Season 2 of the critically acclaimed Star Wars series Andor has taken fans on an immersive journey through new and familiar worlds, introducing planets Chandrilla and Ghorman with unprecedented depth. This expansion of the Star Wars universe not only enriched the narrative but also showcased the meticulous craftsmanship behind the scenes, particularly in cinematography and production design.
Christophe Nuyens, one of the three cinematographers for Season 2, was instrumental in shaping the visual storytelling of the first six episodes, which spanned Chandrilla, Coruscant, and Ghorman. His work captured memorable moments such as the intimate exchanges between Cassian Andor (Diego Luna) and Bix (Adria Arjona), as well as the poignant scenes featuring Mon Mothma (Genevieve O'Reilly) and her daughter Leida (Bronte Carmichael).
The production of Season 2 was marked by an extensive preparatory phase. Nuyens described it as a "huge, huge prep" involving detailed previs and numerous rehearsals. This rigorous groundwork was essential, especially for complex sequences like the escape from the Sienar base, which was filmed across three different sets. Such careful planning allowed the team to maintain narrative coherence despite shooting scenes out of sequence and across various locations.
Visual storytelling was a key focus, with every shot crafted to convey specific emotions. For instance, wide-angle lenses were employed in the scene where Mon Mothma speaks with her daughter, emphasizing the vastness of the space and the loneliness she feels during a significant moment in her life. The wedding dance sequence further demonstrated this approach; the camera circled the characters continuously to create an overwhelming sense of anxiety and tension, mirroring Mon’s internal state.
Much of this visual precision was facilitated by the detailed designs of Production Designer Luke Hull. His work, combined with the cinematographers’ efforts, allowed for adaptive shooting on set. Nuyens highlighted the advantage of having the prep offices at Pinewood Studios, enabling the team to closely examine sets during blocking and adjust shots dynamically. This collaboration ensured that even spontaneous moments captured on the day enhanced the storytelling.
The season’s structure divided episodes into blocks of three, each treated almost like a standalone film with distinct tones. Nuyens noted that Episodes 1 through 3 were deliberately shot last to capture a sunnier, more cheerful atmosphere before the narrative darkened. This approach underscored the show's layered storytelling and visual evolution.
Ghorman, one of the newly introduced planets, was realized through a blend of expansive built sets and on-location filming, such as the use of London’s Guildhall for establishing shots. The production team worked closely with visual effects artists to seamlessly integrate practical and digital elements. Nuyens praised the thorough explanations provided by Hull and Mohen Leo from ILM, which helped the cinematographers visualize the extended worlds beyond the physical sets.
The series also employed mood boards to establish distinct visual identities for each world. Yavin was depicted with a colorful mix of cool moonlight and warm practical lighting, Chandrilla with a classical aesthetic, and the Imperial Security Bureau (ISB) environments were designed to feel clean and white—a challenging task for lighting but crucial for conveying their sterile nature.
Interestingly, the wedding scenes drew inspiration from diverse sources. The Japanese aesthetic of Memoirs of a Geisha influenced the look, while lighting references came from Roger Deakins’ work on the Macao scenes in Skyfall. These eclectic influences enriched the visual texture of the series.
Among the standout scenes were those focusing on the subtle language of hands and touch, particularly in sequences involving Kleya and the reunion of Bix and Cassian. These moments, partly scripted and partly developed organically during rehearsals, highlighted the series’ commitment to human intimacy amid its grand narrative.
The production faced notable challenges, especially during the Mina-Rau scenes filmed in fields of grain. Due to the SAG strike, the team lost a critical four-week window when the fields were at their prime. To overcome this, they recreated the environment on a stage using green screens and meticulously matched lighting conditions by measuring color temperatures on the original set. Painted backdrops were also employed for the wedding dance scene to facilitate in-camera effects like flares and haze, enhancing the authenticity of the visuals.
One of the most technically ambitious shots was the heist sequence. Designed as a continuous "oner" following a box through tunnels and onto an escape truck, it was shot across two sets and two separate days. This complex choreography required extensive previs to ensure feasibility and succeeded in delivering a tense, real-time feel that captivated audiences.
Beyond the technical achievements, the season deepened the narrative stakes, particularly with the Ghorman Massacre sequence in Episode 8. This pivotal event has roots stretching back to the 1990 West End Games Rebel Alliance Sourcebook, where it was originally set 19 years before the Battle of Yavin. Andor reimagined the massacre as occurring just two years prior, bringing fresh urgency to the storyline.
Director Tony Gilroy and Production Designer Luke Hull collaborated for months to build a vast town square set for the massacre, emphasizing practical effects to enhance realism. Diego Luna reflected on the experience, noting the complexity of shooting scenes where "all the extras were there, and all the cues were triggered at the same time," contrasted with moments of solitary performance requiring imagination. Gilroy explained that while digital enhancements like animated droids and blaster tracers were added later, the core action was captured "as practical as you can possibly imagine," with extras being "tiled" to simulate larger crowds due to logistical limits.
On the cast front, Andy Serkis, who portrayed Kino Loy in Season 1, explained his character’s absence in the second season. Speaking to Collider, Serkis said, "I ultimately think it's best for the character. It was such a great arc, and it had a very, very definite and heroic conclusion." He expressed surprise at the emotional impact of Kino Loy, concluding that "it's way, way better that we leave him in Narkina 5, on his own." Kino Loy’s storyline in the first season saw him lead a prison riot alongside Cassian Andor but choose to stay behind due to his inability to swim, a decision that underscored his heroic sacrifice.
Diego Luna also shared insights on how Andor Season 2 reshapes the viewing of Rogue One: A Star Wars Story. He predicted that "people watching Rogue One, after watching Season 2, are going to see a different film," with characters like K-2SO taking on new significance. This layered storytelling enriches the entire Star Wars saga, inviting fans to revisit the original films with fresh perspectives.
Reflecting on his experience, Christophe Nuyens highlighted the invaluable lessons learned working on a Star Wars project of this scale. He emphasized the importance of collaboration with visual effects and art departments and the luxury of time to pre-light sets meticulously. "If during the pre-light, the light wasn't really like I wanted, just to keep on looking and going until I was happy," he said, expressing hope to carry this approach into future projects.
With its blend of intricate storytelling, groundbreaking visual design, and deep emotional resonance, Andor Season 2 stands as a testament to the evolving art of television production within the Star Wars universe. It not only expands the lore but also elevates the craft, delivering a richly textured experience that will resonate with fans for years to come.
