, the animators can do that—they’re making live action in a virtual world.

When do you get the script during the recording process, and what kind of work do you do before you even start recording?

It’s changed a bit over the last season. Some of that comes from working on such a tight schedule, but it’s also due to the top secret nature of it. Generally speaking, you’d get scripts 24 hours in advance, but now we get them when we go to the session.

But we do get a chance to go through everything before the session starts. Dave sits down with us all as a cast and goes through the story, and then talks to every person there, whether it’s a guest star or whether it’s Matt [Lanter], Ashley [Eckstein] or myself, who are there every week. He takes his time with each person and gives us pictures or descriptions of what’s happening, and provides background on the episodes either side of the one we’re recording. It really helps.

That approach also adds to our ability to change things. Dave might go, “Oh that doesn’t really feel like Obi-Wan. What if he said this instead?” Or I might say, “This is a great line as it’s written but when I say it, it doesn’t come out right.” There’s a freedom for us all to act as we might on camera.

The process of recording is intense, though. As voice actors, we really have to think on our toes. We run through a scene three to eight times on average, and try to make it different each time.

Prequel producer Rick McCallum says that a hint of romance between Padmé and Obi-Wan was cut from Revenge of the Sith. Is that something you’d like to see in The Clone Wars?

(Laughs) Cat [Taber, who plays Padme] and I are such good friends and we always joke around with Dave and say, “Come on, man, we’ve got to see a [romantic] episode like that!” In Episodes I and II, Obi-Wan thinks she’s a politician like Palpatine, and doesn’t buy what she says. But then somewhere down the line there’s a connection and a bond that’s made between them. In the show, we do get a chance to explore what happened and why they’re closer by Episode III.

Obi-Wan is quite straight-laced. Do you ever wish you could play more comedy with him?

Ewan [McGregor] did have some great moments, especially in the elevator scene in Episode III; Obi-Wan was having fun! You could see that playful nature in his relationship with Anakin-you could see they’re like brothers, not father and son. We do get some of those moments in The Clone Wars now and again, too. Several times each season, Obi-Wan has a quip that just cuts through and you’re like, “Oh behave, Obi-Wan!” So it’s definitely there, but it would be fun to see a bit more.

I play Plo Koon as well as Obi-Wan, and they’re very serious parts. I’m so honored to play these two Jedi because they hold such weight in the storyline, but it would be fun to have a character who could go a bit more crazy every once in a while, as well!

He has an intriguing relationship with Asajj Ventress.

Oh yes, there’s a lot of playfulness between those characters. I mean, they really get to flirt! Fans often ask me: ‘So what’s the deal between Obi-Wan and Ventress?” [Adopts Obi-Wan voice) “Well,I can’t possibly say....”

Also, Nike Futterman [who plays Ventress] is such a fantastic actress. In fact, the very first scene we recorded was the one you see in The Clone Wars film, where she and I are having our battle. She brings me up to a different level as an actor.

You also had some great banter with the Duchess Satine in the “Duchess of Mandalore.” Was that as much fun to play as it was to watch?

It was. Anna Graves, who plays the Duchess, is such a talented actress. She and I have done promo work in the past, and for us to have a good old battle of words is great!

I love the comedy in their relationship. Like that bit in the second part of the story, when Obi-Wan is hanging upside down and about to be crushed, and he says: “I’m a little tired up here!” But there’s also a love between those characters, too. I think that’s the main thing—we joke with the ones that we Love. Obi-Wan has a heart for all of the characters, and I try to keep that in mind when I’m doing it, so it doesn’t come across as too mean or snarky.

How do you think Obi-Wan’s relationship with Anakin is progressing? Do you think he’s at all aware of Anakin’s dark side slowly coming to the front?

I try to keep that in mind, especially in the last season when Mortis appeared. It’s one of those parts where you’re like, “How do I play this?” Because right now we’re in between Episodes II and III: I know what happens in III, but I can’t let that affect how I play him here. I think that he feels—and this is the way I play it—that [the attraction to the dark side] is always going to be a part of Anakin and any other Jedi. But Obi-Wan knows the strength of Anakin and thinks he’ll overcome it. 

I don’t think Obi-Wan expected anything that happened in Episodes III to V. I think he was so trusting in Anakin and the Force: he had hope and faith. I really don’t think he expected the dark side to be so heavy and actually take Anakin away from him. And of course that’s a pain that we see in Episode III.

And it also reflects his trust in Qui-Gon.

That’s a good point. I always think about that. I mean, we always think of Yoda as his teacher and instructor, but really the father to him was Qui-Gon. When we had the surprise of Qui-Gon appearing in the “Mortis” trilogy, I was like, “Oh this is so awesome!” And what a great honor to have a scene with Liam Neeson!

When we did that scene, I actually, very subtly, youthed my voice up a little. I went back to The Phantom Menace, watched that a lot, and gave the voice a slightly lighter and softer tone. Because Obi-Wan reverts back to when he was younger. I thought he would be very off-guard and revert back to when he was with his master.

Did you get to meet Liam Neeson?

I didn’t. He was in New York when we did it, and he recorded his part there. It’s funny: that is such a heavy part of voice-acting. I’ve been able to work with just about everybody in showbiz today, but usually the scenes are recorded completely separately so I never get to meet them. Take Patrick Stewart and Samuel L. Jackson—I’ve been in five or six projects with each of them, and yet we’ve never met. Even though most of our scenes feature the two of us having conversations! One of these days it would be fun to meet them, but alas, that’s the work of a voice actor!

If you could play a character from the movies who we haven’t seen yet, who would it be?

I’d love to see a young Han Solo, but I know that’s not possible! It would be interesting doing Uncle Owen—we haven’t seen him [in The Clone Wars], but we know he’s kicking and right now. That’s a voice that would fun to explore. I’ve always felt that the character goes deeper than we ever got to see. I’d love to learn more about exactly what he knows. That would be fun!

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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.

[northernresidentorcas]

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