Keeping It Real: Which Effects in ‘Andor’ Were More Actual Than Special

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The creator of Andor, Tony Gilroy, has consistently emphasized a down-to-earth and authentic approach when it comes to effects for his team. For the highly anticipated second season of this Disney+ Star Wars drama, this directive translated into creating a realistic “flying” TIE fighter from scratch, devising a new method for filming a speeder bike chase, fine-tuning the classic Stormtrooper laser blasts, and much more amid the staggering 4,140 visual effects shots. Andor’s VFX supervisor Mohen Leo (overseeing digital effects) and SFX supervisor Luke Murphy (handling practical effects) discuss with THR their efforts to achieve the season’s most dramatic visuals — as well as the most subtle ones, which surprisingly proved to be the most challenging.

What was the hardest effect to pull off in season two?

MOHEN LEO In the initial episode, the TIE Avenger made an escape. To kick off the series without relying solely on computer-generated imagery, we created a scene featuring a real-world set that allowed us to incorporate practical effects.

LUKE MURPHY That object wasn’t just imagined; it was genuinely constructed and perched on its wings. It represented one of the most difficult construction projects we’ve encountered. The core was made of steel, and various materials similar to those used in aviation were employed, such as numerous aluminum composite panels and carbon fiber. Actors could even interact with it physically by touching it or entering it. Moreover, we had the ability to hoist that creation into the air using a crane and soar it through the skies.

In old times, George Lucas is well-known for utilizing World War II air combat footage to create aerial sequences. What kind of material do filmmakers typically use in the present day for similar effects?

LEO I usually steer clear of referencing other films. Instead, I find it more interesting to draw inspiration from real-life scenarios. For instance, in episode three, when Cassian arrives with the TIE Avenger and passes a troop transporter, that scene was influenced by YouTube clips showcasing Apache helicopter movements.

You also had a speeder bike scene, which has come a long way since Return of the Jedi.

LEO Something about Star Wars speeder bikes has always bothered me – it’s clear they’re just someone on a blue screen with a fan, and then a background is added. However, Luke proposed an ingenious workaround for this issue.

As a gamer, I’ve got to say, building a speeder bike onto an all-terrain V8 vehicle was quite the thrill! The stuntman really made it feel real as he revved it up. However, the process wasn’t without its challenges – there was a heap of paperwork needed to convince Disney’s risk management team that everything was on the level.

What shot or effect are you most proud of this season?

In order to execute the heist scene, we needed to construct a massive, 17-ton electric snowplow. As this vehicle barreled down the street and collided, it tore up the road for an astounding 80 feet. Due to the extreme cold, the breakaway material we’d placed in the street was freezing solid and sticking together. In a last-minute change, we had to manually lift and remove 400 paving slabs to loosen all the materials beneath them.

In simple terms, We merely painted over the camera support structure without making any additional changes. The result was stunningly beautiful, exactly as it appeared before we touched it up.

The digital shots of Alan Tudyk’s android K-2SO are incredibly lifelike.

It proved crucial to bring Alan back due to his exceptional portrayal of the character and his on-screen rapport with Diego, a factor we discovered during our work on Rogue One. In that project, we realized that certain nuances Alan conveyed through facial expressions couldn’t be replicated on K-2SO since the droid doesn’t move its face. Thus, subtle head tilts or eye movements were employed instead to capture those subtleties.

I feel Stormtroopers’ red laser blasts as seen during the hallway fight scene have evolved.

In the original trilogy, since the lasers were hand-painted, there’s a greater level of inconsistency. We began creating one that is thinner and has a sharp, diamond-like arrowhead at its tip. Another noteworthy point is that when a green laser strikes an object, the initial two frames of the resulting explosion are green. Conversely, if a red laser impacts something, the first two frames of the ensuing explosion are red.

What looked really simple but in reality was very difficult?

MURPHY The moment when a fizzing fluid is spilled [onto Luthen’s spy network control panel with the intention of damaging it]. It’s those instances where you think, “This should only take two minutes,” that unexpectedly turn into formidable challenges.

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2025-05-30 19:55