"And what do you sacrifice?"
"Calm. Kindness. Kinship. Love. I've given up all chance at inner peace. I've made my mind a sunless space. I share my dreams with ghosts. I wake up every day to an equation I wrote 15 years ago from which there's only one conclusion: I'm damned for what I do. My anger, my ego, my unwillingness to yield, my eagerness to fight, they've set me on a path from which there is no escape. I yearned to be a saviour against injustice without contemplating the cost and by the time I looked down, there was no longer any ground beneath my feet. What is my- what is my sacrifice? I am condemed to use the tools of my enemy to defeat them. I burn my decency for someone else's future. I burn my life for a sunrise I know I'll never see. And the ego that started this fight will never have a mirror, or an audience, or the light of gratitude. So what do I sacrifice? Everything!"
everyone else writing a Disney+ Star Wars show: “the thesis of my show is I played with action figures as a kid and now I get to make my favorite characters do cool things :)”
Tony Gilroy: “the one way out of fascist rule is armed revolution”
We developed a fabric that had this wonderful, papery, disposable quality to it, so you got the sense that they were thrown away at the end of the day, then the prisoners were sterilized, and they got issued new uniforms. But we also leaned heavily into that world of ’70s graphics with some of the design that you see down the sleeves and the flashes of orange. The guards would always be able to see where the prisoners were because of the flashing orange and so had a practical origin. We liked the sense of alarm of orange in a white space, but it’s also a color that is very much part of the Star Wars color palette.
In Val and Cinta, I do believe that you have created the first full-fledged, same-sex couple in live-action “Star Wars” history. What was the conversation with Lucasfilm about that?
Man, really, it was a gesture. There wasn’t any controversy at all. From the very beginning, no one ever said we couldn’t do it and no one ever said, “Oh, God, please do it.” Our whole attitude is it’s just another relationship. I mean, it’s one of the least complicated relationships in the show, if you consider Dedra and Cyril, or Cyril and Eedy, or Perrin and Mon Mothma, their marriage. We did not want it to be performative in any way. There’s things we can’t do — I mean, we have standards and practices. We can’t have sex. There’s a level of violence that we can’t have. There’s limits on what we can do. We can’t do some things that we would want to do. But within that, we’re cool.
It sounds like you weren’t aware that you were making a small bit of history there.
Not really, no. In the blur of the whole thing, it just was like, Oh, this is really cool. I was a little bit naive about that.
So you can’t show sex, but you certainly imply it — the show opens in a brothel, and there’s a post-coital scene in Episode 2.
I wrote that as a challenge. I wrote the first three episodes before we hit the writers’ room. We were still tiptoeing into the relationship with Disney. Is it going to be just a development thing or are we really going to do this? So I definitely was like, “Hey, man, this is what I want to do. Can you take this?” There’s a little bit of a challenge about it.
One tweet that went pretty viral said “Andor” was “fiercely anti-cop” and “anti prison-industrial complex.” The show is about revolution against an oppressive regime — these things are certainly there. But how does it work out in your head?
I have my politics, my worldview, which is probably leaks out into my work in different ways. But I don’t start with an agenda for a show like this. My agenda is the characters. I’ve been reading history for the last 20 years. I’m an old white guy. What do we do? We listen to history podcasts. There’s a great revolutions podcast. I mean, I’ve been studying the Russian revolution for 15 years. All these books that are here in this room.
So revolution, oppression, slavery, imperialism, colonialism — they go back 3,000 years. And a show like this, the great thing is you don’t have to be contemporary. You can drop the needle from any place. You want to do the Haitian revolution for a minute? You want to do the Russian revolution for a minute? I’m cherry picking everything that I know about all those topics, and if anything lands contemporaneously, it’s just like the mirror. It’s not a sneaky answer, either. I’m not trying to make a commentary on contemporary politics. It’s funny watching — because I have seen some of the stuff — people try to twist themselves to get on either side of the conversation. To me, that’s why this turned out to be such a great place for me to be right now, because I can talk about anything and not get in trouble.
Today's episode of Andor is a tight, focused 43 minute exploration of revolutionary sacrifice in its many forms. And while I could not call this nearly three hour long episode of our show anything close to "tight," I do think it's one of our best yet.
A dark Polish thriller that imagines an alternative history where a terrorist bombing in 1983 dramatically altered the course of world events. Twenty years later, the USSR and Iron Curtain still exist, Al Gore is US president, and Poland is ruled by an authoritarian government. Naïve law student Kajetan and world-weary detective Anatol uncover a conspiracy that has been kept hidden for decades.
You are not logged in, either login or create an account to post comments