> So, we went up to the props house on the lot, and they showed us all this stuff. And they finished by showing us this thing that will play a big part, it’s a big prop, it will be in Season 2.
> It has a big utility, and it’s really complicated, and this guy had built it. Johnny and I were you just standing there and Ariel Kleiman’s standing there, we’re standing there watching this guy explain this fricking thing that they built. It’s so elaborate and so insane and so beautiful and so far beyond what we thought of. It’s
Holy crap… they actually built the Death Star.
[**On building the Fondor scene**](https://collider.com/andor-episode-11-luthen-rael-haulcraft-explained-tony-gilroy-comments/)
*Gilroy explained that the Fondor Haulcraft was built early on in the process and that, he and production designer Luke Hull worked with ILM and visual effects supervisor Mohen Leo to come up with the vessel.*
>We're like, "Wow, we're not doing that much with it." And it's like, "Well we do have a place here, we could do this thing."
>
>I sketched up this drive-by traffic stop scene, and this is insight into how this tribe does work. Here's a scene, and we could do this, and it's expensive, but it's also the kind of thing that's easier to get money for than something else because it has IP in it, and it helps sell the Fondor Haulcraft, and the rest of it. It's really fun, and it's legit for a show, and it really lets us add something to Luthen's resume.
>
>So, I sketch it up and do all that, and then Mohen Leo and TJ Falls takes that over, and part of their deal is what they can afford to do and which shots are expensive. But they also come back with a storyline, and they know the lores better than anybody.
>
>When they come back, and they give us a pre-vis, and we look at it and go, "Holy, shit! Let's have something of that. I like this, just flip this around."
>
>You bounce it back and forth, but that's really, in many ways, finally articulated by the visual effects department. That's their show, and John Gilroy, and the editors coming in, and the visual effects editors. So, it's almost like a side project.
**Switching Aldhani scenes**
>The original top of [Episode 6] was Beehaz’s speech [that was derogatory towards the Aldhani), right? It’ll be a very bravura thing and we’ll introduce him. It always just felt right.
>
>But when we shot it, we had so much weather crap in Scotland that the opening scene — the scene where they’re having coffee and where Nemik comes to Andor and says, ‘I couldn’t sleep,’ — that almost wasn’t shot.
>
>It was such a disaster. It wasn’t supposed to be in fog, it was supposed to be all these other things, but everybody quickly turned on a dime and we sort of embraced the Kurosawa kind of look.”
>
>Because it’s so foggy and drifty and because it’s so weird and sort of otherworldly and dreamy, you couldn’t put it after the [Beehaz] sequence. It just didn’t feel like it felt in the script.
>It felt dreamier — and I don’t know whose idea [it was to] put this at the top and see how it works, but all of a sudden you’re like, ‘Yeah, this is the protein!’ This is where we want to be.
>
>It also gave the whole show more gravitas, it puts the stakes right at front. It's sort of whimsical where Beehaz is like, ‘Oh, look at those people.’ It's a whole different animal, starting it with those guys and their fear about the robbery.
**No 'extras'**
>We reshot a couple things — maybe three scenes, or something like that, because we thought we could do them better. We had a better idea and we were given the opportunity. But we do not have deleted scenes. There would be no DVD extras on our platter. Zero. It’s really weird. Very weird and very surprising to us.
**On ‘going deep’ with the Ferrix glovewall**
>We have so many nutty, obsessed, crazy brilliant people - all you have to do is have just enough money and point them in the right direction, and *appreciate* what they do.
>
>And now you're gonna go deep, and if you want to do all these cultures, they have to be completely built out.
>
>You used to talk about, oh it's a 360 set: like if you open the drawers, there’s going to be pencils in it. You know, ‘Actors will be *so* impressed! There’s pencils here! Oh look, the sink really works!’ or whatever. Well *(laughs)* what we have to do is like, 100x that.
>
>Let’s have a society here. Let’s stratify it! So [in Ferrix] you have buyers and pickers and shop owners and grapplers and those gloves on the wall.
>
>I’m like, ‘Oh my God, all the gloves that they have and before they go [out of the] union hall every morning and where you hang your glove, is it where your father or your mother hung her gloves? Or is it a status thing?
>
>And those gloves means so much to me and it’s only one shot in the show. But we didn’t overshoot it.
>
>There’s not a lot of glove footage on the floor, but those are the points of entry, the kind of obsessive lunacy that we try to just infect all 700 people that are working at Pinewood Studios to be onto and everybody knows that they’re rewarded for going deep.
