We're coming into the final stretch of Andor — and Tony Gilroy is ready to talk. The showrunner of the groundbreaking Star Wars series goes deep on the first season, the upcoming finale, that prison-break set piece, what's in store in Season 2 and more.
— has been in the genre of what they used to call “space opera” or “space fantasy.” It wasn’t really science fiction.is much closer to something else. You could call it dystopian science fiction, you could call it allegorical science fiction.
So no, I didn’t have a name for the genre other than, “Wow. Like the first season is like 700 pages [of script]. What is that?” I never have grand plans. I always start small and build out. And I don’t know! Where are we now? What is our genre now? I don’t know how it would be described. The show really caught on fire starting in Episodes Four and Five. As you know, I enjoyed the first three as well, but Rolling Stone’s TV critic, Alan Sepinwall, spoke for some viewers when he wrote that, you were insufficiently attuned to making each episode stand on its own, even within the larger story you were telling. I guess part of it is that for him, it started slowly. I’m just curious about what you think of that line of criticism.That’s some old shit, man.
All the writers on the show, we’re all older, beaten screenwriters, So we’ve been raised without a lot of real estate. Dan Gilroy and Beau Willmon. Beau oncould stretch out, but Danny and I in particular, we’d been beaten up with 130 pages our whole life. We know how to be tight in breaking the story. Again, I am not trying to piss this guy off. But I can’t tell you how much stuff is new.
So what can we do? Because if we can’t figure out something that nobody’s ever done before, we’re gonna do something else. We’re not just gonna do the same old shit in a prison. I don’t remember who came up with electric floors, but the moment electric floors came out into the conversation, we went, “Oh my God.” All of a sudden, we’re building it in the writer’s room. We had Luke Collins, our production designer in the writer’s room for five days.
Our initial impulse was, how do we do it differently? Then there was all the mechanics, and then you get to the end and it’s like, Wow, this fits inevitably with what we’re supposed to be doing. If you look at a picture of Young Stalin, isn’t he glamorous? He looks like Diego! We’re not doing [the] Stalin show. But, it’s fascinating. All through every revolution, it’s the same thing. It takes coin. Look atMy underdog favorite character on this show is Mon Mothma’s obnoxious husband, Perrin Fertha [Alastair Mackenzie]. How did you come up with him?
And with Dedra Meero [Denise Gough], was the idea was to make you root for her a little bit at the beginning – and then reveal that maybe you shouldn’t be rooting for the fascist girlboss who ends up torturing people? Our process — I didn’t really know how to do this. Our biggest collaborations, really, were in those first few months of breaking out the story.
It just would have been physically impossible. We’re about to start shooting the second half in a month. So we’ve been prepping for the whole last year. There’s two directors in Pinewood [Studios, in the U.K.] that are prepping right now, and I’m getting ready to go over there and trying to get all our scripts together.
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