The relationship between Din Djarin and Grogu represents the emotional heart of the entire series. Did you ever imagine that a silent character that’s controlled as a puppet would prompt such global hysteria and bring such honest emotional depth? - I knew the creature was irresist- ible the moment I first entered show- runner Jon Favreau‘s office and saw the concept drawings on the wall. There was something magnetic about those big, in- telligent eyes. But, frankly, none of us could have even dreamt of such glob- al madness! What distinguishes Grogu and makes him so real is the fact that he isn’t a product of cold computer anima- tion. He is a real physical puppet on set, a masterpiece of engineering and pup- petry. When you look at him standing in front of you, you actually aren’t act- ing at all – you shift to protection mode in seconds, because that little thing re- ally does seem to be alive. That silence between Din and him, that space where words aren’t even necessary, became our show’s most powerful driver. It’s the sto- ry of a deeply lonely man who believed his life was just the harsh path of a war- rior, but who then finds his true purpose through unexpected parenthood. That’s a universal theme that transcends the sci-fi genre and touches people in any galaxy. You’ve become Hollywood’s ultimate protector figure – first with Grogu in The Mandalorian, then with Ellie in the series The Last of Us. What is it about Pedro Pascal that makes directors look at you and say, “Yes, this man will lead an orphan through a dangerous wasteland”? - I am still actively trying to deci- pher what filmmakers see in me and why they persistently send me to dangerous deserts and post-apocalyptic ruins with children! Perhaps my face carries that specific “tired but reliable” energy of an older brother or father figure who’s been through too much, so people instinctive- ly trust that I will protect them. Joking aside, I think the secret is that I genuine- ly adore characters who are deeply flawed and wounded. Neither Din Djarin nor Jo- el are heroes who are without flaws and
fear. They are complicated, destructive people who’ve sustained heavy losses and are just trying to survive in a harsh envi- ronment. Their true humanity only boils to the surface when someone more in- nocent is placed in front of them, some- one who needs help. I’m drawn to roles where huge empathy is hidden behind a gruff, defensive exterior. How do you feel about the series returning to that classic, old- fashioned television format that sees families gather on weekends to watch the show together? - That fact makes me incredibly nos- talgic, excited and genuinely happy. I grew up at a time when watching TV represent- ed a special family ritual. You would wait for the exact day of the week, gather in front of one screen, share popcorn and together, at the same moment, endure the adventures of your favourite heroes. There’s something magical in that antic- ipation. It restores that classic, romantic television sheen to the show. At its core, Star Wars has always been conceived as a modern mythology that connects gen- erations. Watching the series from week to week suits that philosophy perfectly. Could you have ever imagined that the phrase “This is the way” would become a global pop-culture phenomenon that fans everywhere repeat in their daily lives? - Not in my wildest dreams! When I first read that sentence, to me it was
just an effective line in the script to ex- plain the strict religious code of a secretive and isolated group of warriors. The situ- ation is today completely surreal – peo- ple shout it to me at airports all over the world, use the phrase as a filler in every- day speech and write it on social media as a synonym for support and together- ness. When a simple sentence from fic- tion becomes part of the real, global lan- guage of humanity, only then do you, as an artist, truly understand just how pow- erful storytelling can be. At this stage of your career, what’s the first thing you look for in a script that makes you say, “I‘ve got to do this”? - Everything always starts and ends with people. You can have the most bril- liant concept, a huge budget and amazing special effects, but if the project doesn’t have behind it authentic visionaries who wholeheartedly believe in the story they want to tell, everything falls apart quickly. When I first sat down with Jon Favreau and Dave Filoni, I was instantly won over by their boyish energy, deep knowledge and pure love for this universe. I knew I was in safe hands. I today look for sto- ries that somehow scare me; roles that force me to step out of my comfort zone, and collaborators I can learn and devel- op from on a daily basis. My life and pro- fessional journey has been long and filled with twists and turns, which is why I now only choose that which feeds my crea- tive curiosity.
Interview » Intervju | 37
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