Inside one of the two cinemas at Vidiots, the iconic film hub in L.A., Diego Luna recounted his experience with detention at Heathrow Airport to me. The incident occurred the day following the boisterous wrap party for Andor, a six-year project on Tony Gilroy’s acclaimed Star Wars series, which had been celebrated. The night was filled with tequila, as it was the first social gathering after two seasons of stringent COVID regulations. Luna partied so enthusiastically that, in his haste to leave the next morning, he carelessly put a souvenir from set – the blaster used by his character, Cassian Andor, the rebel spy and resistance leader – into his luggage. He arrived at the airport carrying an MW-20 Bryar pistol and still dealing with a hangover, which didn’t sit well with security.
In his own words, he shared the experience: “I struggled with English, my eyes were bloodshot, and I held a blaster that our fantastic props team made look authentic.” Recounting the tense situation, he added a dramatic tone. “I exclaimed, ‘Have you watched the show? I’m the character from it!’ One person recognized me from Narcos, which only made things more confusing.” Then another spectator chimed in, “That’s right, he’s from Rogue One.” Soon after, everyone was eager to touch the prop.
Luna suggested we gather at Vidiots, a place that had moved from Santa Monica to Eagle Rock about two years ago and now serves as a cornerstone of the community. Luna, with his hair concealed under a black Yankees cap, navigates through neatly organized DVD shelves beneath numerous signed VHS cases. “I used to spend a lot of time here when I was 20,” he reminisces. “When I’m here, I can’t help but think of the Coen Brothers and ‘The Big Lebowski.’ I instantly recall many European films I discovered through this store.”
Luna is now 45, but in his younger days, he was living in Venice Beach and securing roles in movies like ‘The Terminal’ and ‘Criminal.’ Back then, he carried his DVD collection in a thick black binder. Now, it’s digitally stored on a hard drive and “the cloud.” He smiles as Maggie Mackay, the store’s director, informs him that they no longer charge late fees – a policy change that spares him from remembering an instance where he left a movie in his apartment and returned to Mexico City to find himself in debt due to overdue fines.
Spotting a shelf labeled “Samurai,” Luna kneels down to search for the last film he saw in a theater, the 1967 Alain Delon neo-noir ‘Le Samouraï,’ which he watched at New York’s Film Forum.
In my perspective as a movie reviewer, “Andor” serves as a compelling prequel to the beloved “Rogue One,” where we find Cassian, once a thief, now transformed into a radical leader within the Rebellion. Originally, creator Tony Gilroy envisioned a five-season series chronicling the resistance against the Empire, but Diego Luna, mindful of his potential advancement in age, successfully persuaded Gilroy to condense it into two seasons instead.
Entering the show, audiences were aware that Cassian would not live to witness the destruction of the Death Star, having met his end in “Rogue One.” Yet, Luna imbued this character journey with an initial air of sly, self-assured swagger, later replacing it with a steadfast commitment to the cause.
“Andor” deviates from traditional “Star Wars” tropes (no Jedi, minimal aliens, and a diminished focus on the Skywalkers), resulting in a series that expands upon the political landscape established by George Lucas’ original trilogy. Themes such as deceptive propaganda, the moral wrongness of genocide, and the necessity of standing up against oppressive regimes are subtly woven into its fabric, making “Andor” a compelling addition to the Star Wars universe that continues to explore the complexities of resistance and the sacrifices required for freedom.
As a passionate movie enthusiast, I can confidently say that Luna isn’t your typical “Star Wars” hero. He was already a globally recognized star when his face graced the posters for “Rogue One,” but now, nearly a decade later, he’s reached a level of fame that bridges pop culture’s high and low realms. However, it’s not just his good looks peddling the profound themes in “Andor” to the masses. If you were to compare Gilroy to the conductor, Luna would be the engine—a seasoned performer whose extensive experience made him perfectly suited for the executive-producer role overseeing the hundreds of crew and cast members involved in the massive $650 million production. As he puts it, “I grew accustomed to the size of this show as if it was something ordinary. I don’t think I’ll ever be part of a production of that scale again—it felt like home.
Throughout the initial phase of his acting career, Luna became prominently recognized for his portrayal of Tenoch, a competitive, sexually active, upper-class character in the 2001 film “Y tu mamá también.” This movie, which marked a turning point in his career after years spent as a child actor and soap opera star in Mexico, expanded Luna’s perspective on the kind of art he could create. Subsequently, he started accepting roles beyond Mexico’s borders, with some of his most notable performances showcasing both his fierce spirit and sensuality: a charming yet rebellious waiter in the “Dirty Dancing” prequel “Havana Nights,” a smitten lover in Gus Van Sant’s “Milk,” and a reckless artist with poor driving skills in Katy Perry’s music video for “The One That Got Away.
