The Sound of Andor’s Success

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In episode six of the gripping series, Andor, I found myself immersed in two thrilling missions simultaneously. As a cinephile, this was an exhilarating experience! The Ghorman resistance, aided by Vel and Cinta, executed a daring train heist, while undercover agent Kleya was tasked with retrieving a surveillance device amidst closing ranks of Imperial officers. The expert editing seamlessly transitioned between these two riveting storylines, striking the perfect balance – neither too long nor too short, ensuring you stay hooked without feeling overwhelmed. As John Gilroy, editor and executive producer of Andor, eloquently put it, “It’s like spinning plates; you’ve planted seeds in earlier episodes, now it’s time to pay them off.” For Gilroy, brother of the series creator Tony Gilroy, maintaining tension was key: “Keep a sharp eye on what unfolds before me, then gradually escalate the suspense.

Season two of “Andor,” a prequel to “Rogue One” featuring Diego Luna’s Cassian Andor, doesn’t skimp on tension as it portrays his struggle against the Galactic Empire in the years preceding the Rebel Alliance’s formation. The series is grand in scale, encompassing four years and multiple storylines across only 12 episodes, thanks to Gilroy’s masterful editing that brings this complex vision to life.

Unlike “Game of Thrones,” which sometimes lost momentum by juggling multiple characters, “Andor” not only preserves but amplifies its intensity as it weaves through different storylines. The editing in the first three episodes progressively quickens, following three distinct narratives as the runtime comes to a close, thereby heightening the tension while leaving viewers eager for more. This is most noticeable in the last 20 minutes of episode three, “Harvest,” where the scene seamlessly transitions between Mon Mothma reflecting on her rebellious actions at her daughter’s wedding on Chandrila; Brasso, Bix, and Wilmon evading stormtroopers on Mina-Rau; and Cassian desperately trying to save his companions in a stolen TIE fighter.

Gilroy notes that this episode might be the most emotionally intricate one throughout the entire season, as he likens its editing to swiftly flipping through TV channels. It’s even more challenging because Mon’s narrative on Chandrila contrasts sharply with her storyline on Mina-Rau in terms of setting, tone, and style. Here, Mon is struggling with an emotional collapse at a bustling event, while Brasso, Bix, and Wilmon are secretly evading the Empire across vast open landscapes. Gilroy emphasizes that this episode tackles a wide range of emotions and covers significant ground.

The episode flows seamlessly, avoiding a sense of being overloaded, as Gilroy skillfully switches between climactic points in one storyline and immediately plunges into an already tense situation in another. He continuously alternates between these narratives, keeping the tension high without overwhelming either, while also omitting any scenes that would otherwise slow down the pace.

In his own words, Gilroy’s approach to editing feels inherent and intuitive to him, dismissing any discussions about process or methodology. He describes this sensation as an innate sense that things are right, emphasizing that the essence of his work is deeply embedded within the writing itself. Gilroy prefers not to interfere in the initial stages of development but rather focuses on refining and polishing during post-production. He refers to himself more as a rewriter than a writer, and he aims to minimize his involvement in the early planning stages, acting more like an observer until the production stage is complete. Just as Tony’s creative vision appears singular despite collaborating with a writers’ room, Gilroy’s editing perspective remains distinct even when working alongside a team, emphasizing his unique overview of the project.

The sequence strikes an emotional chord through the juxtaposition of Mon’s dancing and the Mina-Rau team’s escapes from capture. When we rejoin Mon shortly after, her continued dancing contrasts starkly with the imminent danger and distress on Mina-Rau (including a near-rape incident), heightening the emotional impact of both scenes. To leave viewers with a lasting impact, the episode concludes tragically with Brasso’s death. For Gilroy, the secret to this scene lies in not lingering too long but quickly moving forward so that Brasso’s demise doesn’t immediately hit you. Instead, Gilroy’s editing and scriptwriting aim to act as impartial observers of Andor‘s action, offering only brief glimpses of significant events before continuing on. “This way,” Gilroy explains, “we have a better chance of making you feel emotional.

As a movie enthusiast, let me share my take on what makes the episode stand out so powerfully: The brilliant use of “Brasso,” a pulsating EDM remix of the “Niamos!” anthem from season one, which plays at the Chandrilan wedding just as Mon chooses to drown her sorrows in drinks and dance. Genevieve O’Reilly masterfully portrays her frustration through her dance moves, creating a tension that feels both isolating and claustrophobic, especially during close-ups.

In this Star Wars universe, “Niamos!” is envisioned as a Top 40 hit everyone knows and dances to, adding an intriguing contrast to the melancholy we feel at the episode’s end – not only for Mon, but also for Cassian and his friends mourning Brasso. The Gilroy brothers meticulously crafted various edits of the song while storyboarding the sequence, ensuring its impact throughout – whether it’s playing or just hinted at in the background.

John Gilroy explains their focus on keeping the song engaging for 15 minutes without becoming repetitive: “It was crucial that the song remained interesting even when played intermittently, and I found it felt surprisingly good to return to it. It’s a very catchy tune.” The outcome is the emotional climax of the episode, a chaotic descent that has become so popular online it was transformed into an hour-long dance loop on the official Star Wars YouTube channel.

The power of “Harvest” lies in its ability to make the stories feel deeply personal, despite the grandeur of events such as the Mina-Rau raid and Chandrila’s extravagant wedding. For John Gilroy, handling the characters and storylines was akin to constructing his own ideal film. “Ultimately,” he notes, “the only person you need to satisfy is yourself.” He continues, “I’m making the movie I want to watch. It may sound like a trope, but it’s genuine. If you listen carefully, the film will guide you.

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2025-06-24 02:54