Tony Gilroy on the 'spooky' real-life parallels with Emmy nominee 'Andor'
The filmmaker spent over five years steeped in the world of the 'Star Wars' prequel series, which follows resistance fighter Cassian Andor (portrayed by Diego Luna) during the nascent days of the Rebellion. On Tuesday, 'Andor' earned 14 Emmy nominations for its second and final season, including in the marquee race for drama series.
'It's hard to imagine that I'll ever be as deeply invested with as much and so submerged with so many people in such a huge endeavor,' Gilroy said via Zoom after the nominations announcement. 'It's a life experience as much as anything else. Everybody on this show really came away with a deeper sense of community and affection than they went in with.'
Read more: Emmy nominations 2025: List of nominees
In addition to drama series, 'Andor' was nominated for its directing, writing, cinematography, production design, costume, editing, score, original music, sound editing, sound mixing and special effects. Performances by Forest Whitaker (guest actor) and Alan Tudyk (character voice-over) were also recognized.
A grounded, political spy thriller, 'Andor' is set during the five years leading up to the events of 'Rogue One: A Star Wars story,' the 2016 film on which Gilroy is credited as one of the writers. The series has been hailed by critics and audiences since its 2022 debut, captivating both longtime 'Star Wars' fans as well as those who don't know an Ewok from a Wookiee.
The show's second season, which unfolds over the span of four years, provided key glimpses into the Galactic Empire's operations as well as the origins of the Rebel Alliance. And while the show is inspired by revolutions past, Gilroy admits it has been 'spooky' to see current events parallel moments from the show.
In an interview with The Times, Gilroy discussed 'Andor's' nominations, real-life parallels and more. The conversation edited for length and clarity.
Congratulations on the 14 nominations! How are you feeling?
I'm trying to find a word that everybody you're calling doesn't use. I feel affirmed. It's very exciting, obviously.
Where were you and what were you doing when you heard the news?
I waited and I took a ride and took a shower and got out and saw my phone was hot. I waited to see if my phone was hot.
Is there an 'Andor' group chat where you all can chat in a thread together?
No. Well, maybe there is and I'm not on it. It's more text mania. Then you have to figure out who's on WhatsApp, who's on this, who's on that. Everybody's on different s—. It's actually really f— complicated, to be honest. Now I've got emails to answer, WhatsApps to answer.
Read more: 'Star Wars' has always been a family saga. For 'Andor,' Tony Gilroy tapped his brothers
What has it been like for you to be on this ride with this show as real-life events start to parallel what happened on the show? It feels like we're living through so much of it now.
It's been spooky. We had to do a very interesting thing, I think, and figure out how to sell the show while this was all happening without us getting confused, or the world getting confused, or anything else. So I'm really proud. We went all around the world and really sold it really hard. It's hard to get a large audience to watch 'Star Wars' — it's strange, but it's really difficult. Along the way I think we managed through the relevancy and the politics of it as successfully as we could. I think now things are a little bit looser. We're a little bit more free with how we want to speak now so that's a little bit liberating.
How hard is it to hold some of that in while you're trying to appeal to an audience?
There wasn't anything really cynical about it. Everything we said was legit. The historical model is truly what we were doing, and we're not espousing an ideology in the show or anything like that. But we were also quite taken aback as things went along, at the amount of things that started rhyming with what was going on. Watching Sen. [Alex] Padilla get [handcuffed] while we're watching the Ghorman senate — there's things we did not expect to see lining up. It's really tough and it should be obvious what people think about it.
One of the show's nominations was writing for Episode 9.
Dan Gilroy, nominated!
How does it feel to be able to share this moment with your brother?
All three Gilroy brothers were nominated today! It's very pleasing to see that. There's so many things on here that really, really, really, make me smile. It's really great that [production designer] Luke [Hull] and [costume designer] Michael Wilkinson [were nominated]. All the technical things that came in for us today were really satisfying. All these awards are community property no matter how people talk about it. You know how many people it takes to stand behind every one of these episodes. They're just epic, the amount of people that are involved.
As you're picking these individual episodes, how did Episode 9 stand out? What made it special for you?
We were really torn about what to [submit]. We had three candidates that we really were really interested in. In the end, people felt — direction-wise — that the Ghorman massacre, Episode 8, was such a powerhouse. It's such a strong flavor and so memorable that we could not have that beat for direction. And we also felt that [Episode] 9, it's just so sophisticated. The spy writing and the sleekness of the politics and the sleekness of the storytelling in there and the scale of the issues for the characters that came up. That was always the favorite for script.
