Diego Luna on ‘Andor’ Season 2 and Why He Isn’t Saying Goodbye Yet


You and the younger Andor, Antonio Viña, have such beautiful and rich symmetry in your performances. I would imagine that all that work you were able to do there probably informed your performance as well, in terms of capturing that full breadth of this character.

Yes, yes. Because we didn’t shoot in order, so it was very important to know what that was going to be like, and what exactly Tony was looking for. It explains so many things about this character, that piece of the story matters so much for everything else. Again, that’s the beauty of being part of a show from the beginning. I talked to Luke Hull, the production designer and I understood what kind of world he was imagining. I went with Michael Wilkinson, the  costume designer, and saw the designs of everyone from the moment they were drawings. I had time to digest all of these and actually use them, and have these very specific images in my head. 

The problem of season two—or, I mean, what makes season two complicated—is that this [process] happened while we were promoting and putting season one out. But at the same time, it’s a beautiful feeling to work on season two after the experience of sharing the show and finding out that people care about it. It’s a different feeling this time. There’s not so much fear as there was before.

But if there’s one thing that you learn about being in this world, a world as big as Star Wars, it’s that secrecy is paramount until the thing is out there. So you kind of have to wait.

Yes, it’s important. But you know what? I think it’s important to remind ourselves that that’s the way it should be. I love the feeling of being in front of a screen and being surprised by what’s in front of me. I grew up going to a cinema because it was the cinema that was near my house, watching whatever was programmed there, and having to go through a story from beginning to end. Today we, in a way, get to the opening night already having an opinion. The magic of actually letting someone drive us through a story that we don’t know, really allow someone to introduce us to a world we’re not in control of, is what is amazing about cinema. I love what happens around Star Wars: You gotta wait. It feels special, makes it feel unique.

It was interesting to see you in this and Gael García Bernal, your Y tu mamá también costar, doing Werewolf by Night. They both broke new ground in their own respective universes. Both came out last fall and both obviously represent new stages for both of you and your careers. Does some reflection come with that, from that little great movie you guys made to being in the biggest cinematic universes in the world?

Yeah, definitely. I didn’t think one thing would connect with the other, but if you asked me how I got to where I am, I would blame a lot on that movie. I remember when Gareth Edwards came to me for Rogue One, and said, “I would love to work with you,” he mentioned Y tu mamá también before anything else. I was like, I really can’t believe it. But he was looking for something like that. He wanted that tone of acting, where it just happened to be part of the universe of Star Wars. I was shocked when I heard that. If you would’ve asked me back then, “Where do you think this film can take you?” I would’ve never said this. These were two different worlds, and one could not belong to the other. 



Source link

Leave a Comment

Your email address will not be published.

Start typing and press Enter to search