We spoke w/ Andor's executive producer Sanne Wohlenberg and writer Beau Willimon about bringing Tony Gilroy's vision to life.
[This interview contains spoilers for Episode 10 of Andor] Tony Gilroy's critically acclaimed series Andor has transported audiences back to the five-year window of time before the tragic events of Rogue One, showcasing the journey that Cassian Andor went through to become the man that was willing to sacrifice his life to ensure the Death Star plans fell into the right hands.
It kind of almost started with opposite day. Okay, well what's the opposite of dark and gritty? Maybe it's very brightly lit, and it's antiseptic. We started building from there, just really trying to set out to do something fresh. Actually, that ended up being far more terrifying than the sort of prison you might expect. And it was great to have Sanne there. Because as we are developing things like, "Okay, maybe there's a factory floor where they're building things.
WILLIMON: Well, if I remember correctly, and Sanne, correct me if I'm wrong, Tony started with about a 75 to 80-page bible of broad strokes this season. Some aspects of that were worked out and more detailed than others. The prison was pretty loose, that sort of section. So there was a lot to figure out. I think almost all of the characters that you see in the prison had not been developed.
I love that Andor has been so smart with its Easter eggs and the way that it has woven characters from other stories like Melshi, who we get to meet. We see him in Rogue One and the way that characters are introduced. I’m interested to know, how that process worked. Did the story group go, "Oh, this is a character that you could easily integrate."?
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