What does Beau Willimon compare his writing process for “Andor” to? How did Willimon and Tony Gilroy’s professional relationship influence his work on the Disney+ series? What challenges did Willimon face when writing an existing franchise like “Star Wars”? In what ways did Willimon’s experience with “Severance” differ from his previous projects? How did David Fincher’s involvement play a role in Willimon agreeing to work on “House of Cards”? What themes did Willimon aim to explore through the character of Frank Underwood in “House of Cards”?
Beau Willimon, the showrunner behind “House of Cards” and writer of “Andor,” says he is very proud of the second season of the “Star Wars” franchise instalment. Speaking at an industry event at Canneseries, the producer said writing the Disney+ series is “like being a session musician on someone’s album,” praising his creative collaborator and series creator Tony Gilroy.
“Tony helped me on ‘House of Cards’ for a couple of seasons as a consulting producer to give me notes on the scripts and became a good friend and mentor,” he recalled. “When he was developing ‘Andor,’ he asked if I wanted to write a few episodes and I thought he was joking because I grew up with and love ‘Star Wars’ but I’m not an aficionado. He said, ‘the less you know, the better because I want to tell a human story and a grown-up story.’”
Despite never having written a show he hadn’t created, Willimon jumped onboard alongside Tony Gilroy’s brother, Dan Gilroy, and broke the entire first season of the show in six days.
“It was so fun,” he added of that time. “I didn’t have to bear any of the burden of what a showrunner usually has to deal with. All I had to do for the first time in my life was function as a writer who was delivering scripts to my friend Tony Gilroy. As long as he liked them, I was good. The writer said the process was very similar for season 2, which premiered on Disney+ earlier this month. “I’m very proud of the second season.”
Willimon also had his hand on another majorly successful series this year, boarding Apple TV+’s hit psychological drama “Severance” as an executive producer for Season 2. Of the experience, the creative said that the show is “very different from what I normally do” but the team “needed some extra help.”
“I came in to assist on the production side of it, with the writers,” continued Willimon. “It was an extraordinary experience because there is nothing like this show. I am really interested in doing projects where I don’t fully know how to do it. With ‘Severance,’ it was this beautifully built world and tone and I challenged myself to help that team bring the second season to fruition. I was in service of the story like anyone else.”
The executive emphasized he “loves” producing and finds it a joy to “facilitate someone else’s vision.” “Sometimes I have a bit of distance and perspective that can be helpful, or it can purely facilitate on a practical level. I don’t have to bear the burden of this being my baby, I can simply help someone raise this child.”
This creative distance is, of course, the very opposite of the job Willimon had as the showrunner of the first four seasons of Netflix’s history-making political drama “House of Cards.” Elsewhere during the conversation, the writer recalled the early days of working on the project, saying he initially wasn’t interested in the idea of doing a political series on the back of his lauded political play, “Farragut North.” What made Willimon take the leap? Easy: David Fincher’s name.
The chance of meeting with the “Se7en” director had the playwright investigate the eponymous British show that inspired Netflix’s flagship series. “I watched the British series and started to have a lot of ideas of what to do with it, and then it turned out that David and I hit it off in terms of what we wanted to do with the show.”
Talking about the first sparks of inspiration for Kevin Spacey’s Frank Underwood, Willimon cited the series’ infamous opening scene as an example, where the politician strangles a dog to death. “He has this movie star entrance, comes down and gives us his first direct address. Not about politics, but about something more elemental, which is his relationship to pain, and that he is the sort of person who does the difficult thing. Strangling the dog to put it out of its misery could be seen as both an act of cruelty and an act of generosity, and that contradiction is interesting. This is how you start to layer up a character, from something very simple.”
“I don’t think any writer, no matter how good they are, can start in a place of sophistication,” he added. “You often start in a place of the mundane. Sophistication is organizing and layering the mundane in such a way that hopefully becomes complex.”
On his relationship working with high-profile actors in projects such as “House of Cards,” Willimon said it is becoming more and more common for shows to be packaged with talent, the expectation being that showrunners and higher-level creatives have to work alongside actors in making key decisions for projects. “Talent is coming on board before [projects] are even sold. Depending on the star value of those actors, they’ll expect a certain level of input and involvement. I like working with actors and welcome that, so it’s usually an enjoyable part of the process.”
A less enjoyable part of his craft, perhaps, is the struggle of those early days as a writer. Advising budding creatives in the room, the award-winning showrunner said: “‘When you’re starting, you have all of this energy and a sort of desperation, a hunger to share what you have with the world. Try not to squander that energy in a careerist mentality. It’s the only time that you get to be a pure artist — when no one cares. Use that to your advantage.”
