Tony Gilroy Reveals the Wild Journey of Andor’s Season Two Amidst Chaos!

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By the time season one of Andor, the highly acclaimed Star Wars title during the Disney era, was released, showrunner Tony Gilroy had already penned most of season two. The series, which follows Cassian Andor (Diego Luna), a small-time thief who transforms into a Rebel hero in time for his selfless act in Rogue One, received rave reviews. However, one criticism from viewers was the scarcity of alien characters. To address this concern, season two significantly increases the representation of aliens. But even with the entire second 12-episode story mapped out, the production process turned out to be much tougher than anticipated.

As a dedicated gamer, I’ve seen similar situations in the gaming industry. In the months running up to the premiere of Andor in September 2022, it seemed like Wall Street was losing interest in streaming services. This led to a significant market correction that undervalued the subscriber growth predictions for platforms like Disney+.

As a result, Disney’s leadership had to make some tough decisions about their streaming service moving forward. They started by slowing down the release schedule of their already-made content, and they became more cautious about the amount of new content they were producing and the money they were spending on it.

Due to market instability at the time, the budget talks for season two of Andor became more challenging due to its late success in terms of viewership ratings. Unlike some shows that immediately gain high ratings, its strong word-of-mouth popularity led to gradual growth over a longer period. However, despite this, the newly reinstated CEO Bob Iger, along with Kathleen Kennedy as president of Lucasfilm, decided to take a chance on their critically acclaimed show, which eventually earned eight Emmy nominations.

“The situation was drastically different. It felt as if the heavens were collapsing. During our discussions with Sanne Wohlenberg, Diego Luna, and myself, we expressed that we’d be content with just having season one, and would even prefer not to proceed if it meant delivering a subpar product. We weren’t bluffing or playing games.

Gilroy explained this stance to The Hollywood Reporter, ahead of the three-episode premiere of Andor season two on April 22. “Everyone was in a challenging position,” he said. “Remarkably, the critics’ responses provided us with a glimmer of hope. Our unusual viewership numbers seemed to encourage them to take a risk. Kathy Kennedy and Bob Iger both took that gamble.”

For two episodes, adjustments were necessary based on the predetermined budget, but the production of Andor season 2 was progressing smoothly until the WGA and SAG strikes of 2023 introduced unforeseen challenges for the filmmaking crew. By May 2, 2023, when the WGA strike began, Taylor had finished his writing duties six days earlier, thus providing his directors and key personnel with all the necessary materials to continue without him. The SAG strike started in July, which forced the production team to think outside the box during resumption, particularly when it came to the rye field grown in Central England for the agricultural planet of Mina-Rau.

It seems the labor disputes had a major influence on the music aspect of season two. In contrast, the first season benefited greatly from composer Nicholas Britell’s score, and since they lived near each other in Manhattan, creator Gilroy frequently visited Britell’s studio for collaboration ahead of both seasons. However, after the strikes occurred, there was a congestion in scheduling across industries, which combined with a personal loss caused Britell to limit his involvement in season two. This allowed composer Brandon Roberts to not only build upon the extensive themes that Britell had already created for season one, but also compose some unforgettable new cues.

I felt very down about Britell leaving for a while, but when I found out about Roberts taking over, I was just thrilled, exclaiming ‘Wow, this is great!’ Gilroy expresses. It turned out to be a good decision, and I hope everyone is happy with the outcome.

With the understanding that the storyline would lead towards “Rogue One: A Star Wars Story”, Gilroy aimed to fill Yavin 4 Rebel Base with a multitude of familiar characters. However, the practical aspects of filmmaking necessitated letting go of certain actors and even re-casting some roles.

As a gamer diving back into a beloved game, I’ve come to realize that bringing back legacy characters isn’t easy peasy. They carry a hefty price tag and their schedules can be as unpredictable as a roll of the dice. Sometimes, there are individuals we’d love to see in our final battle, who graced the beginning of our previous adventure in Rogue, but they were simply too busy to join us this time around.

Additionally, he acknowledges Disney and Lucasfilm for refraining from compelling him to incorporate iconic Star Wars characters into the storyline. On a creative level, he states that he will never have such an exceptional experience again; it’s astounding how much trust they placed in us, and they supported our decisions throughout the entire process.

According to repeated statements over the past couple years, the second season of “Andor” will mark Rian Johnson’s final contribution to the Star Wars franchise. Given his extensive reworking of “Rogue One” during post-production, he has already dedicated nearly a decade of his career to the galaxy far, far away. Over the last five years, he has put in an impressive amount of work on “Andor”, with each set of three episodes equivalent to a full movie. (Both seasons consist of eight blocks in total.) In the future, Johnson hopes that the success of “Andor” season two will help launch his film starring Oscar Isaac as a cellist, titled “Behemoth”.

Gilroy emphasizes that over the course of five years, we’ve produced eight films. That’s right, eight movies! With such a busy schedule, sometimes it’s nice to switch things up, and in those moments, I crave some authentic Thai cuisine.

In their latest chat with THR, Gilroy delves into the enlarged parts that Elizabeth Dulau’s character Kleya and Muhannad Bhaier’s character Wilmon will play in season two. Additionally, he hints at untold tales that connect each set of three episodes throughout the upcoming season.

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Sagrona!

Sagrona teema!

In the various interviews we conducted during Season 1, it was clear that you were already preparing to film Season 2 under the direction of Ariel Kleiman. This suggests that you may have written much of Season 2 without any influence from audience feedback.

Absolutely, progress continues as we make our way forward. We approach, only to find ourselves edging even closer. Responsibilities return to me, and I navigate through them one step at a time. Our plans were clear, and we’re almost realizing those plans. However, financial constraints surfaced unexpectedly. A few episodes underwent significant transformations due to these budget adjustments, but yes, we scripted season two without immediate feedback. We constructed it in isolation, laying the foundation before receiving any response.

In season one, certain Covid-related compromises were necessary, which ultimately proved beneficial in some ways, like reducing thousands of Aldhani characters (the Dhanis) to a handful of minor ones. In season two, you faced challenges due to strikes. Did these work stoppages necessitate further adjustments in your plans as well?

or

During season one, certain changes were made due to Covid-19, some of which turned out favorably, like reducing the number of Aldhani characters (the Dhanis) significantly. In season two, you encountered issues stemming from strikes. Did these labor disputes require more alterations in your plans as well?

Both sentences convey the same meaning while using different word choices and sentence structures for variety.

Previously, all the solutions to economic problems or compromises had already been made. It can be challenging for people to grasp our unique approach to producing the show because every show operates differently. For instance, I found myself astonished by “Wise Guy: David Chase and The Sopranos,” thinking it was completely unlike anything we would do. In our case, I collaborate closely with producer-designer Luke Hull, brainstorming, designing, and outlining the show. This season, our concept involved creating year-long gaps between blocks of three episodes, filled with negative space. To demonstrate that this was feasible, I wrote the opening and closing scenes for each block. I didn’t want anyone to tell me it couldn’t be done.

After that, we entered the workspace to thoroughly discuss everything, utilizing all available resources, and we distributed the episodes among ourselves. Beau Willimon, Dan Gilroy, and Tom Bissell then departed to create drafts based on our instructions. They got quite close so we could plan budgeting and casting, but they are costly and have other responsibilities. Eventually, it comes back to me, and I make any necessary adjustments. These are precise blueprints with every detail meticulously planned and approved by everyone involved. Everyone is aware of their tasks, and we’ve had numerous meetings about it.

After receiving the scripts, the directors proceeded to create their movie independently, without any interference. I would discuss with the director every Sunday evening about their plans for the upcoming week, and if any issues arise, I am always ready to help. However, writers never physically appear on set. We prefer to give them free rein, and we inform them that we do not require additional coverage. They are well-aware of our visual language, but television directors have numerous limitations, so it’s essential to grant them maximum freedom where possible. The series Andor presented an opportunity to offer them just that.

If someone had asked me back in September [2022], “What day would stand out most in your year?”, I would have pointed to roughly the Ides of March [2023]. That’s when I planned to complete the final draft of my last episode, marking the end of five years of writing. It would mean not having to write or get up early for the first time in those years, a significant shift. However, it turned out to be just six days before the [WGA] strike [which officially started on May 2, 2023]. So, all the plans were set, we had numerous meetings, but then I was out of the loop. They had everything in place and kept going until the SAG strike [in July 2023]. We had 200 acres of rye growing in the Midlands [of Central England] that was due to bloom around our original schedule for Mina-Rau, and they did an amazing job solving problems.

In summary, this was our approach and the method we followed. The strike merely preserved everything as if in a time capsule, necessitating some bold cinematic solutions when we resumed work.

Streaming viewers have become more cautious compared to when “Andor” was initially given the go-ahead. Just before the premier of your series in the summer of 2022, there was a significant adjustment in the streaming market, which you’re probably aware of.

Yes, I do! 

So, given how events unfolded, were you particularly grateful for having changed the series from five seasons to just two?

Indeed, without a second season, it wouldn’t have been possible due to our request for equal or greater funds compared to before. As the scale of the show evolved, we still asked for the same resources. Everything around us had transformed – Disney’s CEO Bob Iger was back in charge, layoffs were happening, and it felt like the sky was crashing down.

Regarding our stance with Sanne Wohlenberg, Diego Luna, and myself, it was more like, “We understand your suggestions, yet we’re limited by our resources. We’d be content if season one remained the series as is. We’d prefer not to proceed if it results in a poor production.” And honestly, we meant every word. We weren’t playing games or bluffing. We were simply stating facts. However, everyone found themselves in a challenging predicament. Fortunately, the critics were supportive. The unusual nature of our ratings seemed to aid us. I’m not sure about the specifics, but I’ve been informed they’re peculiar and run counter to expectations. They tend to increase over time, which may have given Disney some confidence that I’m unaware of, leading them to take a risk. Kathy Kennedy and Iger both took risks, but it was an all-or-nothing situation. I don’t believe there was a watered-down version that worked effectively.

In your initial comment, you pointed out that Disney was responsible for the release schedule, which initially raised some questions. However, after watching each set of episodes one after another, I must admit that it seemed like a good decision. Earlier, Gilroy had referred to these sets as movies, and this three-episode viewing experience certainly felt that way to me. So, have your thoughts on the release schedule changed at all?

Indeed, the question at hand is quite intricate. Our production wasn’t designed with any specific newspaper or timing in mind. Instead, we aimed for a timeless and classical feel. Regrettably, we couldn’t debut in August or September as planned, but patience has been key. The cast of our show is expansive, with some actors not having agents, which means they aren’t consistently working. They’ve been eagerly awaiting new projects to emerge. I’m also grappling with the release of a movie, Behemoth, starring Oscar Isaac, which has proven challenging to launch. However, I believe the show’s premiere will make things easier and bolster my credibility, making the wait more bearable.

You’ve noted that new blocks of episodes come out annually, and when the narrative returns after these gaps, it often alludes to untold events. Can you share how far you’ve explored these behind-the-scenes stories that didn’t make it on screen?

Occasionally, it’s crucial to fully develop certain plot points, especially when reintroducing characters like Bix and Cassian in the safe house for the first time. The soldier’s story needed careful crafting because the actors were discussing it, which suggests importance. If they’re talking about it, they need to understand its implications to perform their roles effectively. Sometimes I might be carefree, other times more serious, but under pressure, I could explain and execute everything related to that plot point.

Could the untold tales have been your farewell presents to Lucasfilm, hinting at potential future development plans for that property?

I hadn’t considered that perspective before. It seems you have a wide range of possibilities. For instance, you could tackle the Maya Pei Brigade series, or even the Luthen and Saw show. The truth is, you can do just about anything. However, I felt it was crucial to offer them some glimmer of optimism in the final moments. You noticed what I did there, but that wasn’t something I actively pondered during production. Nobody had ever brought up that aspect before.

