As a movie enthusiast who’s always captivated by deep, thought-provoking narratives, it’s hardly shocking that the creative mind behind Andor, Tony Gilroy, effortlessly pens the profound political soliloquies that give shape to this series’ intricate ideology and distinctive cultural identity. This isn’t just another Star Wars show; it’s a groundbreaking Star Wars production that defied all preconceived notions of what such a show should be. No Jedi, no lightsabers, no Skywalkers – instead, it’s a series that sheds light on the unheralded individuals whose names are often lost to history, yet whose sacrifices pave the way for rebellion. A poignant monologue from the first season resonates powerfully at the end of season two as Major Partagaz listens to a recording of a young revolutionary’s manifesto: “Tyranny requires constant effort. It breaks. It leaks. Authority is brittle. Oppression is the mask of fear.” Writing these impactful, dramatic speeches, Gilroy explains, isn’t particularly challenging: “It’s like mastering a guitar solo. It’s flashy and attention-grabbing.
However, Gilroy openly acknowledges the challenging aspects of creating “Andor”. His affection and pride for the series are evident, yet he’s also candid about the hard work and fatigue that went into bringing it to life. He seems to guard the show too, adding backstory and incorporating the Force, despite initial reservations about using the universe’s magical elements. After all, “Star Wars” thrives on its vast history, and if he doesn’t do it, someone else will.
Was it crucial for you to reveal Luthen and Kleya’s past in season two’s finale? Because they are so enigmatic, their connection intrigues us. Their storyline is the foundation upon which everything else is built. When Stellan Skarsgård joined the series at its onset, he made it clear that he would only stay for two seasons and wanted his character to be killed off. I assured him that I’d honor this request. Initially, I had planned an intricate, detailed backstory for Luthen, but it became overly complex and heavy. He asked me not to focus on revenge as a motivation. That was his one condition.
Elizabeth Dulau, portraying Kleya, joined the cast straight from RADA without any prior roles or experience. As the first season progressed, I became increasingly comfortable with her performance. Directors raved about her, saying “She’s simply incredible. There’s no scene of hers that doesn’t work.” Some characters you can let mysteries linger about, like Krennic’s origins. However, certain aspects of the relationship between Kleya and Luthen were details I wanted to clarify early on to avoid misinterpretations. They never physically interact, and I have no intention of showing them sharing a bedroom or implying any romantic or familial connections. I want to establish their dynamic myself before anyone else does.
As a fellow movie enthusiast, let me put it this way: I hadn’t given it much thought before, but now I see it as a kind of protective stance in a world where non-canonical elements can quickly be defined by others. I even saw a theory that Kleya was Cassian’s sister once. It seems like everyone’s been someone else’s sibling for a while!
Indeed, you’ve hit the nail on the head. The encounter between Luthen and Kleya seems reminiscent of Cassian and Maarva from season one. To clarify, it was my first interview with Stellan in London, and our pairing was something new. This similarity was often noted, and he expressed that since their initial meeting, he had been apprehensive about her, suggesting she’s been calling the shots all along.
As a movie enthusiast, I’ve got to say, the way this series unfolds feels strikingly similar to Luthen and Kleya’s storyline. We already know their ending, yet we’re delving into their backstory. It’s like watching Andor fill in the blanks of a puzzle we’ve almost solved. Sometimes, that backstory is thrilling and reveals new layers, but other times it feels like homework, doesn’t it? The way this show handles exposition challenges my dislike for it more than ever. I penned the opening and closing scenes of each episode as a demonstration before we started working on the script. I didn’t want any of the writers or crew members to say it can’t be done, or write dialogue like, “Wow Kathryn, you’ve really grown since last time!” We don’t need that unnecessary exposition. If I can hint at their backstory without ever mentioning it, then you’ll write a more compelling story for yourself than I could ever dream up.
Have you come across the extended version of “The Wild Bunch”? Frankly, I didn’t find it appealing. Originally, William Holden and Robert Ryan were companions, but now they seem to be adversaries. In this expanded edition, Sam Peckinpah included a flashback scene that delves into their past, which I found quite disappointing. I’d advise against forcing a narrative on something as delicate as a butterfly’s life.
But, I was defensively nervous of what people’s takeaway of the Kleya-Luthen relationship might be.
Regarding the storyline of Rogue One, considering your dislike for homework-related narratives, which plot points did you intend to focus on and which ones were acceptable to leave out? For instance, what specific elements did you plan to develop and which could be left undeveloped?
1. “Is there a hint of romantic feelings between Cassian and Jyn in Rogue One, despite Andor suggesting Bix is the main relationship for Cassian?”
2. “What aspects of Saw Gerrera from Rogue One made him an important character to include in Andor?”
