#DIEGO LUNA ROGUE ONE HOW TO#
#DIEGO LUNA ROGUE ONE SERIES#

I think Carolina found a very eloquent way to move from one memory to the other, using a fantastical approach to a very natural approach, too.

#DIEGO LUNA ROGUE ONE HOW TO#

And I think she had the same challenge that we all had, which was how to live in those levels of reality that the film lives in. What Carolina did was quite interesting because she used a very natural approach to the moment. Did you and Sienna treat the DP or camera operator like another scene partner? The photography is quite intimate in an effort to capture the ups and downs of Matteo and Adrienne’s relationship. So it was interesting to be able to reflect on that since I went through it long ago. It changes your perspective of everything, the way you see everything and the way you relate to everything around you. I don’t think there’s anything more complex and challenging than having your first son or daughter. He’s going through parenthood and the beginning of that experience is really hard. So it was important for me to do that and to play a role that was closer to me in many ways, but I don’t know if Matteo had less weight on his shoulders than Felix or Cassian. After Mexico City, it’s the place where I’ve spent the most time in my life, and Los Angeles is a character in the film. It was nice to tell a story about love, parenthood, memory and a city I love because I have a really close relationship with Los Angeles. So it was nice to go into a film where you know the beginning and the end of the story from the moment you sign on to it. I wanted so much for that to be good that it worried me. Being Felix Gallardo for six and a half months, something crazy like that, had a lot of pressure from everywhere because we were shooting very intense material with a very complex character that meant a lot for me. In a recent conversation with THR, Luna also discusses his relationship to Los Angeles, the challenge of imagining Wander Darkly’s match cuts and why he’s glad his run on Narcos: Mexico has come to an end. It feels like we’re doing a very long movie.”

#DIEGO LUNA ROGUE ONE SERIES#

“The way we’re shooting this reminds me of how we shot the film, and the amount of work behind this TV series reminds me of the work you do for a film. What happens in Rogue One is something we can actually reflect on, and what’s behind something like ,” Luna shares. “I think the format of a series is amazing because we have a lot of time to explore all those layers. Andor‘s recent sizzle reel that premiered at Disney Investor Day 2020 also seems to confirm this production method. While Lucasfilm has put StageCraft virtual production on the map by way of The Mandalorian, Luna suggests that the 12-episode Andor will use a more conventional filmmaking approach a la Rogue One. Luna, who’s currently shooting the Rogue One prequel series, Andor, in London, is eager to dive deeper into Cassian Andor and what led him to sacrifice an informant during his introduction in the 2016 Star Wars film. So it was interesting to be able to reflect on that since I went through it long ago.” “I don’t think there’s anything more complex and challenging than having your first son or daughter. He’s going through parenthood and the beginning of that experience is really hard,” Luna tells The Hollywood Reporter. “I don’t know if Matteo had less weight on his shoulders than Felix or Cassian. Why Paramount+ Is Going Big for CCXP in Brazil, Showcasing 'Halo,' 'Star Trek: Discovery,' 'Drag Race'

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