Andor from Star Wars is actually a good show, and here’s the real reason why

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Tony Gilroy is not only the mastermind behind George Clooney’s most underrated (and best) movie but he’s also behind one of the most critically applauded films. star Wars offers. There’s no doubt that some of the other Disney + Star Wars properties have missed the mark. That includes Ewan McGregor’s Obi-Wan as well as Boba Fett, who got it wrong according to fans a lot.

But Andor is on another level.

There is already a buzz around the second sean. At the time of this writing, fans haven’t even seen the middle of the first part, but they are active. There are several reasons for the success of the Jedi-free show. in Interview with The Hollywood Reporter, Creator Tony Gilroy highlights some…

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Andor is not a star wars nostalgia house

For many, Rogue One is still one of the best Star Wars projects. This is partly due to Tony Gilroy’s rewriting. Duplicity director and Michael Clayton were brought in to rework the Star Wars prequel and he paid for it in spades. So much so that he was asked to showcase his own series, which brought Cassian Andor back from Diego Luna to Rogue One, among others.

As many have pointed out, including the interviewer at The Hollywood Reporter, Andor seems to be doing quite well because Tony doesn’t tend to be much nostalgic. While the mostly obnoxious Star Wars series trilogy has been about remembering, looking back, or replaying the past, Andor keeps things fresh and new.

Sure, there are tons of Easter eggs for those who pay enough attention. But the series really works because it doesn’t want to crowd please. It also doesn’t care about the formula story structures that Star Wars features regularly use. Most importantly, it’s not made by Star Wars fanatics.

“I think it’s imprinted on Rogue because that was my entry point. It wasn’t because I didn’t like it. It wasn’t on my radar. I wasn’t intimidated by it,” explained Tony Gilroy, the Hollywood Reporter in August 2022.

“So when I came here to walk around and fix [Rogue One]I knew I was going to do something. I was going to bring my things here. It has succeeded. We won, and then everyone was incredibly cheerful and everything. So my typing experience was, “Well, that’s how you do it.” And that’s what I do. This is the way to go. So I didn’t have to learn that all over again.”

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Tony continued by saying, “We have this experience all the time. In every department, we’ve had all kinds of people come in, and they know it’s Star Wars, so they change their behavior. They change their behavior. They change their attitudes. The actor will come out of a Ken Loach movie or something like that.” , they will put in Star Wars [costume]And suddenly, this wonderful actor, who auditioned for you and did not really know what it was, begins to act differently. And you go, “Wait, no. Do whatever you want. You’re here because we want you to be real.”

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While Tony knows this is “a testament to the power of Star Wars,” he also thinks it gets into people’s heads a lot and leads to poor imitations of what worked in the original three films.

“It really gets into people’s heads, but to change course and do it this way, it takes a little bit of effort.”

Andor uses a lot of practical effects and real combos

The Mandalorian has completely revolutionized the way Star Wars projects are done using The Volume technology. Although it is miles and miles better than the green screen technology, it does create a kind of fake feeling. At least, it doesn’t quite replicate the texture of a realistic set.

This was an important feature for Tony Gilroy to implement. Much like the original three films, the use of real-life locations and action sets was essential. And you can really see the results in the first few episodes of Andor.

Tony explained to The Hollywood Reporter, “The first decision you have to make is who will be your production designer. Even in writing, my first call is to the production designer, because everything we do has to be designed.”

“So we put a sign. It was kind of a test for Disney: ‘How serious are you?'” We didn’t want to go with any of the traditional Star Wars personnel. We wanted to [production designer] Luke Hull, who was 12 years old and had just finished Chernobyl. He’s just geeky, but he’s not Star Wars in every way. So we brought him. as i used to do [series] Bible, I wrote the first three episodes as a kind of test. “

Related: How Star Wars Developed Its Own Distinctive Language

Tony continued, “In a perfect world, we’d be able to shoot on location and shoot old school, and then we’d use volume when we wanted to use it. There are times when volume is really good for us, but the technology isn’t there to do both. You have to choose in This stage is due to the workflow in the folder. All post-production has to be done beforehand. You have to shoot all of your paintings. Everything needs to be done. When you go into the folder, it’s all done. You just add the actors.”

But Andor’s system is completely different, according to Tony’s interview with The Hollywood Reporter.

“We shoot everything with the actors, and build from there if we want to build. And those two systems, maybe there’s someone doing that, but economically, you can’t do that.” [both]. So, automatically, we were like, “We have to be a constructive show.” It wasn’t really controversial. I saw that turn into a controversy that day, but it’s not at all like that. There are times we like to use it. She’s doing some great things.”

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