“I haven’t rewatched Rogue One. However, I caught a bit on TV a few months ago and it seemed fine. Everyone else has watched it, and I’ve come to realize that everything is cool. As for Saw Gerrera from Rogue One, certain aspects of his character made him interesting to include in Andor.”
After being heavily invested in the world of Rogue, I can’t help but feel that their separation aligns with the circumstances. Bix has been absent for a year, and considering it’s a fraternity house environment, one can only imagine where she might be. The fact remains that she chose to leave him. They are captivating individuals, the kind you’d want by your side. It seems their story could develop into something more intriguing, which I find quite engaging. Perhaps my assumptions will prove incorrect as I continue to follow their journey.
On the other hand, there are individuals and extensive fan-fiction libraries who have heavily invested in perceiving this as one of the most enduring love stories ever written. However, it’s non-canonical content. While I acknowledge their significant time investment, it doesn’t influence my creative process when constructing the series.
Absolutely. To clarify, in my opinion, it’s ideal when canon can be disregarded whenever someone finds it necessary, but we’re dealing with Star Wars here. It’s not just a simple matter of adherence; there are multiple levels of canon I need to consider, and I have the freedom to overlook 19 others. I may be slightly exaggerating, but not by much. And let’s face it, who wouldn’t want Forest Whitaker and Ben Mendelsohn? But I have my main storylines to focus on. I need to get you to the opening scene of Rogue One.
In a tough spot where I couldn’t reach Ben for various reasons, I was contemplating creating a substitute character and devoting considerable time to their development. That was quite frustrating. However, luckily, Ben managed to join the project promptly. Initially, I believed that I might have to reintroduce Danny Mays, who portrays Tivik in ‘Rogue One’, since he’s the character Cassian kills at the start. I even reached out to casting director Nina Gold about it. I suggested, “Perhaps we should check how Danny Mays appears now. Do we need to de-age him? Is he available?” Fortunately, once Lonni Jung pilfered the Death Star files and we began working on the dialogue, everything fell into place so seamlessly that I didn’t require him anymore.
There were individuals from Yavin 4, not necessarily prominent figures, who either declined returning due to dissatisfaction over their minimal roles or were unable to do so. We made every effort to bring back as many as possible.
In essence, creating TV is like working on a farm that continuously requires your diverse skills – from political and social knowledge, creative abilities, understanding of fabrics, people, hair, and more. Frequently, these constraints can unexpectedly lead to innovative outcomes.
Which of the items you mentioned earlier—hairstyles, fashion, politics, and discussions about money—do you find most appealing and least appealing? My favorite would have to be the one I’m currently engaged in, as it brings me great joy. On the other hand, discussing money doesn’t bring me any pleasure, and choosing between being Napoleon or Ho Chi Minh each day isn’t exactly a laugh riot.
The task you dislike most is composing actions – the meticulousness involved, and the effort exerted to make it seem effortless. Unfortunately, there’s no shortcut; you have to do it yourself. It leaves you feeling irritable, draining your energy, but when done correctly, it vanishes as if that was its natural state. I’ve been at it for ages, and the only way to approach it is the challenging one: How many steps are there from here to the café? Or how long does it take to walk from her office to this place? It can be quite finicky. I penned a movie last summer that contains just one comical action sequence in it, and oh my, it was more freeing than any experience I’ve had before.
As I transitioned from the initial 60-episode vision for Andor to the more concise version, a significant amount of my imagined narrative underwent change – a necessary adaptation as I grappled with the reality that our original plan was far from feasible. In hindsight, I can’t help but smile at the innocence and inexperience I brought to this project, often finding myself thinking, Oh my God, we’re completely screwed. What are we going to do?
Reflecting on the past, do you think there are things you might approach differently now, given all that you’ve learned during this show’s production?
In hindsight, trying to apply the same methods from one project to another is a significant mistake. Each project has its unique identity and should be allowed to evolve naturally. If COVID hadn’t occurred, and everything hadn’t been halted, I believe the outcome would have been disastrous. Instead of praising Tony Gilroy for his work, we might have been discussing how he missed an opportunity instead.
For approximately five years now, I’ve likely been known by around 1,200 individuals, primarily through the screen during Zoom meetings. This extended period has granted me the opportunity to continuously rewrite my own scripts, as well as those for others, modifying them when finances shifted. As a result, I could maintain up to 20 meetings daily without needing to recall everyone’s name or transition directly from one meeting to another. This setup enabled us to establish a highly meticulous and unconventional script development process.
