How ‘Andor’ Crafted Ghorman’s Beauty Only to Unleash Its Tragic Fate!

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Luke Hull, the executive producer and production designer for “Andor”, played an active role in the writers’ room from the start. Collaborating with creator Tony Gilroy, Hull understood the significance of Ghorman, the planet, for the series’ second season and the broader “Star Wars” universe.

So far, Ghorman had been recognized by fans as a location where the Empire sparked a fresh wave of rebellion that resulted in a massacre, which took place two years prior to the events depicted in “Star Wars: Episode IV — A New Hope.” This event served to bolster the Rebel Alliance. Hull’s job was to develop this previously unremarkable planet.

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Prior to the events of “Star Wars: Episode IV — A New Hope,” Ghorman was known among fans as a site where an Empire-instigated rebellion led to a massacre, strengthening the Rebel Alliance. Hull’s role was to construct this relatively unknown planet.

The design was established from the start: Ghorman was envisioned as a grand metropolis, steeped in history and culture, with significant influence in the senate. It would operate under a single-industry economy, renowned for its exceptional Ghorman twill, produced by spiders or ghorlectipods, who reside in webberies on the planet.

Hull drew inspiration from historic architecture, specifically Milan and Turin, to provide Ghorman with a sense of historical context. To maintain the recognizable design elements of “Star Wars,” Hull incorporated circular and domed structures into his designs. He also favored the use of travertine tile, marble, and dark wood as materials.

Marble was utilized previously on Naboo, yet we aimed for a unique approach,” he explains. “In the café, there are marble mosaic tiles adorned with spiders on the walls, but what truly signifies opulence is the presence of wood.

The focal point of the city design was the central square in Palmo, a layout that architect Hull likened to a ribcage structure. This significant space aimed to fulfill various functions while connecting different sections of the city. Inside this square, there were designated areas like a café and the Imperial Officer Corps entrance. Starting from the Ghorman massacre site within the square, Hull designed outwardly.

He explains that we needed to analyze what transpired, leading him to conclude the plaza served as a confinement area. Initially, it might appear to be a glamorous urban hub, but over time, it transformed into a chilling battleground that was quite unsettling. As the hotel, café, and other establishments erected barriers and blocked access, they assumed a darker, more ominous appearance.

On the program, white emerged as a significant color, which Hull skillfully employed. “In the IOC conference room, white is cold and sterile, but in Ghorman it’s cozier and creamier.” Hull opted to avoid black and gray to maintain a ‘luxurious and tangible’ atmosphere.

Costume designer Michael Wilkinson took inspiration from Hull’s distinctive style. He initially focused on the color scheme, finding influence in garments from Northern Italy. The use of classic shades like gray, navy, warm browns, and crisp ivory mirrored the traditional, classical characteristics of Ghorman culture.

According to Wilkinson, Ghorman is a sophisticated planet known for its rich heritage in exquisite textiles and urban sophistication. The attire of Ghorman’s people is characterized by elegance, boasting a polished, tailored appearance that is both stylish and functional, with a timeless quality.

Furthermore, he aimed to highlight Ghorman’s humanity amidst the brutal, inhumane Imperial forces: “In stark contrast to the strict, monochromatic ISS uniforms, Ghorman’s clothing appears unique, non-military. It is artfully layered with a sense of personal style, boasting luxurious materials such as silk and velvets.

The appearance of Syril Karn (Kyle Soller) gradually transforms to mirror the opulence of Ghorman. As he immerses himself in the culture of Ghorman, his attire becomes more refined, featuring intricate tailoring and accessories such as a velvet scarf, a beret, a luxurious brown wool overcoat, and a stylish Ghorman trench coat, according to Wilkinson.

When Cassian (Diego Luna) donned the attire of Ronni Googe, a reporter from MidRim Network, Wilkinson carefully ensured that his outfit bore no resemblance to Varian Skye – another disguise Cassian used on Ghorman. The persona of Googe was that of a sophisticated textile designer, adorned in smartly tailored suits and a flowing cloak.

He desired Ronni to possess the self-assured air and adaptability typical of a seasoned war correspondent, blending effortlessly into any environment while giving an impression of having traversed the cosmos. The clothing would be made from natural materials suitable for all climates, functional attire featuring a large coat equipped with numerous pockets and leather details. His color palette is neutral, with garments that appear worn, creating a stark contrast against the cleanliness and somber, rich tones of the sophisticated Ghorman citizens.

In his artistic choices, Wilkinson employed green, symbolizing revolution, mirroring the Ghorman flag’s hue. He also created distinct badges and armbands for local protesters, imbuing them with a homemade aesthetic by using green and abstract representations of the Ghorman planet’s symbol.

In our quest, we too crafted a style akin to theirs, revolutionaries who found inspiration in the struggles of WWII. Donning trench coats, berets, armbands, fedora-like hats, knitwear tucked into trousers, and neck scarves became symbolic for us, reflecting the resolute, courageous spirit of these urban freedom fighters.

In terms of the musical scoring, Brandon Roberts seamlessly continued where Nicholas Britell had ended in Season 1. Just like Hull and Wilkinson understood, it was crucial for Brandon to set the distinctive tone for Ghorman right from the start.

Roberts mentioned that in the Imperial meeting’s reel-to-reel film, you could sense a hint of a Viennese atmosphere, which later influenced the overall feel of Ghorman. Additionally, Britell’s collaboration with Gilroy on the Ghorman National Anthem was significant, as Roberts made an effort to incorporate fragments of that melody into the score.

In my creative endeavor with Ghorman’s soundtrack, I opted for the distinctive tones of the cimbalom and hammer dulcimer. As the narrative unfolds, the music takes a more ominous turn: “The waltz morphs into a brooding, pulsing rhythm that gradually intensifies until the deafening blast of the first gunshot” in the massacre sequence, from my perspective as a contributor to the project.

As a devoted cinema enthusiast, I’d express it like this: “I, myself, had Roberts layer discordant strings and brass for those K2 battle droids. To infuse an industrial ambiance, he clanked chains onto trash cans in the percussion, capturing all the gritty, industrial-sounding rhythmic vibes.

He notes, “This transitions to the instant when Syril surveys his surroundings, and there’s a pause filled with aesthetic wonder, during which he absorbs everything before him.

During the massacre scene, Roberts gradually increased the suspense until the K2 droids entered, at which point the sequence became filled with intense action and music. “We pulled out all the stops,” Roberts explained. “We had a drummer, four percussionists, and an abundance of electronic sounds happening all at once.” Suddenly, there were loud impacts that quieted down when we went back inside.

https://open.spotify.com/watch?v=album/05B5E1D6Sm5UBIPtJJUCVr

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2025-05-30 00:20