Storytelling lessons from a political drama for our moment.
History
It seems wild that it still needs to be said, even in 2023, but Star Wars has always been “political” – specifically, anti American imperialism. Don’t believe that the prequel trilogy was a critique of George W. Bush and the Iraq war, or that the Ewoks represented the Viet Cong? Take it from no less than George Lucas himself (via AMC):
If 1977’s Star Wars was analogous to the Vietnam War, 2022’s Andor bears reading through the lens of its contemporary geopolitical landscape – not least while bearing in mind that Andor show runner Tony Gilroy‘s pedigree is of political thrillers, not of Star Wars fandom. Gilroy has spoken about the opportunity uniquely afforded in this sci-fi fantasy series to “needle drop” moments from history in its storytelling. “I’m writing about how I feel about all the revolutions, about all the insurrections,” he told Variety. “The narcissistic belief that you live in some unique time — it’s shocking. We all do it. I do it. That is not the pattern of history.” He discusses archetypes of revolution with history podcaster Mike Duncan and Jon Stewart (clipped from their fascinating 90 minute discussion):
Film Can’t Die explores how “Tony Gilroy wants us to consider the practicalities of revolution”, and to that effect How Andor Adapts History Into Star Wars:
In describing Andor as “a political drama for our moment“, journalist Mehdi Hasan asserts that, from Ukraine’s defiance of the Russian invasion, to demonstrations for women’s rights in Iran, “the dominant story of us, of much of humanity right now, is of resistance”. Frighteningly, the characters’ dystopian oppression by the Empire has since become even more literal and close to home in the Trump administration’s fascistic prosecution of thought crime, including unlawful deportation of legal US immigrants to offshore detention without due process:
Story
Particularly in the landscape of more recent Star Wars media, which has become increasingly lost in its own self–reflexive feedback loop, Sage Hyden (Just Write) argues that Andor‘s bold writing is more in line with the ballsy politics of Lucas’ original films:
Ladyknightthebrave offers illuminating context for Andor‘s storytelling and production – particularly in the career and politics of series star and co-producer Deigo Luna (it’s worth enduring the occasional, regrettable impressions of Diego Luna’s voice):
Film Obsessed argues How One Scene in Andor Defined An Entire Franchise:
Directors Spike Lee and Steven Soderbergh on Battle for Algiers (1966), a film heavily referenced in particular in Andor season 2 (via Criterion):
Music
Fittingly for a series which portrays disparate elements gradually threading together to create a whole, Jamie Kelly shows us what happens when Andor Season 1’s various title themes are played together:
Filming
Far wilder than the video’s clickbaity title is how the season 1 finale, the Ferrix funeral / riot scene, was made. The meticulous planning and timing required meant that storyboards were ditched in favour of pre-shooting (on a phone) and pre-editing the scene “to massage this thing into the beats we need”, as Tony Gilroy explains. “We knew by the time we got there, where we were gonna be for every single moment of it… that kind of mechanical engineering, if you will, about time” (via Variety):
Even more detail about the design of Ferrix (full video on the story page on Indiewire):
The Emmy nominated team behind “Andor” detail what it took to tell the rebel story of Ferrix. https://t.co/TPrWtNGUN4
— IndieWire (@IndieWire) August 9, 2023
Deep Dive | Presented by @Lucasfilm pic.twitter.com/pQRreMLeSv
Who doesn’t love some concept art? (via @jeronandor) There’s plenty more on the official Star Wars page.
If like me you fell so in love with the look of Andor that you want to find out more about it, here’s Tony Gilroy explaining why his series favours filming on location instead of in The Volume (as other Star Wars shows such as The Mandalorian do)…
… and here’s an 85-minute deep-dive between Lawrence Sher (cinematographer on Joker, 2019) and Andor DP Adriano Goldman, Production Designer Luke Hull, and Costume Designer Michael Wilkinson (via ShotDeck):
Thomas Flight examines how human perspective is used to create Andor‘s visceral suspense and drama:
Editing
Editor Simon Smith talks through “blink removal”, time stretching, and other techniques in his editing on Andor (via The Editing Podcast):
The season 1 recap‘s editing is a master class in condensing such a sprawling, complex story…
… and the season 2 sneak-peek / behind-the-scenes teaser is fantastically put together:
And while we’re admiring the series’ promos, let’s revisit the thrilling season 1 teaser:
Further Viewing
Real-time reactions to the series, upon first viewing:
It’s always fascinating when one work casts another in a new light: it’s the Kuleshov Effect, not with shots within a scene, but with entire stories. The Andor series ends right were Rogue One: A Star Wars Story (2016) begins – and rewatching the film after the series hits different: