The recent release of The Art of Andor, a behind-the-scenes companion book for the Star Wars series, has brought to light several significant details about the design and storytelling choices for the planet Coruscant. The book, authored by Phil Szostak, delves into how the show's creative team interpreted and adapted the iconic city-planet to fit Tony Gilroy's distinct vision.
Coruscant, often referred to as the Jewel of the Core Worlds, has served as the backdrop for pivotal events in Star Wars history, including Anakin Skywalker's transformation into Darth Vader and Padmé Amidala's crucial no-confidence motion in the senate. For Andor, showrunner Tony Gilroy aimed to present Coruscant in a manner that was both recognizable to fans and consistent with his grounded storytelling style. Due to pandemic-related production constraints, many real-world London locations were reimagined as Coruscant landmarks, such as Canary Wharf's Adams Plaza Bridge for the ISB building and the Barbican Estate for clandestine meetings.
Gilroy's "Non-Marvel" Aesthetic
One notable revelation from the book is Tony Gilroy's explicit intention to design Coruscant's aesthetic as "non-Marvel." In a design manifesto shared within The Art of Andor, Gilroy expressed a desire to avoid what he perceived as "cheesy" or overly slick visual trends. He sought an environment that was "vibrant but blemished. Crazy, credible, and fascinating," a stark contrast to what he alluded to as conventional superhero film aesthetics. Industrial Light and Magic VFX supervisor Mohen Leo elaborated on this philosophy, stating that every element included on screen was to serve the story and characters, a principle that guided the depiction of Coruscant and other locations.
Location of Luthen Rael's Fondor Haulcraft
Fans have long speculated about the storage location of Luthen Rael's ship, the Fondor Haulcraft, given his frequent and rapid movements. Production designer Luke Hull revealed in the book that the ship was intended to be docked directly behind Luthen's gallery. Hull designed the Fondor with folding wings specifically to accommodate tight spaces, such as the unseen docking bay behind the gallery. This hidden bay would have allowed Luthen to disembark directly into the back of his establishment, a sequence that was ultimately not filmed due to budgetary considerations.
Dedra Meero's Apartment Design
The depiction of class on Coruscant often relies on visual cues like access to light, with upper levels enjoying greater illumination than the lower depths. Dedra Meero's apartment, seen in Andor season two, offers an interesting contrast. Described as "government-supplied," the apartment provides Dedra with a vantage point over the lower strata of society, aligning with her character's disposition. Hull noted that the apartment's design reflects a lack of personal touches, likening it to a functional, potentially monitored space provided by a state security agency.
The Axis Safehouse
In contrast to Dedra's sterile apartment, the Axis safehouse is portrayed with a deliberately worn and lower-middle-class aesthetic, despite its upper-working-class location. Set decorator Rebecca Alleyway explained that the safehouse was designed to feel lived-in and slightly run-down, having been squatted in and rented. The crew added details to reflect its changing use throughout season two, from Cassian and Bix's time there to Kleya's rescue. Gilroy emphasized the safehouse's importance as a character in itself, stating that its visual narrative contributed significantly to the show's overall storytelling.
The Art of Andor is now available for purchase, offering further insights into the creation of the Star Wars series.