![]() That tells me so much about who she is and how to live in her body. She’s like a ravenous raccoon, and it’s all over her face. My favorite moment is any time Faye eats anything and it’s rushed. And our show, which is a springboard of the anime, is an opportunity to really expand. But the thing that we all did was, you find a moment with your character. I mean, the tone of Beau Billingslea’s voice was really influential to me, among other things.ĭP: I think you have to look at the source material. But you have to separate yourself at a certain point so you can bring what is uniquely you to it. MS: I mean, because we were paying so much attention to the original material - because this is truly a love letter to the fans - yeah, I did study it a bit. Watching it either for the first time or re-watching it, was it helpful for you to figure out your character and how you would synergize the one that exists with the one you wanted to make? And I said, “Have you heard of something called Cowboy Bebop? It’s come to me.” And he said, “Which character?” I said, “Let me pull up the email: Spike Spiegel.” And he said, “You have to fucking do it. The first call I made was to, strangely, Aneesh Chaganty, who directed a film I did called Searching, just because he’s younger and cool. I was not fully aware of it at all until they came to me. ![]() ![]() But I had not seen Cowboy Bebop until this opportunity came, and then I fully immersed myself. Really, I think the only reason anyone liked that show was because they got to transform and change outfits all the time, and that was very glamorous. MS: I fell in love with it right away, and the rest is history.ĭP: I knew of its existence but I hadn’t watched it. I was like, “Oh wow! This is an interesting mash-up of different ingredients.”ĭP: Before Mustafa did this cool look, it was Usher. I saw it back in the early 2000s, after the club, hanging out. I’m curious about each of your relationships to the original anime. I think I would have had the Charlie Brown dark cloud over me, over the show, if I thought it was somebody else.ĭP: Yeah, if we didn’t have her, I know fans would be, “What is this? What are you trying to do?” I said, “Is she in?” and the answer was “Yes.” I don’t know how I would have felt if the answer was no. It wasn’t like I was threatening or anything, but that was the first question. Everything - every choice - is not the one a music supervisor would select, so she is really the soul of the show, in my opinion.Īnd she was important for you to agree to do the show, right? In a literal sense, scene to scene, her score tells you what the meaning of the scene is, and all her choices are unusual. And I would argue that she, as much as anyone, defines what the show is. I was told she didn’t decide to come until a couple of days prior, but she’s definitely idiosyncratic. It was a big deal.Īnd she’s only here for two days, just for this! She came out of nowhere and was like, “Hi, I came here from Japan.” I was like, “What?” I was starstruck. Did you get to meet her?ĭP: Yeah, it was like meeting a unicorn. Yoko Kanno, the music composer, was also there. What was it like to watch Cowboy Bebop on the big screen at the premiere?ĭaniella Pineda: It’s been a really, really long journey, so to finally have it out and celebrate all the hard work, it sort of felt like it was never going to happen. Watch them talk about auditioning, their on-set chemistry, and costume controversies, or read on for the full transcript. ![]() Each of the actors picked a clip that offers a taste of the Cowboy Bebop world they inhabited. “We’ll begin crafting a story that lives in the canon but expands the canon - for better or worse.”Ī couple days later, the three principal actors of the good ship Bebop - Cho as the laconic, puffy-haired Spike Spiegel Mustafa Shakir as metal-armed dad of the crew Jet Black and Daniella Pineda as the spiky, punky Faye Valentine - joined us at Vulture Festival to give the audience a spoiler-free sneak peek at the show, which premieres on Netflix today. “My mantra was always, we’re not remaking Cowboy Bebop we are going to live in the spirit of Cowboy Bebop,” Nemec says. But now, through an ongoing global pandemic and a knee injury that took out leading man John Cho, they had done it: ten episodes of a neo-noir space Western set to a score by Yoko Kanno. After all, others had tried and failed to make an English-language, human-actor version of the beautifully strange and elegiac anime. Photo-Illustration: Vulture Photos by Bobby DohertyĪt the premiere party for the live-action remake of Cowboy Bebop in Los Angeles last Thursday, showrunner Andre Nemec told the audience it had been 1,121 days since he started the writers’ room for the show. ![]()
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