House of Cards Showrunner on Making ‘Andor’ a ‘Grown-Up Story’
In an era where television has redefined storytelling, the arrival of Disney+’s acclaimed "Andor" has captured the attention of audiences and critics alike. Following the adventures of Cassian Andor, a character introduced in the still widely popular "Rogue One: A Star Wars Story," the series has carved out its own niche within the expansive Star Wars universe. At the helm of this project is showrunner Tony Gilroy, known for his work on political dramas like "House of Cards." Gilroy’s unique perspective on narrative complexity and character-driven storytelling has transformed "Andor" into something much richer than a typical action-adventure fare; it is, in many ways, a "grown-up story."
A New Kind of Star Wars
While Star Wars has traditionally been characterized by its space battles, epic lightsaber duels, and mythological elements, "Andor" takes a different approach. From the outset, Gilroy wanted to explore themes often left unaddressed in the Star Wars franchise, such as the costs of rebellion, the moral ambiguities of political structures, and the personal sacrifices made in the name of ideals. In stark contrast to the more simple dichotomy of good vs. evil prevalent in earlier installments, "Andor" illustrates that the struggle against tyranny can be as complex and contradictory as humanity itself.
"The world is more gray than it is black and white," Gilroy has stated in interviews, emphasizing his focus on creating a narrative that reflects real-life complexity. The show delves into the lives of ordinary citizens under the weight of oppression, showcasing how political systems affect individual destinies. In some respect, Gilroy’s vision reflects his experience in crafting deeply human stories, a hallmark of "House of Cards," which functioned as a sociopolitical commentary on power and ambition.
Engaging with Political Themes
Gilroy’s background in political drama served as a foundation for the thematic exploration in "Andor." Just as "House of Cards" took audiences inside the ruthless corridors of power in Washington, "Andor" invites viewers to witness the insidious workings of the Galactic Empire. The exploration of systemic corruption, betrayal, and the human cost of rebellion resonates through the character arcs and narrative choices made in "Andor." Each character is imbued with their own motives, weaknesses, and desires, creating a story that doesn’t shy away from the messiness of human nature.
The showrunners’ deliberate choice to depict both Imperial and Rebel perspectives offers a more nuanced understanding of the conflict. It allows viewers to engage with the ideological struggle on a more profound level, highlighting that in the quest for justice, actions often have unintended consequences.
Character Development
One of the standout features of "Andor" is its commitment to character development. Far from being a simple hero with clear motivations, Cassian Andor, played by Diego Luna, is portrayed as a flawed, multi-dimensional individual. His journey from a self-serving criminal to a committed revolutionary symbolizes the growth that occurs through personal sacrifice and shared struggles.
Gilroy’s ability to craft rich character arcs is reminiscent of his work on "House of Cards," where characters like Frank Underwood wrestled with their own ambitions and moral dilemmas. In "Andor," viewers witness Cassian’s gradual transformation as he confronts his own history and grapples with the weight of his decisions. The series emphasizes that heroism is not simply about acts of bravery; it’s also about the emotional toll of choices made in the pursuit of a greater cause.
A Unique Visual and Narrative Style
"Andor" distinguishes itself through its distinctive visual style and pacing. Rather than relying solely on the franchise’s signature spectacle, the series employs a more thoughtful approach to storytelling. With a focus on atmosphere and grounded settings, the show has been lauded for its cinematography, which reflects the grit and desperation of its characters. Gilroy’s decision to ground the narrative in a more realistic interpretation of the Star Wars universe allows for deeper connections with contemporary societal issues.
The pacing, too, diverges from traditional franchise norms. Rather than serving up constant action, the show takes its time, allowing viewers to engage with the emotional and political undercurrents of the story. This slower, more deliberate storytelling invites audiences to ponder the implications of the characters’ choices and the larger narrative surrounding the galaxy.
Conclusion
In crafting "Andor," Tony Gilroy leverages his experience from "House of Cards" to create a narrative that is refreshingly complex within the Star Wars landscape. By tackling mature themes and employing multi-faceted character development, "Andor" stands as a significant departure from conventional franchise storytelling. It offers a lens through which to explore the nature of conflict and sacrifice, ultimately delivering a "grown-up story" that resonates with viewers longing for substance in a galaxy far, far away. As fans eagerly anticipate future seasons, Gilroy’s commitment to profound storytelling bodes well for the further exploration of the human experience within the Star Wars saga.
“House of Cards” showrunner Beau Willimon has shared insights into the creative process behind “Andor,” emphasizing the show’s focus on mature storytelling. Willimon mentions that “Andor” diverges from the traditional formula of the Star Wars franchise by exploring complex themes and character development that resonate with adult audiences. He aims to delve deeper into the moral gray areas of the characters’ journeys, creating a more nuanced narrative that challenges viewers to engage with the political and ethical dilemmas presented in the story. This mature approach reflects a desire to bring depth to the beloved universe, offering a fresh perspective that appeals to a wider demographic while staying true to the core essence of Star Wars.