Read more: Genevieve O'Reilly on Mon Mothma's pivotal 'Andor' speech: 'Her only weapon is her voice'
Since you mention Ghorman, what was memorable about working on that episode for you?
It's always an experiment to see if you're going to get the power out of things that you think you're going to get. [So,] to watch that expand beyond where we thought it was going to be, and to have it affect us, the people making it, more than we expected. To have the extras walk off the set on the final day of shooting, when they were finally released, all the people in that square after months and they went off singing the Ghorman national anthem on their own on the way out of Pinewood [Studios]. I'm very proud of it.
That anthem is also nominated.
That's really all I care about, Tracy. I've written a national anthem and it's been nominated for an Emmy. [Laughs.]
Your time with 'Star Wars' is pretty much wrapped up. What has it been like for you, being steeped in this world for so long?
'Rogue [One]' aside, just being on this show the last five and a half, six years, this is the seminal creative experience, I'm imagining, of my life. It's hard to imagine that I'll ever be as deeply invested with as much and so submerged with so many people in such a huge endeavor. I can't imagine that will ever happen again. It's a life experience as much as anything else. Everybody on this show really came away with a deeper sense of community and affection than they went in with. To make a great show, and we're really proud of it, and to come away feeling the way that we feel about each other and what everybody did, I'm as proud of that as anything.
How are you going to celebrate?
I'm going to roll these calls and I'm going to go back to prepping the movie that I'm supposed to start shooting. I've got homework to do. I'm going to try and get an hour or two of work done before I go out for dinner with my wife. But I'll have an extra cherry in my old fashioned tonight.
Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp's must-read analysis straight to your inbox.
This story originally appeared in Los Angeles Times.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Newsweek
a minute ago
- Newsweek
For Sterling K. Brown, Hulu's 'Washington Black' Seeks Black Joy, Not Pain
Hulu Original Series 'Washington Black' stars Ernest Kingsley Junior and Sterling K. Brown. Hulu Original Series 'Washington Black' stars Ernest Kingsley Junior and Sterling K. Brown. James Pardon/Disney "Your legacy isn't just the work that you do, it's the opportunities that you create for other people." —Sterling K. Brown. For Sterling K. Brown, part of the appeal of producing and starring in Hulu's Washington Black (July 23) was mentoring Ernest Kingsley Jr., the young actor playing the title character. "If I'm in a position where I can help somebody get an opportunity to do it, that means a lot to me, because your legacy isn't just the work that you do, it's the opportunities that you create for other people," Brown said. Based on the bestselling novel, Kingsley plays George Washington "Wash" Black, a young boy who escapes slavery and, through his scientific mind, sets off an unexpected adventure. Brown plays Medwin, whose life intersects with Wash. "It seems most Black stories that are for mainstream consumption have to do with Black pain, have to do with Black trauma," Brown said. "So I thought, how awesome would it be to take this historical context but to still illuminate, [and] highlight, joy, hope, faith, love, etc." And for Kingsley, the story has broad appeal—"that universal story of us going through that harrowing narrative and pain in our past and triumphing over it." SUBSCRIBE TO THE PARTING SHOT WITH H. ALAN SCOTT ON APPLE PODCASTS OR SPOTIFY AND WATCH ON YOUTUBE Editor's Note: This conversation has been edited and condensed for publication. Sterling, you can always take top billing, but for this project you're supporting and producing. What about this inspired you to want to make it? Sterling K. Brown: It was the central character. It was a young boy who finds himself in the midst of slavery, but through the power of his imagination, of his hope, of his faith, is able to transcend his circumstances. And it's also the community that protected his dreams, right? Recognizing the power and importance of dreamers and how dreaming is contagious. I think that's why, oftentimes dreamers are sort of snuffed out and taken out, and why people need to protect them, because they recognize that, like so many of us, [they] are just trying to survive, or just trying to make it from day to day to day, until you come into the presence of a dreamer, and they say life is bigger than what you can currently imagine. And if you follow me, I can show you something bigger. That's who Washington is, and I've never seen that in the historical context of slavery, not allowing slavery to define who he is as a person, but allowing his creativity to be fully manifested and ultimately be like this brilliant creator, the seeker of love and beauty everywhere that he goes, and bringing that contagion with him. Pursued by Willard, Wash faces a life-altering choice. Meanwhile, tensions are on the rise between Tanna and McGee and Young Wash and Titch's Arctic journey, forces Young Wash to forge his own path forward. From... Pursued by Willard, Wash faces a life-altering choice. Meanwhile, tensions are on the rise between Tanna and McGee and Young Wash and Titch's Arctic journey, forces Young Wash to forge his own path forward. From Hulu's Washington Black. More Disney/Chris Reardon That's one of the things that I think I was so pleasantly moved by the story is that so often, when it comes to