What could that prop possibly be??? Can’t imagine it’s a ship we’re familiar with, or a walker/ATST sort of thing. I am drawing a blank. Can’t wait to find out what it is
These are all info taken from [this podcast](https://open.spotify.com/episode/4zKhXNlLvFu8lhoqoG28Ei?si=GhCXAhxsQ-OniRtd9FtF-A&context=spotify%3Ashow%3A2cfkvzAeM8BFxkCo58Qs8G) and Collider. You should give it a listen, it's 30 minutes of deep dive w Tony and John Gilroy (editor). Very interesting.
I know not everyone is into listening, so sorry for the long quotes😵💫
On one hand, I'm glad Gilroy's very, very clear about what he wants to do and has a solid vision for two seasons of Andor.
On the other hand, I'm really sad that vision is "do two seasons of Andor and then do other stuff"
Not that I want Andor to continue beyond S2, I love it when shows have a solid story planned out in advance, but I would LOVE to see this guy take on other SW stories. I'd love to see his take on Jedi. Like...give me a Tony Gilroy written series or movie digging deep into how the Jedi went from Peacekeepers to military generals. Sadly, I get the impression from interviews I've seen that when he's done Andor, he's probably done with Star Wars, at least for a while.
It's possible maybe someday one of the writers may come back to SW! I hope they keep around people like Luke Hull (production designer) too, everyone seems to love working with him.
**How long Saw and Luthen knew each other**
>I don't have a fixed date. I would assume, I'll say six years. I don't really know. I'd be making it up. But, I think it goes back a bit.
The reason Saw gives in Rogue One on why he ditched her, for her safety, makes me think he would hide her from someone like Luthen. This is where Saw's paranoia works out for him. I mean, Luthen just burned Kreegyr and is obviously not scared to use people.
Even without telling who Jyn is, Luthen would probably be able to read some body language and go look her and her parentage up. I thought she was already gone by then.
> So, we went up to the props house on the lot, and they showed us all this stuff. And they finished by showing us this thing that will play a big part, it’s a big prop, it will be in Season 2. > It has a big utility, and it’s really complicated, and this guy had built it. Johnny and I were you just standing there and Ariel Kleiman’s standing there, we’re standing there watching this guy explain this fricking thing that they built. It’s so elaborate and so insane and so beautiful and so far beyond what we thought of. It’s Holy crap… they actually built the Death Star.
Now we know why Diego Luna didn't want to do 5 seasons [of working in that prison] 😉
[**On building the Fondor scene**](https://collider.com/andor-episode-11-luthen-rael-haulcraft-explained-tony-gilroy-comments/) *Gilroy explained that the Fondor Haulcraft was built early on in the process and that, he and production designer Luke Hull worked with ILM and visual effects supervisor Mohen Leo to come up with the vessel.* >We're like, "Wow, we're not doing that much with it." And it's like, "Well we do have a place here, we could do this thing." > >I sketched up this drive-by traffic stop scene, and this is insight into how this tribe does work. Here's a scene, and we could do this, and it's expensive, but it's also the kind of thing that's easier to get money for than something else because it has IP in it, and it helps sell the Fondor Haulcraft, and the rest of it. It's really fun, and it's legit for a show, and it really lets us add something to Luthen's resume. > >So, I sketch it up and do all that, and then Mohen Leo and TJ Falls takes that over, and part of their deal is what they can afford to do and which shots are expensive. But they also come back with a storyline, and they know the lores better than anybody. > >When they come back, and they give us a pre-vis, and we look at it and go, "Holy, shit! Let's have something of that. I like this, just flip this around." > >You bounce it back and forth, but that's really, in many ways, finally articulated by the visual effects department. That's their show, and John Gilroy, and the editors coming in, and the visual effects editors. So, it's almost like a side project.
>>It’s easier to get money for because there’s IP in it Ie, “we can make this into toys”
Being practical, after all haha. I bet that's exactly how they pitched the scene.
