SPOILER ALERT: This article contains significant plot details from the entire first season of ?Star Wars: Skeleton Crew,? currently available for streaming on Disney+.
In 2017, Jon Watts, a visionary filmmaker, along with his writing partner Christopher Ford, approached Lucasfilm with an innovative concept for a standalone ?Star Wars? film. Initially, they had only the fundamental idea to work with, which would later evolve into something much grander.
?The core idea I proposed was, ?It’s about a group of kids lost in the expansive ?Star Wars? galaxy who must find their way back home,?? Watts recalls. ?That was the extent of our development at that time.? This foundational concept marked the beginning of an exciting journey for the duo.
Watts’ career skyrocketed that year following the release of ?Spider-Man: Homecoming.? By the time he could step away from the web-slinging superhero’s universe after the success of ?Spider-Man: No Way Home? in 2021, Lucasfilm had shifted its focus toward developing television series for the Disney+ platform, paving the way for the transformation of their original film concept into a series.
Thus, Watts and Ford reimagined their vision into what would ultimately become ?Skeleton Crew.? This exhilarating adventure centers around four children ? Wim (Ravi Cabot-Conyers), Fern (Ryan Kiera Armstrong), KB (Kyriana Kratter), and Neel (Robert Timothy Smith) ? who inadvertently escape from their remote planet, At Attin, aboard a hidden ship once owned by a notorious space pirate. As they navigate their way through the galaxy, they form a tenuous alliance with another wayward pirate, Jod Na Nawood (Jude Law), who initially uses his limited knowledge of the Force to convince the children that he is a Jedi.
Throughout the eight-episode season, the children uncover the truth about their secluded planet. They learn that At Attin has remained hidden from the galaxy due to its historical significance as the central mint for the long-extinct Old Republic. Furthermore, knowledge of At Attin has transformed into a legendary narrative, depicting it as a treasure-laden planet. Jod manipulates the children to breach the protective barrier surrounding At Attin, commandeer the ancient droid infrastructure that has sustained the planet for centuries, and raid its vaults filled with vast quantities of Old Republic credits. In the season finale, the children successfully contact the New Republic to alert them about the pirate threat and dismantle the barrier around their planet, revealing At Attin?s existence to the wider galaxy for the first time.
Watts and Ford shared their experiences with Variety, discussing the intricate process of contributing to the ever-expanding ?Star Wars? canon, the unique collaboration with a remarkable lineup of directors on the series, the significance behind Jod’s lightsaber not turning red, and the underlying principles that govern the ?Star Wars? universe.
Courtesy of Lucasfilm
Transforming a Movie Concept into a Captivating TV Series: Insights from Jon Watts and Christopher Ford
CHRISTOPHER FORD: We are navigating a new format here. These limited series, consisting of eight episodes, represent a hybrid storytelling approach between films and television. It?s essential to ensure that each episode is engaging and offers a self-contained narrative. However, achieving that balance can be quite challenging.
JON WATTS: To enhance our storytelling, we revisited old pirate serials from the 1920s and 1930s instead of focusing solely on contemporary television shows. This helped us capture a certain essence while crafting the series.
FORD: Those serials were fascinating because, when viewed through a modern lens, the cliffhangers often seemed contrived. They would show a character in peril, only to have them miraculously escape in the next installment without clever resolutions. The storytelling techniques of that era certainly inform our approach.
Collaborative Direction: Working with a Star-Studded Lineup of Directors
WATTS: My connections with Jake Schreier and Bryce Dallas Howard date back to film school. It’s been an incredible experience. I?ve previously collaborated with producers who showed great openness to my ideas, and I aimed to replicate that philosophy in this series. Luckily, everyone involved grasped the tone and world we were creating, which minimized any need for micromanagement on set. Instead, we encouraged each director to interpret the established elements in their unique style, allowing them to infuse their episodes with their personal vision. As a director, I found myself eagerly observing how each of my colleagues approached their scenes, which was immensely rewarding.
FORD: But not Jake.
WATTS: Not Jake. I?ve known him for ages. I was well aware of his style and approach.