In the 2010s, Star Wars was experiencing a resurgence. The sequel trilogy kicked off with The Force Awakens in 2015, rekindling the flame for this decades-old franchise. Rogue One: A Star Wars Story, one of several planned standalone movies, followed suit after filming wrapped up. However, there were whispers that production was fraught with trouble, and director Gareth Edwards was supposedly replaced by Tony Gilroy. Yet, when Rogue One hit theaters in December 2016, it took everyone by surprise. It offered a gritty, heartfelt portrayal of a war film, featuring a diverse Rebel team, including Riz Ahmed, Donnie Yen, Forest Whitaker, and Luna, playing characters with their natural accents.
As The Last Jedi (2017) and The Rise of Skywalker (2019) polarized fans, and Solo: A Star Wars Story flopped at the box office, there was a sense of apprehension about Andor, a prequel TV show. Given that we already know the fate of the protagonist, it felt like a risky move. But as it turns out, Andor took a unique approach. Instead of relying on big names from Star Wars lore, it delved into the real-world struggles and frustrations of people tired of oppression – a narrative that resonated with both critics and audiences. Even with lukewarm responses to The Book of Boba Fett and Obi-Wan Kenobi, it seems the live-action Disney+ series exploring character histories may have worn viewers out. But Andor offers something fresh and compelling.
Walking through Vidiots, Luna listens as Mackay shares tales of the 70,000 films for rent and revels in the archival room filled with vintage VHS tapes from the Santa Monica store. In Mubi Microcinema, he admires the craftsmanship of its old-fashioned seats before climbing a narrow staircase to the projection room. There, Olivia Haidar is preparing to screen Gilroy’s 2007 thriller Michael Clayton, which is interestingly playing later that evening. Luna expresses his fondness for the theater’s reel-to-reel projector and takes a moment to examine the 4K DCP setup. He mentions that his love for projection rooms stems from Giuseppe Tornatore’s 1988 film, Cinema Paradiso, which portrays a small booth as an iconic symbol of cinematic charm. Luna dreams of collaborating with a Mexican film festival to showcase all 24 episodes of Andor, and his visit to Vidiots only fuels this ambition further.
A significant portion of the series Andor was created at Pinewood Studios in England, where the expansive sets for the show were constructed from pre-production to the final wrap. As Luna explains, Pinewood, which has been operational since the 1930s, carries a strong sense of time. One could walk around and experience the construction process, along with the smell and feel of it. Every office, space, warehouse, and room seemed to convey the immense scale of the production, as well as the vast scope of what was being covered – it was truly awe-inspiring. Since Gilroy primarily concentrated on writing subsequent episodes and seldom visited the set, Luna served as his advisor. In addition to providing input on casting, production design, and art, he addressed actors’ queries about the writer’s intentions for their characters and requested certain scenes to be reshot to better align with Gilroy’s vision. When deciding whether to expand Muhannad Ben Amor’s role (the young rebel Wilmon Paak), Gilroy sought Luna’s opinion. “I’d go to Diego,” Gilroy said, “and ask, ‘What do you think? Let’s talk to this kid – can we really get a second season out of him?’ Such insights were priceless.” (When inquired about handling such responsibility, Luna chuckles: “I slept better than Tony during those years.”)
In the final 12 episodes, the series Andor delved into the emotional toll of the Rebellion by exploring Cassian’s romantic connection with his long-time friend and smuggling partner, Bix (Adria Arjona). This relationship culminated in a poignant finale where Bix departed from Cassian. According to Adria Arjona, Diego Luna is the heart and soul of Andor, a sentiment that becomes evident as soon as he arrives on set. “He’s like a walking encyclopedia,” says Arjona. “The way Diego manages a set is how every top-billed actor should manage a set.” Perhaps it’s in his genes. Luna’s mother was British costume designer Fiona Alexander, who passed away when Luna was just 2 years old, and his father was Mexican set designer Alejandro Luna, whom Luna learned from as a child and later as an apprentice. “He’s been part of the circus since he was 2,” Gilroy says. “He grew up in the theater. He’s never not been involved with acting or other creatives.” This background helps create a positive work environment, which is crucial for filmmakers and producers, as Gilroy notes. Moreover, Luna is an exceptional performer, according to Gilroy, who can effectively portray messianic characters without needing others to show reverence.
As a dedicated fan, I can’t help but admire Luna’s humble approach when discussing his contributions to “Andor.” Instead of singling out specific accomplishments, he emphasizes the importance of every individual involved, echoing a philosophy that seems deeply rooted in both his father’s teachings and his earlier experiences with the Zapatista Army of National Liberation, where he volunteered as a teenager in 1994.