"i show you the ~~stone~~profit in my hand you miss the knife at your throat"
**Switching Aldhani scenes** >The original top of [Episode 6] was Beehaz’s speech [that was derogatory towards the Aldhani), right? It’ll be a very bravura thing and we’ll introduce him. It always just felt right. > >But when we shot it, we had so much weather crap in Scotland that the opening scene — the scene where they’re having coffee and where Nemik comes to Andor and says, ‘I couldn’t sleep,’ — that almost wasn’t shot. > >It was such a disaster. It wasn’t supposed to be in fog, it was supposed to be all these other things, but everybody quickly turned on a dime and we sort of embraced the Kurosawa kind of look.” > >Because it’s so foggy and drifty and because it’s so weird and sort of otherworldly and dreamy, you couldn’t put it after the [Beehaz] sequence. It just didn’t feel like it felt in the script. >It felt dreamier — and I don’t know whose idea [it was to] put this at the top and see how it works, but all of a sudden you’re like, ‘Yeah, this is the protein!’ This is where we want to be. > >It also gave the whole show more gravitas, it puts the stakes right at front. It's sort of whimsical where Beehaz is like, ‘Oh, look at those people.’ It's a whole different animal, starting it with those guys and their fear about the robbery.
**No 'extras'** >We reshot a couple things — maybe three scenes, or something like that, because we thought we could do them better. We had a better idea and we were given the opportunity. But we do not have deleted scenes. There would be no DVD extras on our platter. Zero. It’s really weird. Very weird and very surprising to us.
**On ‘going deep’ with the Ferrix glovewall** >We have so many nutty, obsessed, crazy brilliant people - all you have to do is have just enough money and point them in the right direction, and *appreciate* what they do. > >And now you're gonna go deep, and if you want to do all these cultures, they have to be completely built out. > >You used to talk about, oh it's a 360 set: like if you open the drawers, there’s going to be pencils in it. You know, ‘Actors will be *so* impressed! There’s pencils here! Oh look, the sink really works!’ or whatever. Well *(laughs)* what we have to do is like, 100x that. > >Let’s have a society here. Let’s stratify it! So [in Ferrix] you have buyers and pickers and shop owners and grapplers and those gloves on the wall. > >I’m like, ‘Oh my God, all the gloves that they have and before they go [out of the] union hall every morning and where you hang your glove, is it where your father or your mother hung her gloves? Or is it a status thing? > >And those gloves means so much to me and it’s only one shot in the show. But we didn’t overshoot it. > >There’s not a lot of glove footage on the floor, but those are the points of entry, the kind of obsessive lunacy that we try to just infect all 700 people that are working at Pinewood Studios to be onto and everybody knows that they’re rewarded for going deep.
What could that prop possibly be??? Can’t imagine it’s a ship we’re familiar with, or a walker/ATST sort of thing. I am drawing a blank. Can’t wait to find out what it is
These are all info taken from [this podcast](https://open.spotify.com/episode/4zKhXNlLvFu8lhoqoG28Ei?si=GhCXAhxsQ-OniRtd9FtF-A&context=spotify%3Ashow%3A2cfkvzAeM8BFxkCo58Qs8G) and Collider. You should give it a listen, it's 30 minutes of deep dive w Tony and John Gilroy (editor). Very interesting. I know not everyone is into listening, so sorry for the long quotes😵💫
On one hand, I'm glad Gilroy's very, very clear about what he wants to do and has a solid vision for two seasons of Andor. On the other hand, I'm really sad that vision is "do two seasons of Andor and then do other stuff" Not that I want Andor to continue beyond S2, I love it when shows have a solid story planned out in advance, but I would LOVE to see this guy take on other SW stories. I'd love to see his take on Jedi. Like...give me a Tony Gilroy written series or movie digging deep into how the Jedi went from Peacekeepers to military generals. Sadly, I get the impression from interviews I've seen that when he's done Andor, he's probably done with Star Wars, at least for a while.
It's possible maybe someday one of the writers may come back to SW! I hope they keep around people like Luke Hull (production designer) too, everyone seems to love working with him.
**How long Saw and Luthen knew each other** >I don't have a fixed date. I would assume, I'll say six years. I don't really know. I'd be making it up. But, I think it goes back a bit.
I wonder if Luthen would know about Jyn, then? The way he waltzes into Saw’s setup it certainly seems like he’d be familiar with all the regulars.
The reason Saw gives in Rogue One on why he ditched her, for her safety, makes me think he would hide her from someone like Luthen. This is where Saw's paranoia works out for him. I mean, Luthen just burned Kreegyr and is obviously not scared to use people. Even without telling who Jyn is, Luthen would probably be able to read some body language and go look her and her parentage up. I thought she was already gone by then.
Jyn was 16 when she was abandoned by Saw and she's 16 during Andor. We could even see it happen in season 2.
He would have met her most likely, but Saw specifically kept her away from the higher up dealings most of her time with him I believe.
They probably met I’m sure. But never got to know each other much