Expanding the Star Wars Universe: The Creation of At Attin
FORD: Lucasfilm was incredibly receptive to our ideas. Initially, we were hesitant because we held ?Star Wars? in such high regard, fearing we might disrupt its legacy. However, they encouraged us to explore and create our own narratives. We adjusted various elements to ensure cohesion, but their support pushed us to be bold in our creativity.
WATTS: There?s a misconception that there are rigid rules that restrict creativity, along with gatekeepers who inhibit innovation. Our experience was quite the contrary. We found ourselves asking, ?Can we do this? Can we introduce this concept? Can we create this type of world?? and the response was overwhelmingly positive: ?Absolutely, go for it!?
FORD: Neel serves as a prime example of this creative freedom. Initially, we envisioned him as a character reminiscent of Max Rebo from ?Return of the Jedi.? However, we realized he lacked the expressive qualities needed for a central character. So we reimagined him, worried that Lucasfilm might object. To our relief, they responded positively, noting that there are plenty of alien designs that can coexist in the universe, so we had the freedom to innovate.
Lucasfilm / Courtesy Everett Collection
Clarifying the Rules: Jude Law’s Insights on Filmmaking
WATTS: Jude mentioned some guidelines regarding shots, and I found myself asking, ?Who made that rule?? It dawned on me that it was something I had said, probably about snap zooms.
Addressing Camera Techniques: The Limitations of Filming in Space
FORD: We aimed to avoid the trope of a David Fincher-style shot through glass. During our spaceship sequences, we tried to adhere to the limitations of what could realistically be achieved using a motion control rig. For instance, you wouldn?t perform a full 360-degree rotation because that would expose the armature?s connection point.
WATTS: This isn?t just about ?Star Wars? rules; it?s more about creating an aesthetic that resonates with what feels ?Star Wars?-like versus something entirely different. Back in 1977, they could never digitally cross through the glass, as the technology simply didn?t allow for that.
Introducing Unique Alien Designs: The Creative Process Behind Port Borgo
WATTS: Typically, Ford starts with a rough sketch on paper, which is then handed over to Doug Chiang, the lead production designer for ?Star Wars.? He and his team return with outstanding rendered variations conceived by some of the best artists in the industry.
FORD: Consequently, what emerges is an animatronic suit that is astonishingly lifelike. The character of the large crab shell-headed man still amazes me; I often think, ?That must be CGI.? Yet it?s all practical effects. The way his mouth moves is incredibly impressive.
WATTS: Absolutely, I want to see more of that character. I?m eager to explore more of Port Borgo and the diverse creatures it holds.
Exploring At Attin?s Historical Context: Ties to Star Wars Mythology
WATTS: There are drafts where we meticulously outlined At Attin?s backstory, providing specific details at various points throughout the series.
FORD: At one point, we had a scene where a character explains everything in the Supervisor?s room. However, we realized, ?Wait, we can?t do this; it?s just too boring.?
WATTS: From our perspective, we had to establish all the intricate details while discerning what information was dramatically essential to reveal. It?s about constructing a world with depth without overwhelming the audience with excessive information.
FORD: It often feels like a ?Rosencrantz and Guildenstern Are Dead? scenario, where there?s a rich history behind our narrative. The fact that our planet was intentionally obscured aligns it seamlessly with the larger narrative while avoiding unnecessary disruptions.
Unveiling the Timeline: At Attin?s Isolation from the Galaxy
FORD: Well, should we reveal some secrets?
WATTS: I?ve always considered it as a potential wedge in time.
FORD: If someone wants that information for future storytelling, we prefer to keep certain aspects ambiguous.
WATTS: The ?Star Wars? community is vibrant and engaged, and it?s fascinating to witness individuals form connections and fill in the gaps of our storytelling. We enjoy allowing some ambiguity and, if we return for a second season, we can decide what elements to clarify further.
FORD: In reality, the intricacies of this storyline can be quite complex, especially for episodes that serve as a thrill ride. The planet was hidden intentionally a long time ago, then gradually faded from memory, except for a select few who eventually met their demise. It?s a narrative layered with forgetfulness.
Kyrianna Kratter, Ryan Kiera Armstrong, and Jon Watts on the set of ?Skeleton Crew.?
Justin Lubin / Lucasfilm Ltd.
