OWorm over 30 years in the company, Tony Gilroy has amassed an enviable list of writing credits that includes Armageddon,, Michael Clayton (which he also directed, collecting names of the Oscars in the two zones), the first four payments of the Flock franchise (the fourth he also directed) and 2016 Star Wars prequel Snape One. But “the seminal creative experience” of his life, he says, was AndorDisney + Snape One Prequel series on which he has worked in the past six years as a creator, Showrunner, editor -in -chief and EP. (His second season has just received 14 Emmy Names.) And yet he can never see himself doing something like this.
How, a few years later Snape OneDid you end up working on Andor?
I knew [Lucasfilm president] Kathy Kennedy for years. After ThugShe had an appetite to prequel around the five years of Cassian Andor before the film. She knew that I knew the character very well and asked me to look at two different versions they had. One was cool and smooth, but it seemed to me that I was going to run out quickly, so I wrote a long e-mail to him, a kind of maniac manifesto, on the way I thought the spectacle should be built. She said: “It’s pretty crazy and undone, but I see what you say about what we are doing now.” They tried it again, then they returned to me and said, “We looked at this note from a year and a half ago, and that made us much more sense now. Do you want to do this?
Have you enjoyed the size of a business for which you register? At one point, the plan went from the consultation of a season to each of the five years on the coverage of the first season a year and the second coverage four.
I had no idea what I was going to. I had been on House house For a few years as a good consultant [Willimon]. I made big films. But my naivety and my idiocy on what it was going to take was amazing for me six months later. I was going to try to direct, rewrite all the scripts, to do all that – it was ridiculous. Then Cavid came. The only thing I saw positively on Covid is that she would kill the show, I thought. But finally, they started to reproduce. It was obvious that I could not return to London [where the show was to shoot]So we were going to have British directors. I could not lead, but I could continue to write and execute the show. I embarked on the rewriting of the scripts and understood how to execute the show from here. As the daily life started to enter, I was very excited by what we were doing. When I got out of her forties, I went there [to the U.K.]Trying to find what we were going to do in the future. At that time, we knew what was the scope of the work and Diego Luna [Cassian Andor] And I sat down, and it was not even a “choice”, even; We just couldn’t make a show like this in the way we initially planned. It would continue for too long. It would be too old. People would die. But the solve presented itself very elegantly: the structure that we ended up with the second season.
The call to do AndorFor you, it was nothing to do with Star Wars As much as he was going to immerse himself in subjects like fascism and rebellion?
I love history and I have been consumed all my life, not in an organized way, just out of curiosity. I had accumulated all this wood in the basement that I never thought that I was going to have the chance to use, but this show arrived. When I started on the show, the parallels between what was happening in the world and what was going on in the galaxy and the Empire – they were already obvious. But during the six years, we have made the show, this little monster set up and learned to run. When Senator Padilla was withdrawn from the ice meeting, as in the episode on the fact that the senator of Ghorman was released, there was a large chain of text in our group like: “Oh my God. It looked like the show.” It’s very sad for us how much he rhymes.
What makes Andor “Seminal creative experience” of your life? Do you never want to redo this kind of thing?
I could see a limited series or something like that, but I can’t see anything like it. For five and a half years, every day of my life, I had a maximum imaginative involvement which has never been complete – writing, design, music, casting, all this. Each request for your imagination that could never be requested criticized your attention. It is a pretty exhilarating place to live. I learned to love him. But I cannot imagine that I would never be so fully committed.
This story appeared for the first time in an autonomous issue of August from the Hollywood Reporter Magazine. To receive the magazine, click here to subscribe.
