Jon Favreau Reveals Real Reason Why Din Djarin Doesn't Take Off His Helmet

Following the events that took place in the second season of The Mandalorian, viewers may have assumed that the character played by Pedro Pascal would deviate from the rule of not wearing a helmet. Those who watched the third season of Jon Favreau's series, however, know that this did not happen. Why? Two reasons for this decision were told by the show's creator.

Related:Din Djarin is Not the Aragorn of Star Wars? Jon Favreau Explains

From the book published in 2022, The Art of Star Wars: The Mandalorian by Phil Szostak, we learn (via Screen Rant) that Favreau's move is metaphorical in nature. The Mandalorians are not present in the original trilogy, and not taking off the helmet somehow alludes to this. In what way? By keeping their faces hidden behind their helmets, the warriors of Mandalore remain hidden in general. No one knew who they were. This may help to metaphorically justify their lack of involvement during the Galactic Civil War.

The second reason alludes to what George Lucas did when creating Boba Fett. Favreau wanted to create a similar impression in the viewer and present a character where the mysterious silhouette in full armor is more important than the person who wears it.

So it looks like we may not see Pedro Pascal's face in future productions featuring Din Djarin either. Recall that in the third season the actor did not show his face even once. Interestingly, in most of the scenes involving the mandalorian, the star of The Last of Us wasn't even on the set. The hero's armor was donned by a double, and Pascal only provided his voice.

More:'It Won't be Empire vs. Rebellion;' Dave Filoni Promises to Show Conflict in Star Wars Like We Haven't Seen Before

Pamela Jakiel

Pamela Jakiel

Editor at Filmomaniak since April 2023 and now also at Bingefire.com. She supports the leading editor and the head of all newsmen. She previously wrote for naEkranie. A film scholar, a graduate of MISH at the Jagiellonian University. Her master's thesis focused on new spirituality in contemporary cinema. If she's not watching The Ninth Gate for the hundredth time, she's reading books by Therese Bohman and Donna Tartt for the first time. She prefers gnosis and dramas over horror films, Jung over Freud. In museums, she seeks out symbolist paintings, and in her dreams, she develops themes for her future novels. She runs long distances, even longer on gravel roads. She adores dachshunds.