The first three episodes ofAndorseason two are finally stream on Disney+ , provide a breakneck blast back into the other days ofStar Warsrebellion .
During io9 ’s audience with showrunnerTony Gilroyand star Genevieve O’Reilly , who play Mon Mothma , the duo broke downthe last import of the third episodeof this week ’s drop . Gilroy also discussed how framing these pivotal years as three - episode miniskirt - movies came about .
Sabina Graves , io9 : The initial plan was forAndorto endure five seasons , with each season address a twelvemonth — but that evolved into these three - sequence “ moving picture ” spark . How much of the backstory was furnish and developed as you went along ?
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Tony Gilroy : I think when we number up with the idea and started to experiment with it , I to begin with thought , “ Oh my god , well … is it going to work ? Is it going to have lots of expounding when we come back ? ” Where citizenry have to say “ Oh since last I saw you … ” ? I did n’t want to do that , and if you ’d asked me in the rootage I would have thought “ Oh , I ’m going to have to write a huge bible of negatively charged blank space of all the things that take place in between , ” you ’ll have to issue these other memos and that ’s a whole other month of writing andno , no .
I mean in episode four , Adria [ Arjona ] and Diego [ Luna ] really needed to know what had happened with the soldier and what the missions had been like . That parachuting was specific ; they needed to fuck certain thing but as we start along there were so few question . The pickups , the beginning of the episode where people were and what they were talking about , seemed to be so available that I never had to write a memorandum about it . I had some conversation about it but I never had to go back in and and do the heavy lifting I thought in the beginning , no .
io9 : Genevieve , was it really loose to have that negative quad and those wide strokes to find Mon in these formative years in building the rebellion ? I found her present moment of letting free in particular in instalment three so psychotherapeutic . Can you take me behind where you were in having that present moment unfold for her ?
Genevieve O’Reilly : Yeah , I mean those first three episodes go over three days . It ’s in her transmissible home , it ’s within her family culture . I felt really steeped in her history there and we didn’t — like Tony said , there was there was very petty exhibition . It ’s just : there she is , that ’s the practice session , that ’s the ritual . We empathise it implicitly and then moving through those three day of that wedding ceremony and the inter - complications of the kinsfolk human relationship with her daughter , with her husband , the in - laws and then have Luthen there — there was so much drop dead on . And as we issue forth to the pointy end of those three episode you really feel the implication of where she is at that moment , not just with the weight of those familial kind — that rigorous tension of what that wedding was , but then with Luthen being there and come in with a clear eye in regard to her friend Tay Colma .
We be intimate Tay Colma so well from season one , he was such a rough ally of hers , and so we embark on season two with him very slack , very tethered , or she sees that in him . It ’s like he ’s seeing those put on Au idols of Davos Sculdun , he ’s drinking that in and he wants some of that for himself and that is an implicit threat .
Of course she sees the Quaker , she see that ’s maneuverable , but of course Luthen sees it much clearer — he ’s much more savage in his vision and he ring her on it . He calls her on her romance and he kind of really asks her to be fair with herself in heed to what rebellion really takes . He call for her to have that roue on her hired hand and she tacitly agree , and so that minute that you ’re peach about , that crescendo of movement and civilization and celebration , is also a adult female just wrestling with her own interior bedlam .
io9 : it ’s such a beautiful moment and the dancing and the drinking — Tony , what did you see as the strength and smasher of intercutting that with where everyone else is in that moment of crossroad ?
Gilroy : My brother John , who ’s been with me everlastingly , who ’s just the lord builder , post - production builder — we establish a raft of crescendo . We ’ve learned how to build these crescendos in the motion-picture show we ’ve made over the years and then we did it in season one , the funeral . So this is really expire to be a very complicated crescendo , we ’re using a piece of electronic dance euphony which is really unusual . I ’m experience to juxtapose Cassian saving the day and Mon Mothma with rakehell on her hand with Eedy designate up for luncheon . I get to do everything all at once .
I ’m really pleased with the end of three . I ’ll say one other affair about about Mon on the dancing trading floor : it does another thing . It binds the audience to her because the only citizenry in that elbow room who know what ’s going on are you and her . Everybody else is partying , everybody else is trip the light fantastic toe , but you make love what she ’s into , and so that just create what it does with the audience . I do it how it bind the audience to the characters .
Andoris now stream on Disney+ .
Want more io9 news ? hold back out when to expect the latestMarvel , Star Wars , andStar Trekreleases , what ’s next for theDC Universe on film and TV , and everything you demand to know about the succeeding ofDoctor Who .
AndorGenevieve O’ReillyStar WarsTony Gilroy
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