depictions of slavery in film and television, joy and hope are often not necessarily part of the story. And those stories are very important to tell. But I loved the aspect of hope that this story has. Brown: It was very important to me. Interesting enough, this project came to me before American Fiction. But American Fiction actually talks a lot about how it seems most of Black stories that are for mainstream consumption have to do with Black pain, have to do with Black trauma, right? So I thought, how awesome would it be to take this historical context but to still illuminate [and] highlight, joy, hope, faith, love, etc. And Ernest, taking on this role, the title role, that's a lot this early in your career. Did you feel the pressure of the title role? And how did you go about finding your version of Washington? Ernest Kingsley Jr.: Of course. Look, I did feel some pressure. It was quickly dissipated by the cast around me, the community around me, and someone like Sterling as well, who's been such a mentor and a friend and a brother. He definitely was showing me the ropes all along. I was really being supported by the talent and the love and care by our cast and crew. And in terms of research, I guess to start off with, definitely reading the book. The show kind of branches off from it. Reading the book was a great foundation for me, just to kind of initially get into the world of Washington Black and the epicness and the journey and the story, and then obviously, going deeper into other things and the time period. But it was definitely the book that launched me into it. WASHINGTON BLACK – 'St. George and the Dragon' – Young Wash and Titch evade capture, finding allies, threats, and shocking truths about Titch's family. In Halifax, Tanna's attempt to derail her engagement complicates her ties... WASHINGTON BLACK – 'St. George and the Dragon' – Young Wash and Titch evade capture, finding allies, threats, and shocking truths about Titch's family. In Halifax, Tanna's attempt to derail her engagement complicates her ties to Wash and Goff. As Wash's aquarium impresses Goff, danger looms, testing loyalty amid shifting ambitions. More Disney/Chris Reardon Even though this is a work of fiction, it does really illuminate part of Black history that not a lot of people know much about. Black pirates, for example. Was there any part of this history that you learned something from? Brown: I love the Dahomey, which also is echoed in [The] Woman King. I loved the sort of throughline of the Afro Nova Scotian community that we've discovered in Halifax, right? And I've worked in Charleston, South Carolina, on a TV show called Army Wives, for a long time and the Gullah accent [also called Geechee] I found very peculiarly in Halifax, Nova Scotia. And I was like, "You guys sound like you're from South Carolina." "No, we don't sound like we're from South Carolina. We're from up here." And I'm like, "Whoa, what are you talking about, man?" And it's sort of like the accent that Medwin uses, because I thought that 50 percent of all Africans that entered into the United States came through a port in South Carolina called Sullivan's Island, right? And so for me to hear that accent when I went to Halifax was this incredible moment, like, "Oh, wow. We really did make it." This underground railroad is not something that I just heard about. I see the evidence of it here in Nova Scotia while we're shooting on location. It was a magical moment for me. And Ernest, what about you? Did you learn anything about this history? Kingsley: I think Sterling kind of touched on it, the Afro Nova Scotia community. Obviously, we see how Medwin has really upheld and built that community at the time, but also just going there and filming and realizing that they'd been there for nearly seven generations. And just seeing the community they've built and how close-knit and tight they are, against all odds, against when they first arrived there, all those generations ago, they were given kind of terrible land, the unfertile land, and what they built from that, what they did, and they're still there in abundance. Just getting introduced to that kind of culture and community was really cool. There are also aspects of the characters in this that we so often don't see, particularly Black characters in science, space, flying, all of those things. Was it important to you for these characters to be doing things that, historically in entertainment, we've often only seen white characters do. Brown: Man, you're making my heart just crack open in the most beautiful way possible, because there is an active erasure of our history going on in the United States right now. To make it sound as if we just didn't exist. And there is no American history without Black history. And there's also a de-emphasis of our history of creativity, of innovation, of invention, right? And so, in order to put that on the screen, hopefully people will reverse engineer and be like, "You know what? I know it's a work of historical fiction, but what is the history of Black entrepreneurship, invention, creativity?" Because there's so much that we've done, but that's not highlighted for such a long time, especially as a young person growing up in the States, the idea of being smart and being cool was sort of seen as an anathema. They didn't cross over with each other, especially in the Black community, actively putting something on screen that shows a very, very cool, passionate, loving man who's so smart, who's so imaginative, who's so creative. I had a professor tell me once that Black history is American history, you can't really separate the two. But Ernest, for you, as someone who isn't American