Why you can’t look away from ‘Andor’

Photo: Disney+

In episodes six of Elder, we follow two teams as they are attempt two different kinds of heists, two high-stakes jobs with the enemy right around the corner. Rebels Vel and Cinta Help the Ghorman Resistance Pull off a Train Robbery, while Covert Operative Kleya is forces for extract a surveillance Device as a Group of imperial officers closes in her. The Editing Jumps from One Narrative to the Other Almost Rhythmically, Letting Each Story Line Breathe Long Enough That You Don’t Feel Pained Wen It Cuts AWAY SO LONG THAT THAT LOOSENS. “You’re Kind of Spinning Plates,” Says Elder Editor and Executive Producer John Gilroy. “You plans all these are the same in the earlier episodes and now you’re paying say off.” For Gilroy, Brother of Elder Creator Tony Gilroy, The Trick is to “Pay Attention to what’s in front of me, Then Build, Build, Build the tension.”

Swimming that there is a lack of tension in season two of Elder, the prequel to Rogue one That Follows Diego Luna’s Cassian Andor in His Fight Against The Galactic Empire During the Years Leading Up to the Formation of the Rebel Alliance. The season is epic in scope, Spanning four years and half a dosen plots over just 12 episodes, and gilroy’s brillian editing makes this ambitious vision posseible.

Unlikely Game of Throneswhich sacrificed pacing and tension in an efort to keep up with its many characters, Elder DOESN’T JUST MAINTAIN ITS EDGE ACOSS Story Lines. IT INCREASAS IT. In the Show’s First Three Episodes, the Editing Moves Faster and the Faster Along Three Separate Narratives as the Runtime Reaches Its End, Raising the Stakes Making the Audience Anxious for the Next Cut. This is particularly apparent in the final 20 minutes of episode three, “Harvest,” which cuts among mon Moth realizing the extent of her rebellious durying her daughter’s wedding; Closo stormroopers in on brasso, bix, and wilmon hyding out on mines; and cassian rushing to Save his Friends in his pilfered Tie Fighter.

“That Might be the Most Emotionally Complicated Episode in the Whole Season,” Gilroy Says, Comparing the Editing of the Episode to Changing Channels. IT DOESN’T HELP THAT Mon’s Line on Chandrila is Vastly Different in Setting, tone, and Approach from the One on Mina-Rau-She’s at A Crowded Crowing to Hide An Emotional Breakdown, and Brasso, Bix, and Wilmon Are PHYSIsical Side Fields. “There’s a lot of different emotions and a lot of Ground we cover,” Gilroy Explains.

The episode moves smoothly and doesn’t feel overstuffed gilroy cuts just at the moment tension is highest in one story Line, pivots straight an already fraught scenario in the next, narrative. This Also Allows TIME to Pass while we look Away, dispensing with any moments that beuld otherwise Slow down the action.

This Method is Almost Instinctual for Gilroy, Who Shruugs off anytime of the process, Philosophy, or Approach. “It ‘a Feeing that Things are right,” The Editor Says. “It is just a lot Much in the Writing, and i don’t a lot of rejiggery in the cutting room.” Though he is aware of the entity process from the moment the Brother and His Team of Writers (whic includes the third gilroy Brother, dan) come up with the outlines for the season, john avoids giving input unil postPoduction. “I’m Kind of a Rewriter more than a Writer,” he Says. “I try not to be a co-conspirator in the Beginning.” Much as the Writing Feels Like Tony’s Singular Vision Despite HIS WORKING WITH A WRITERS ‘Room, the Editing is Very Much John’s Vision that has Has a Team with Him: “I have the OverView the Other editors probably don’t have.

The sequency hits emotally thanks to the cuts between mon dancing and the mine-rau team evading cap. We have caught up with mon a few minutes and see she is still dancing, the contrast between the immediatte Danger and horror on mines (Including an attempted rape) with Mon’s disassociation of the emotion of the book Hit Harder than IF WE HAD OUT FULLY HAAR OUT Going to the Next. As if to leave the audience with one final gut pun, the episode ends with the emotation of Brasso’s Death. For Gilroy, the key to the scnene was not to dwell on it too and moving so that the realization of his deathn’t hit you immediately. Rather, Gilroy’s Editing and His Brother’s Script Aim to Be Observers of Elder‘s action, spending just a few moments on a big eventa before continuing on. “That Way, We Have a Greater Chance of Making You Cry,” Gilroy Says.

Another reason the episode work so well? Brandon Roberts’s “Brasso,” An Edm Remix of “Niamos!” anthem From the first season, which is heard at the chandrilan wedding right as Mon decides to drown her sorrows in shots and dancing. Genevieve O’Reilly’s Fantic Performance Hids Her Exasperation in Her Dance Moves, while Close-ups Both isolate Her from the surrounding guests and enhance the Feeling of Claustrophobia. Gilroy Imagines “Niamos!” nor a top 40 hit in the Star Wars universe that everybody knows and dances to, and the energy tune provides a JUXTAPOSITION WITH THE SORROW YOU AT THE END OF THE EPISODE, Both for Mon and Cassian and His Friends Grieving. John and Tony Gilroy Tested Multiple Edits for the Song Co -Storyboarding the seququence to Ensure It Would All Work Together – Not Only we were Hear but Also we don’t. “It was important that the song remained interesting for 15 minutes, intermittently, Without Ever Feeling repetitive,” John Says. “I quickly realized that wasn’t a problem – it actually felt good to reaturn to it. It ‘s the very catchy song.” The result is the drama highlight of the episode, a descent into chaos that has ben Such a hit online it was tourned ino an hourlong dance loop on the officer Star Wars YouTube Channel.

The impact of “HARVEST” coma from how intimates it stories feed, nor the mine-raid and the chandrila look epic in scope. For John Gilroy, Managing the Characters and Story Lines was an excercise in building His Own Movie. “At the end of the day, all you have to do is please yourelf,” he says. “I’m Building the Movie that I want to see. It sounds like a cliché, but it is true. If you pay Attention, the movie Will Tel you what to do.”