It’s clear that the Ghorman Massacre plays a crucial role in this season. Given your keen interest in history, I’m curious about which historical comparisons or references you think were most relevant while crafting the storyline and design related to Ghorman?

In the initial episode, the lighting of the flame coincides with Krennic’s gathering, which is more famously known as the Wannsee Conference that took place outside Berlin in 1942. There have been several films based on this event, including “Conspiracy” by Frank Pierson featuring Stanley Tucci and Kenneth Branagh. The reason they could create such a movie was due to the fact that the Nazis maintained their records.

During a three-hour gathering, a group consisting of Nazi lawyers, engineers, and fifteen other notable Nazis discussed and planned the logistics for what was later known as the “Final Solution.” Among their discussions were matters regarding the use of Zyklon gas instead of trucks and carbon monoxide, calculating the required amount of Zyklon gas, arranging its transportation, and deciding on methods to transport people. They also debated who could be considered a Jew, with one criterion being if an individual’s father was Jewish. This was all carried out in a matter-of-fact manner, much like a routine business meeting, while they continued enjoying their lunch and returning to work afterward. In essence, this is the gist of what transpired during that meeting.

The way propaganda is utilized against the Ghormans recalls events like the Reichstag fire and “Remember the Maine.” These incidents led us into the Spanish-American War under William Randolph Hearst’s influence, just as the Gulf of Tonkin incident brought us into Vietnam. Throughout history, propaganda has been a powerful tool in shaping public opinion against someone, with numerous examples to back this up. Therefore, historical comparisons are abundant in such cases.

In the second season, Elizabeth Dulau’s character Kleya, who serves as Luthen (played by Stellan Skarsgård), gained a significant promotion. She utilized this opportunity exceptionally well. Was there something about her in the first season that suggested she would receive a substantial increase in on-screen time?

Absolutely, she made an impressive debut throughout the entire season, marking her first job in the industry. Fresh from RADA, her talent was initially met with a touch of skepticism, as if she were merely an apprentice sorcerer. However, as time went on and we witnessed her performances, it became increasingly clear that we had struck gold. This sentiment is not new among showrunners, but the reality is that you can only truly evaluate a performer’s abilities by observing them in action. And we certainly did!

Muhannad Bhaier, who portrays Wilmon, was placed onto a truck as we departed at the end of season one. He proved to be excellent in his role and I reasoned, “They wouldn’t leave this child behind since they might kill him. They knew he planted the bomb. So let’s put him on the truck while we exit.” And lo and behold, another talented actor emerges.

However, Elizabeth, by the end of season one, everyone associated with our production was utterly captivated. Not a single frame of hers was less than stellar, and the possibilities for her character were electrifying. Thus, it’s hard to imagine any reason for not wanting to handle such a compelling role, isn’t it?

The standout moment continues to be the score, particularly a specific piece featuring Bix by the window. However, it seems that this season, composer Nicholas Britell may have scaled back his involvement. Could he have been busy with other obligations?

Due to the strikes, our progress was significantly delayed, causing a massive traffic jam of work upon our return. He had numerous responsibilities and was then struck by a personal tragedy – his father passed away – all at once. Given these circumstances, we couldn’t afford to wait or do nothing. We already had 11 hours of music and themes from season one that needed reinterpretation as part of the job anyway. Fortunately, we met Brandon [Roberts], who proved to be an ideal multi-tool composer for this task. The process was both similar and different with a distinctly new feel, but it ultimately worked out. Initially, I felt hopeless about it, but as things began to take shape, I realized, “Oh my God, this is amazing!” It all turned out well in the end, and I hope everyone is pleased with the result. I believe they are.

It’s great to see that you didn’t overly rely on popular appeal by including unnecessary characters. Instead, you focused solely on those who were essential for the story. There was no pressure from higher-ups to include specific characters, allowing you to work independently in your creative process.

Absolutely, I’m completely serious about this. Creatively speaking, I won’t encounter a similar experience throughout my career. An instance occurred where some individuals expressed concerns that Disney might take issue with our actions, but it’s astounding that they put their faith in us and supported us every step of the way. I can confirm we consistently met our deadlines and always delivered high-quality work. We fulfilled all our promises, and the scenes turned out well. I have a feeling they were keeping an eye on our progress.