yet you're telling this uniquely American story, what was it like for you processing how this story is told? Kingsley: To be really honest, it's quite like universal in terms of the Black, British and American [experiences]. I feel like that universal story of us going through that harrowing narrative and pain in our past and triumphing over it. And also, just the thing of us not getting the credit for our inventions and beautiful things we've done spans across, unfortunately, history across the world. And so it was touching the core of the experience that is universal for us. And I think the thing about seeing this Black boy and him getting the visibility—obviously his credit is stolen, but like the visibility—just the narrative and seeing him build this invention, build this thing with his creativity. There's something about being seen and seeing that on a screen, as opposed to—like you were saying—you see a very common narrative of certain people do certain things, we don't see Black people in sci-fi, but you see that in the story. And it's like, that's evidence, and that's permission. So, yeah, it was really cool. To that, what is really powerful about Washington's experience is every time he looks to the sky and hopes or dreams. The power of the sky and stars in Black history, in spirituals, in the work of Harriet Tubman, it's really powerful. Brown: It does make sense, right? Because if you look just in your immediate circumstances, you may just see fields and places where you've labored throughout the day. And so the escape is the sky, right? Like sky is the limit, sky is the possibility, because it doesn't represent anything that's immediately around you. It's like, at least there's some expanse, there's space, there's distance, possibility exists up here. Reality is here [on land], possibility is there, right? Even with regards to Wash and the water, he's never gone into the ocean and didn't know how to swim, and then ultimately, my man had to throw you into the water, because the water also represents possibility. It's the unexplored, right? We've explored this part. Where can I go to be free, where can I go to be fully realized, right? And then you have a young boy who goes into the water and learns how to fly. Sterling, it seems like you've had one big project after another these past few years, picking up an Oscar nomination along the way. Do you not like taking breaks? And what is it that makes you want to keep producing projects like this? Brown: Thank you. That's very kind. There is a part of you that feels like you want to strike while the iron is hot. There is a part of you that feels like, "Oh, you know what? If you don't do something, then maybe they'll forget about you." Easy come, easy go sort of thing. I do take breaks. Like, I still assistant coach my son's NFL flag football team. I see my other son play soccer all the time. I take little breaks for myself, but I try to structure it in such a way [that] the TV show that I get a chance to do in the states keeps me at home for about half the year, and then I have the other half a year to play around with. And it's been a good formula for me, because my family knows where I am most of the time, and then I still have space to sort of scratch the creative itch inside of me, to just do something different. Variety is the spice of life, and I'm so fortunate H. Alan, in an industry that is undergoing a massive contraction; to be busy and people want to work with me that I feel like I should take advantage of this, because not a lot of people are having these opportunities. It's a blessing. WASHINGTON BLACK – 'If You See My Mama, Whisper Her This…' – In Morocco, Wash reunites with Titch and uncovers his father's true legacy. With Tanna, he journeys to his homeland on the Wind Sailer.... WASHINGTON BLACK – 'If You See My Mama, Whisper Her This…' – In Morocco, Wash reunites with Titch and uncovers his father's true legacy. With Tanna, he journeys to his homeland on the Wind Sailer. A dreamscape reunion provides answers to the past, as Wash's family embarks on a new horizon. More Disney/James Van Evers What does it mean for you to mentor someone like Ernest? Considering that you could have easily produced a project for yourself in the title role. Brown: Sometimes you see people try to make that part their part. I was like, "No, it's not my part." But if I'm in a position where I can help somebody, where it is their part, get an opportunity to do it, that means a lot to me, because your legacy isn't just the work that you do, it's the opportunities that you create for other people, and hopefully just make it a little bit easier. That's all you're trying to do. The people that come behind you, you want it to be just a little bit easier, right? I stand on the shoulders of Denzel [Washington], who stands on James Earl [Jones], who stands on Paul Robeson, like there is a legacy here of performance, and each one of those dudes made it a little bit easier for me. And hopefully I get a chance to do the same. And for you, Ernest, it's so rare for someone your age to have this kind of mentorship. What is it like for you to have this support? Kingsley: I don't think there's enough words that I could use to describe the level of gratitude. The level of support and love and care that Sterling has poured into me from when I was 21—I'm 24 now—has been second to none. The last three years, he's been nothing but support, like a pillar. We've seen how this industry can be, especially with the strikes and stuff, and it's not lost on me how rare it is to have that kind of support system with a star that Sterling is a gift, it's an absolute blessing. I'm really grateful.
