GENEVIEVE O’Reillly explains Mon Mothma dance

When Mon Mothma appeared for the first time in Star Wars Universe Jaidi’s returnThe leader of the rebel coalition was often tantamount to emptying information. She also played Caroline Blackson, Moon ordered respect, but her main goal is to officially reveal a number of many people who died in obtaining the plans of the star of death. Even when the character, which Jenvv now played, appeared again Roge oneVarious Star Wars Carichetic fees, and AHSOKA, She was still a “cross figure,” said Urieli. This barely is the case in AndorWhere the creator Tony Gelry Moon gives a central story of his series about rebellion, fascism and masks that one must wear to fight for the greatest good.

“Tony has allowed Moon in a way that we have not seen before, because she is not just Senator,” explains Orieli. “She is a mother. She is a wife. She is a leader. She is a cousin. She has a history. She has the lands of grandparents and culture of grandparents.”

It is not something that Urieli could have imagined two decades ago Revenge from Seth The glorious Easter egg for the original trilogy lovers that were eventually cut off from the movie. in AndorIt is one of the most recognized and complex numbers that the concession saw (she gets dance to a galaxy technician from “Niamos!”). Many roles are converging in the first three episodes of AndorIn the second season, where the Senator and the augmented rebellion hosts her sophisticated daughter’s wedding on her complex planet – the Moon match of last season to help finance the activities of the secret rebel. In addition to the natural stress of the wedding, she must also calculate her with her personal and rebellious life that she obstructs together in devastating ways and cannot be fixed.

Why is the daughter and her husband Moon, is reluctantly satisfied with the luxury in the traditions of Chandrillalan, while she is very dedicated to the good and the greatest rebellion? Or perhaps the real question is not why they are like this, but why Moon and her cousin, Phil Sartha, the way they are?
This is really the essence of what we are witnessing in these episodes. In the first season, we learn that the daughter of Moon is interested in an Orthodox Maur, she spent her life trying to get away from her. It gives you a window in the Orthodox that its childhood was soaked. She had a marriage arranged in 15 or 16. Moon and Fil are exceptions there. Perhaps at an early age, their first rebellion was the exit from the Orthodoxy of their family.

In the second episode, what is Moon when you listen to the speech of Perrin and the paper? I felt it was the only time we saw it enjoyed – or perhaps it was in a moment – this wedding, instead of spinning all these other paintings.
I liked Tony not to spread it aside; He gives him a voice. This is one moment when it is hostage to celebration, if you will. It is just sitting and listening. Her husband is a real doctrine, and he defends the life that must be enjoyed – don’t worry about the rest. You realize its leadership and aspirations completely different. Perhaps there was a moment in time when there was something special between them, but the options in their lives led them somewhat. This is due to Tony allowing this marriage to be so accurate that there can be such a polarization within one marriage.

Then there is her relationship with Leida, where we see this session of anxiety and mother daughter, and this in some way is a victim of what he fights for.
That relationship was unusual. There is a scene in the third episode when Moon speaks to her daughter and shows her mother. You have this generations story in one room, and these three different women carry this scene in a very dramatic part of the entire wedding. I remember that I am talking to Tony: “If Moon is already going through this and a rebellion of financing through this marriage, then where is Lida sitting in that? Where is her agency?” Tony cared about this and wrote that Moon was talking to her before the ceremony. You can really see Leida a step to its future there.

When Tae -whenever, her old and banking friend who agreed to help launder her money last season, she approaches Moon at the wedding ceremony and maintains her mainly, how does she interact? From the way it was a ground, I felt this is the first time that the rebellion was felt for her, even after all I actually did.
I think you are right. There are layers in those three episodes. It is in the first episode when we meet with it and say something, and you may record that something might not be true. Then these layers become richer and richer, and Moon realizes that the most associated with him is tense. This is like tectonic panels that turn under it. It is right: she has to make a call. It is implicit, but it is chasing it – perhaps forever.

Do you feel sad because Tai, her childhood girlfriend, puts her in this position? Or is this sadness about what you have to do with her friend? Or both?
Luthan pulled the carpet below it, but it was very naive. It is a brutal reminder that this is the rebellion, that people die, and that more people will die. It is a very personal cost for her, and she has blood on her hands. There is sadness. There is pain there is guilt there is a deep, complex and painful texture that you wrestle with – and I don’t think it has a lot of experience in it. At that moment, you see Luthan in his best.

To what extent does the MOTHMA arc spend the restrictions of keeping public life separate from private lives? Or about the restrictions of politics and fighting within the system?
It’s all. The rebellion is its primary passion for life, as it seems, and it is only effective for the rebellion if it maintains its role as a masters. So she must wear these masks permanently, and they must be very good in it, because if the mask collapses, it is lost and not effective for rebellion.

At the same time, we know that there is a point where the Senate leaves. There is a point where you need an open rebellion and is no longer able to wear this mask.
There is a section of this series that deals with it well. One of the stimuli is the straw that breaks the back of the camel in relation to the departure of the Senate. It is Rubicon’s crossing. There is no return after that. It is an ambitious matter, that episode, and it was something I was enthusiastic about. This is the point of her personality. This is what makes it in the past Star Wars Manifestations. We understand the sacrifice that the woman was ready to make. She can set fire to her life and risk everything to summon some truth. I am enthusiastic about people – I am desperate to people – to see it, because this is a really important part of this season.

Is this necessary point of return feel specially related, given the current situation that the United States got? Ask because Star Wars This has always been suffering from that, however Andor It is more clear and time than anything else that the concession has ever done.
Star Wars He was always political. Empires have always been part of our culture and revealed the worst humanity, and the revolution and rebellion have taken to challenge them. Because we grew up in peace, we feel peaceful peace, but it may not be the case. Throughout history, what is more exceptional is peace times. We filmed and wrote these scenes that they refer to – especially in the seventh, eighth and nine episodes – two years ago. So it is unusual to come out now. I hope to see ourselves in Andor We may ask ourselves some questions.

What happens with Mon at the end of the third episode when the cocktails collide and cut? It is feverish and bathtub during dance, which contradicts how it is usually in its role. What prompted her to this place where you need this relief valve?
It was an unusual gift for me to be able to wrestle Moon from this material pillar that we have always seen. I had the opportunity to explore her psychological state through movement, through dancing, through a wedding. We have all seen people losing the dance circuit, but what we are witnessing here is a woman dancing to prevent herself from screaming. We see a woman that makes the chaos in her head at that moment. On it. This happens immediately after the scene with Luthan, when it is necessary to do what they should do with Tai as. It digests the fact that you cannot rebel without blood on your hands.

Was this scene filming? Were they playing one of Nicholas Bretel’s exaggeration on the group? What are the space cocktails that you were toppled?
That was one of my favorite days on the group, in my whole life. We shot most of the wedding and then the strike was called. This sequence was not launched, so we returned to it after six months. I felt very privacy to get this amazing coronation, this yearning to return to it. Tony was in the group, producers, Camerippl, and dance designers; We all have to return and work on this with new eyes, and none of us are tired.

We were playing that “Niamos!” path. This is what we were all danced again and again during the enthusiastic hysteria per day. The shots I were drinking were the Scottish drink, such as a Ghazi drink called IRN-BRU. It looks radiant. And I remember the middle of the day during the day, “How many of them should drink it, boy? Because I may explode.”

Do you and Tony have some feeling of what it was this morning? We do not see it because there is a period of time for a year before the next episode.
You don’t see it! We never talked about it, but I think there is a multiple headache. This is strong waste.