Film

Netflix One Piece Missing Scenes Could Return, Live-Action Star Says

12 March 2026

While Once Piece has already been renewed for season 3,with production kicking off in Cape Town, South Africa just as the show’s second season premiered, there are some storylines in season 2 that were left on the cutting room floor.

After season 1 established the Straw Hat crew and their entry into the Grand Line, season 2 of Netflix’s live-action adaptation of Eiichiro Oda’s beloved manga expands the world significantly, by introducing major arcs and new characters from the series’ early saga, including the events surrounding Loguetown and Drum Island. With such a dense stretch of story to cover, the creative team has had to carefully balance how much of Oda’s massive source material can fit into each season.

In an interview with ScreenRant‘s Liam Crowley for One Piece season 2, Wapol actor, Rob Collettii, discusses how the adaptation approaches that challenge, and the possibilities it leaves open for the future.

Rob Colletti: I think that they have so many things that they’ve needed to balance, that I think if they were to try and do more, it could become a little muddy. I think they’re doing a really exceptional job in the writer’s room of honing in. I also don’t necessarily think that because something hasn’t been touched yet, that it won’t at some point, but this is maybe the richest long-form story source material that’s ever been written, in any medium ever. It speaks to Oda’s genius, but also to a brand-new look at the scope in which they can approach television.

While there may be things viewers presume might not happen because “canonically or methodologically, other shows haven’t done things in the same sequence,” Colletti said One Piece isn’t tied to those same creative restraints.

Rob Colletti: One Piece isn’t tied to that. It’s so uniquely built and constructed that I would not be surprised if they do go in different directions over the course of time. All I know for sure, is that I’ve never seen anything like it. One Piece is so uniquely singular, and I’ve been really blown away with everyone’s approach to the way that they’ve written and constructed the storytelling to this point.

As for his own future on the show, Colletti said that while that’s still a bit uncertain, he’d be more than happy to return for season 3 should they have him.

Rob Colletti: I will go back if they’ll have me. It’s the best job I’ve ever had, and the people are so kind, and I’ve made friends for life. Netflix and Tomorrow Studios are literally the most incredible employers. And I have enjoyed that to the extent where I would never say no to them, but I really don’t know what the future plan is. I certainly hope there’s more for me.

Everything Else Colletti Said About Playing Wapol

ScreenRant: What was the audition process like? When did you find out you were getting cast?

Rob Colletti: It was wild. I didn’t know what One Piece was before I auditioned. And when I got the audition, it was under a code name, and the character was a different name, and the scenes were different scenes. I just read it as I best could, and filled in the blanks as I figured I might have to, because there was no source material to pull from. They didn’t give a full script or anything. It was very paint-by-numbers yourself, you figure it out. I just took a shot in the dark based on what I read. There was comedy for sure in the writing, but this character was doing some pretty heinous stuff. I leaned into the menacing elements of this person that I was pulling off the page, and just made a bold choice. It got me a callback, and I went into the producer session, took some notes, and throughout the callback process, just kept making little adjustments. And before you knew it, they booked it.

ScreenRant: Can you walk me through what those days, weeks, looked like with the munch-munch fruit element?

Rob Colletti: My first day filming was the scene with my confrontation with Dalton, out in the woods, where I’d already eaten the fruit. Early on, when I got in for pre-production work, they really walked me through what the actual process would be like for Wapol after having eaten it, and before — what he was like. And obviously, we set up in the story his life before he eats it a bit. You see, back in the past, about 10 years prior, you have to have an understanding of his background in the world government, and his positioning against Cobra and all of those things. But the scene that I filmed where I eat the Munch Munch fruit in Crocodile’s office, with Lera as Miss All Sunday, was probably one of the most exciting couple of days of work I’ve ever had.

That set alone, none of that is CGI. That is all built out, truly. The fact that when you look out that window, and you see it looks like you’re underwater, it’s insane. The size and the scope of this show are massive for a reason. They don’t overlook any details. You walk into the room, and you see the alligator wallpaper all blacked out and these gold-trimmed pieces of furniture, and every little element is detailed. Even the foots of chairs have just adornments that you never would’ve considered unless you really thought through it all. So I walk into the space, and the lighting, it all just informed this kind of presence of where I was, but I still had to live in this arrogance, this kind of sense of entitlement. And obviously, you see the big spread of food that’s adorned for him, that he has to come in, and you assume he’s going to eat a lot of it, whatever, whatever he wants of it.

But the munch-munch fruit is the first thing that really cracks him. I mean, this is somebody who is spoiled rotten. He has had everything handed to him on his silver plate, except his father’s love. And he lashes out at every single opportunity that he can, to try and prove himself to the world around him because he’s a weak man, but the munch-munch fruit is the thing that exposes his weakness. That’s the thing that he’s never had access to. And the design team built these incredible, really edible fruits that we made a mess of when we filmed it over and over again. We got lots of different angles and coverage. I just tried to play into the element of surprise, awe, shock, and the realization that, “Oh, the power that I pretend to instill within myself actually will come to me now. I’ve been gifted this incredible power.”

That’s why, when you might assume that anybody else, when they get a devil fruit, would just take a bite, he inhales it. He demolishes it. It’s almost vicious. He attacks it the way that he would, one of his own citizens. And we just wanted to make sure that we painted that picture of the part of him that he didn’t yet have, was finally in his hands, and it’s what gave him the power to be the menace that he becomes within the story.

ScreenRant: What kind of responsibilities did you feel, and what elements of the character on the page did you find most important to directly go one-to-one on the screen?

Rob Colletti: I didn’t feel a whole lot of pressure, because Oda was very hands-on in selecting every single person in the show. He made me feel immediately like what I had done in my audition process was exactly what they wanted. They gave me a lot of freedom to play, but I took it very seriously, because I learned quickly how beloved this source material is, particularly the Manga. I immediately read everything up through my arc in preparation for shooting, and I implemented all of the decisions that I had made in the audition process within the realm of Oda’s creation. It was important for me to honor it, not just for Oda, but for the fans, because it would be easy to come in and want to stubbornly do your own thing.

I also realized the gravity of bringing something so iconic to life. So I also had tons of assistance. The cast was incredibly gracious in greeting me. And the production team was so hands-on in terms of being involved with my development of the translation from the source material, to what we were doing in the scripts. They brought me in early to do stunt training for a couple of months, and they worked really closely with me in developing the costume and making sure that what was written on the page could be delivered through this jaw, and these prosthetic armor pieces, and all of that. So really, in terms of pressure or stress, anything along those lines, I was really carefully guided. Tomorrow Studios and Netflix are just genius in the way that they’ve handled all of this.

I’m just one character of dozens. It is such a massive cast and massive show, and they’re so specific and tuned in to every little detail. I think that actually is one of the reasons why people resonate so positively with this adaptation. There’s really no stone left unturned. I was obviously part of that consideration, and they were so wonderful about being creative, and letting me have input when we were there on the day of shooting for different scenes. We made adjustments on the fly to really fit what Oda wants, because he is so hands-on. He is so involved in every little element of the show. I think that comes through as well, but he did such a remarkable job in giving us the freedom to create. I just really gave my all. I showed up every single day ready to work, and I really hope that that translates to what’s seen on film.

Check out more of our One Piece coverage here:

One Piece Season 2 is streaming now on Netflix.