Yahoo
29 minutes ago
- Yahoo
Daniel Radcliffe's ‘disturbing' film with Sabrina Carpenter finally available on streaming
Harry Potter this is not. A decade after quietly slithering into cinemas, Horns – a genre-bending horror-fantasy starring Daniel Radcliffe and a teenage Sabrina Carpenter – is finally getting its due. The film is landing on Pluto TV for free streaming on July 21, giving horror fans and Radcliffe loyalists a chance to revisit one of his strangest, darkest roles. Based on Joe Hill's bestselling 2010 novel (yes, Stephen King's son), Horns follows Ig Perrish (Radcliffe), a young man whose life implodes after his girlfriend Merrin (played by Ted Lasso star Juno Temple) is brutally murdered. Everyone thinks he did it, but Ig's reality becomes even stranger when he wakes up with horns sprouting from his forehead, granting him the sinister ability to compel people to reveal their darkest secrets. Using this terrifying power, Ig sets out to find the real killer while grappling with the town's suspicion and his own grief. Directed by Alexandre Aja (The Hills Have Eyes, Crawl), Horns is a twisted blend of supernatural horror, dark comedy, and psychological thriller, unafraid to push boundaries and lean into its bizarre premise. It explores guilt, vengeance, love, and transformation with a darkly humorous edge, making it stand out in a landscape often dominated by formulaic horror. Sabrina Carpenter, who was just 15 during filming, plays the young Merrin in flashbacks, years before she would top charts and sell out stadium tours. The cast also includes The Handmaid's Tale's Max Minghella as Lee Tourneau, Ig's childhood friend whose secrets add further layers to the film's mystery. At its 2014 release, Horns received a mixed reception, with critics unsure how to handle its shifts in tone and genre. But over the years, the film has gained a cult following for its originality, gothic visuals, and Radcliffe's fearless performance as a man teetering between heartbreak and hellish fury. Fans on IMDb have praised the film's unusual concept, calling it 'an underdog movie that combines horror, fantasy, drama and psychological suspense.' On X, one viewer wrote, 'So many regrets not watching Horns earlier. Daniel Radcliffe you twisted mother!!' i just found out this was daniel radcliffe with sabrina carpenter😭 — jude⸆⸉ (@karmaissebby) May 11, 2024 Radcliffe's post-Potter career has often veered into the eccentric, from Swiss Army Man to Guns Akimbo, but Horns remains one of his boldest swings, showcasing his commitment to playing characters who are both tormented and darkly funny. The film also captures Carpenter at the start of her career, years before her current pop star superstardom, adding another layer of intrigue for her fans. In an era of safe remakes and jump-scare-heavy horror, Horns offers something different: a story about grief and rage dressed in supernatural horror, wrapped with dark humour and led by a committed Radcliffe who grows literal horns as his world collapses around him. Whether you're in the mood for a cult horror you missed, a dose of dark fantasy, or a reminder of Radcliffe's willingness to take risks, Horns delivers. It is a film that leaves an impression – sometimes shocking, sometimes emotional, always strange. With its arrival on Pluto TV, Horns is ready to haunt a new generation, proving that even a decade later, its twisted tale of love, loss, and the monstrous truths we hide is worth the watch.
Yahoo
29 minutes ago
- Yahoo
Cause confirmed in death of Caitlyn Jenner friend Sophia Hutchins
The cause of death has been revealed for Sophia Hutchins, Caitlyn Jenner's manager and close friend, who was killed in an ATV accident near the Olympian's Malibu, California, home earlier this month. The 29-year-old Lumasol sunscreen founder died July 2, due to 'multiple blunt force injuries,' according to the County of Los Angeles Medical Examiner's online records. Her manner of death, which occurred on a cliff, was ruled accidental. At the time of publication, the Medical Examiner has listed the case status as 'open.' Hutchins, who appeared in 75-year-old Jenner's series 'I Am Cait,' was driving on a 'narrow canyon road' when The Malibu Times says Hutch hit the bumper of a moving car, whose driver and passenger were not injured. Hutchins' ATV was catapulted over the cliff and into a ravine roughly 350 feet below. TMZ previously reported that the crash took place on the road where Jenner lives. Hutchins in 2021 doubled down that she and Jenner, who she looked up to during her own transition, shared a truly 'familial' dynamic. 'Caitlyn is a parent to me,' she told People at the time. 'I have said that a million times. It is a parental, familial relationship. I feel so blessed and humbled to be part of such an amazing family and that she treats me like a daughter. … There's no hanky panky.'