Legacy characters can be quite challenging to reintegrate due to their high cost and scheduling difficulties. Often, their schedules clash with our plans, as was the case with a few actors we hoped to feature in Yavin, who appear at the beginning of Rogue, but were unavailable because they were occupied elsewhere.

Are the aforementioned reasons why you had to recast a legacy character?

Yeah.

In the movie Rogue One, when Cassian (played by Diego Luna) is briefly held captive by Saw Gerrera (portrayed by Forest Whitaker), he remarks, “This is a novel situation for me.” This comment was made in response to Donnie Yen‘s character saying, “Take it easy, Captain. We’ve faced more formidable confinements than this one.” Although the storyline of the Narkina 5 from season one might have been compelling enough to warrant a deviation from continuity, I was wondering how you justified this line within your own understanding of the character?

My take on this situation is that he prefers they don’t know a lot about him, as it seems like he’s merely playing mind games with them. Since spies need to keep their identities hidden, revealing information would be counterproductive for him.

It was nice to see your recent praise for Jon Favreau and Dave Filoni, fellow Star Wars creators. I’ve noticed similar online discussions that seem to compare you two negatively, a phenomenon that has also affected J.J. Abrams and Rian Johnson.

Really? 

To a T.

I wasn’t following that, but wow.

As a gamer, I get that some folks are passionately attached to their favorite Star Wars versions, going as far as competing fiercely for their preferred narrative. But isn’t it better if we all cheer for the rising tide instead? A successful franchise benefits everyone, ensuring there’s enough content for all of us to enjoy.

Absolutely, it’s puzzling to me. If you’re passionate about something, having a diverse range of options often enhances the experience. However, the Star Wars community isn’t a single entity; it’s a complex mix with numerous perspectives. With around 25 distinct versions within it, it’s far from uniform. When we delve into online discussions, especially for selling, intense debates, or marketing strategies, I find myself exploring these digital spaces. Most of the content is insightful and valuable, but occasionally, there are individuals who express views that are downright offensive. The people who appear most knowledgeable online are frequently those with limited understanding. That seems to be a common observation. I don’t intend to upset anyone by saying this, but it’s a broad spectrum, friend. It needs to be diverse and inclusive.

I really value the efforts of Lucasfilm on Disney+, as they’ve been trying out various moods, story types, and styles in their content.

Absolutely, I’m on board with that! It’s tricky to convey irony in written form. Once, in jest, I mentioned, “Why don’t we give a three-camera show a go?” Little did I know, some folks took me seriously and reacted as if I was speaking another language entirely! So I try to keep things lighthearted about it.

For approximately two and a half years, I’ve been preparing myself for the possibility that Andor season two might be your final contribution to the Star Wars universe. However, just like James Cameron who explained his devotion to creating Avatar films by saying he can tell any story he desires in that world, could you also have the freedom to tell any tale you wish within the expansive Star Wars galaxy?

To clarify, if you’re considering roles like “Serpico” or “Midnight Cowboy,” I suppose it’s possible, but those might not be the perfect fit. For instance, could you imagine Michael Clayton in a Star Wars setting? It’s hard to say, but your versatility is undeniable. Yes, he makes a compelling point about the freedom and variety that this profession offers, and I wholeheartedly agree. The industry indeed serves as a haven for diverse expressions, and I’ve experienced that firsthand. However, we’ve produced an impressive eight movies over five years – that’s actually eight sets of three episodes. That’s quite a feat! So, every now and then, one might crave something different, like Thai food perhaps.

Finally, you suggested I bring this question back up when season two rolls around, along with a play on coordinating conjunctions. So, let me ask: If the name Andor is in the Star Wars galaxy, could it be possible that the name Butyet exists as well?

(Laughs.) I wish I had thought of it earlier. I should have added “Butyet” to the mix. It sounds like a cool Star Wars character name.

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Andor season two’s three-episode premiere streams April 22 on Disney+.

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2025-04-15 18:56