Pedro Pascal plays the helmeted title character in the phenomenon that is Disney Plus’ “The Mandalorian,” and Ewan McGregor is filming the highly anticipated “Obi-Wan Kenobi” series for the streamer, reprising his role from George Lucas’ “Star Wars” prequels. But McGregor — who can currently be seen in Netflix’s “Halston” as the famed designer — and Pascal have points of intersection beyond “Star Wars.” Pascal recounted to McGregor how in 1996, after returning to New York from a summer trip in Spain, the friends who’d picked him up at the airport told him that the first thing he needed to do was watch “Trainspotting.” “And that began my absorption of your entire career,” Pascal said.
During their conversation, McGregor pointed out that several years ago, Pascal co-starred in a show with his partner, Mary Elizabeth Winstead. Pascal filled in the details about “Exposed,” an ABC pilot the network passed over that had been written by screenwriter Charles Randolph (who went on to win an Oscar for “The Big Short”) and directed by a pre-“Wonder Woman” Patty Jenkins: “These hacks that went off to do nothing with their careers after the pilot wasn’t picked up,” as Pascal put it.
“Well,” McGregor replied. “You didn’t do so badly yourself.”
Ewan McGregor: I just came directly from our set on the “Kenobi” series, and I’m working with so many of your crew from “The Mandalorian.” In fact, Deborah Chow is directing all of our series, and I know she directed episodes of your first season. I’m having such an amazing time down there with that incredible technology, and not being in front of too much green screen and blue screen.
Pedro Pascal: It’s unbelievable, isn’t it? You would think that you would have to really invent all of it in your mind, but more than any set I’ve ever been on, it’s there and meticulously created in the production design. It’s like being on an amusement park ride.
McGregor: I did the first three films in the late ’90s and into the 2000s, and by the time you did Episode 2 and 3, literally 90% of the scenes were just on green sets with green floors and green walls, or a blue set with blue sides and blue walls.
Pascal: It would be such a different experience with the same character that you were doing before — and then coming in and doing it with all this new technology.
McGregor: I like it. It’s like the beginning of Hollywood. It’s almost like when they had three-sided sets all in a row, and a bunch of guys with windup cameras, and you would just go from one stage to the other, one background to the other. Well, we’re doing sort of the same thing, except just the background changes instead of the stage. I’m excited about it because I feel like anything’s possible now. That you can invent stuff, interiors or exteriors that don’t exist in the real world, and put us into that environment. And also, you don’t have to fly ever. I mean, traveling has been great for the first 30 years of my career, but now I just want to stay at home. I just want to drive to work and drive home from work. I want a proper job.
Are you doing a third season of “The Mandalorian”?
Pascal: Yeah, we’re going to be doing a Season 3.
McGregor: It pulled me back into the “Star Wars” world, the “Mandalorian” series, in a way I didn’t expect. It blew me away how much I loved it.
Pascal: The first thing that I noticed when I started meeting with Jon Favreau and Dave Filoni was that they were finding a way to totally realize their love of “Star Wars,” all of our love for “Star Wars.” And so, creatively to step into something, it just felt so safe. It was so…