In the first season of “Andor,” we are introduced to Cassian’s home planet, Kenari, which serves to highlight the Empire’s brutal policy of exploiting planets for resources while eradicating their native inhabitants. This thoughtful world-building by Gilroy adds depth to the usually British-inflected Star Wars universe and has been a significant factor in “Andor”‘s critically acclaimed reception. The first season even earned an Emmy nomination for Best Drama and a Peabody Award.
When the series returned after a three-year hiatus, it garnered attention for its uncanny relevance to contemporary global events. It’s fascinating to see how Luna’s work on “Andor” continues to resonate with audiences in such a profound way.
When I inquire about the political aspects of the show “Andor,” Luna slightly shifts his position and rests his elbows on his thighs. He explains, “As creators and as individuals, we certainly have our viewpoints.” However, he clarifies that the series was crafted with a historical perspective, not to directly comment on contemporary matters. (Filming for season two wrapped up in February 2024, prior to Trump’s reelection.) Luna believes it’s essential for viewers to form their own interpretations: “Each person should be allowed to react as they wish.” What he hopes the audience takes away from Andor, though, is the idea that “the power of unity lies in our ability to believe in and fight for causes … recognizing that we have the capacity to influence our own reality. It’s a good reminder to remember that there’s always more we can do.
It appears that Luna’s career has been significantly influenced by his strong stance on various sociopolitical issues, although he may not openly acknowledge it. He and Gael García Bernal are currently involved in producing Amazon Prime Video’s Spanish-language series “Pan y Circo” where they discuss topics like abortion and drug legalization. Luna hosts the show. They have also been associated with projects such as “Elysium,” “Sin Nombre,” “Cesar Chavez,” and “Narcos: Mexico,” which tackle issues like wealth inequality, labor protection needs, and the harmful effects of the drug trade. On Getty Images, you can find photos of Luna participating in various political events, such as supporting a documentary about human rights abuses by the Mexican Army, opposing a security law that militarized Mexico, and attending protests against Trump’s proposed border wall. This activism is seen as an extension of their upbringing during the tumultuous economic and governmental times of 1980s Mexico, as described by García Bernal. They became politically aware at a young age due to the many events happening around them, and as they grew older, they began to exercise their freedom of expression, mobilization, and political participation more actively. The political complexity is something they always consider in all their work.
In his own words, Luna admits that a recurring theme in his career, such as portraying Cassian as a refugee, who like many people from Mexico and Central America, were compelled to leave their homes due to violence, poverty, and lack of opportunities, was not initially deliberate. However, he acknowledges the pattern but questions whether he intentionally planned it. He explains, “It’s because of that border.” This is a reference to the numerous times he had to cross this border as his mother chose to leave Britain and establish a life in Mexico, offering him a different context compared to where he was born. Somehow, Luna finds himself consistently discussing this topic.
Previously this year, Luna completed his latest directorial project titled “Ceniza en la Boca” (A Mouthful of Ash), an adaption of Brenda Navarro’s novel about a young woman immigrating to Spain. Unlike the bustling set of Andor where he once interacted with hundreds of people, this production had only around 30 cast and crew members. In the upcoming months, Luna will collaborate with Jennifer Lopez and Tonatiuh Elizarraraz in Bill Condon’s musical “Kiss of the Spider Woman“. He also anticipates revealing details about his and García Bernal’s participation in “The Boys: Mexico“, a spinoff of the widely acclaimed Prime Video superhero series. Recently, he was nominated for a Gotham Award for his role as a surgery-fixated boxing manager in the Hulu miniseries “La Máquina“, which he filmed with García Bernal during the break from Andor. “I was the only actor nominated for a show entirely in Spanish,” he says, expressing optimism. He yearns to return to the Mexican stage, feeling it is his natural habitat, and continue directing more projects. Hopefully, he’ll soon experience a slower pace where he spends more time behind the camera than in front of it. “I’m an old hand in this industry,” he laughs.
Towards the end of their Vidiots tour, Mackay leads Luna to a shelf where two copies of “Y tu mamá también” are placed – one being the Criterion release and another an earlier DVD showcasing a still from the film’s provocative dance scene. “You’ll notice a familiar face here,” she hints playfully. After snapping a photo of Luna with the DVD under the Vidiots logo, a couple approaches Mackay. They wanted to greet him as they had recently rented (and returned promptly) “Y tu mamá también“. Luna’s expression brightens. It’s likely he has been greeted in this manner numerous times by viewers discovering the film, but his “Oh, really?” seems genuine. After they depart, Luna resumes browsing.
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2025-06-11 16:58