Once the drafts were finalized, discussions had taken place on every detail – from colors, shoes, props, you name it. Every element was scrutinized by these blueprint scripts. Then, this script is handed over to the director and actors, and I don’t usually visit the set. I’ve only been a few times; it tends to be disorganizing when I do.
Other shows operate differently. They feature multiple versions A, B, and C, leading to disarray. Two writers are usually present, constantly scribbling, and the atmosphere is dizzying – a sense of constant motion with time often wasted. In contrast, our setup is streamlined. Actors, directors, and necessary personnel arrive on set, wardrobe included. We come prepared, so everyone knows exactly what to expect, allowing them to jump right in without delay.
Reflecting on the series, it’s clear that the meticulous approach has significantly influenced how I perceive and recall the show, not just in terms of narrative but also tonally. There’s a unique blend of heart-wrenching scenes with elements of Star Wars charm that somehow alter the perspective or add a touch of the absurd. One scene that stands out is the image of Lonni Jung’s body on a bench, followed by an amusing, bizarre alien corgi passing by and sniffing at him.
The creative process behind that dog was quite extensive. I remember numerous discussions about the perfect canine for the role. I must have approved three different dogs, each time affirming my satisfaction. However, suggestions kept coming in: “It looks like a raccoon.” “I don’t prefer this dog.” Then, Johnny Gilroy, John Gilroy’s brother and an art designer, would call to encourage pushing the team harder because they weren’t content with the dog. The sound of the dog was also debated extensively – I think I approved three different sounds for it. And then there was the matter of naming the dog, not just for the character but for the credits! Oh boy, I should tell my brother you asked about the dog; he’ll find that amusing.
Hold on a moment, let me check. [Pauses and looks thoughtful.] To be honest, I’m not sure what the dog’s name is.
In our first season, we faced criticism for lacking enough unique characters. However, we made efforts to improve this issue whenever possible. I must admit, I never quite figured out how to seamlessly integrate creatures with all our other elements effectively.
You did droids, though.
Yeah, droids are easy.
Why did you make that statement? To be honest, droids have always been straightforward for me. My dedication lies with B2; it’s my major contribution to the field of droidism. I truly believe it’s the best droid out there, especially the canine model. Nobody has ever created a dog droid before, and I am quite content with that.
In the first season, the most thriving beings I created made their daring escape from Narkina 5. Later on, Cassian and Melshi encountered these creatures while fishing. I devised an entire alien language for them, and they turned out to be exceptional. Many people asked, “If you can do that, why don’t you work on more of it?” However, the task was quite demanding.
In the process of planning for the second season, a few things became clear to me. Firstly, the journey depicted in the series can be quite challenging and draining for those involved. The show focuses on ordinary people who are the foundation upon which revolutions are built and often overlooked. I felt it necessary to introduce an element of hope. I wanted something genuinely uplifting and progressive. Ultimately, my perspective on life isn’t as bleak as some might think. So, when did I decide that last shot would symbolize Bix’s end and that she and Cassian would have a child? I believe it was around the same time I started mapping out the season’s narrative.
2. Bix is an independent businesswoman who is sexually free and self-reliant, managing her own affairs. Despite her composure, she endures intense suffering from being tormented and fighting back. This ordeal continues even after a year spent on missions with Cassian. Her sacrifice, to depart, is profound. I feared it might be overly emotional, soft, or simplistic, but given Adria Arjona’s talent as Bix, I knew it would be powerful and uncompromising, not syrupy. Instead, I envisioned it more like a stern Soviet poster than a romantic Hallmark greeting card.
Introducing the Force healer late could potentially make it seem overly emotional or sentimental.
Initially, I hadn’t planned to incorporate the Force in the story. However, as I thought about it more, I realized it might be unfair to Cassian not to acknowledge it. We had him experiencing significant events without his knowledge. When he arrived on Yavin, there was a moment where we had intended for him to stop at an unfamiliar place instead, but we couldn’t afford to create a new planet. So, I considered other options, and Yavin seemed like the most fitting choice. However, when I contacted Lucasfilm and other relevant parties, they hadn’t yet developed Yavin at that point. It seemed a bit strange considering Cassian had already been through so many places where important events unfolded.
I’m absolutely agreeing with you here: You could say he’s reminiscent of Forrest Gump in a manner of speaking, and without a doubt, he’s quite often involved in the events that transpire. No need to be coy about it!
Reluctant fate is quite intriguing. If you’re talking about straightforward fate, I must admit it seems rather absurd. However, reluctant fate, now that’s something fascinating enough to build entire religions around! And yes, if I manage to guide it, I can certainly shape it to my will.
It seems we’re delving into the history of Luthen and Kleya once more. As long as I guide the narrative, there won’t be anything unpleasant about it.
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2025-05-16 21:04