No show this past year matched the cinematic ambition and precision of “Andor” Season 2. Its 14 Emmy nominations, while surprising for the absence of any acting nods, speak volumes about the series’ technical mastery. Among the most deserved is its recognition for Outstanding Cinematography for a Series (One Hour), honoring the work of Christophe Nuyens, SBC, on the episode “Harvest.”
Nuyens’ lens throughout Season Two gives “Andor” its uniquely grounded visual identity, trading the intergalactic gloss of traditional “Star Wars” entries for something more textured and immediate. In “Harvest,” the cinematographer weaves together multiple storylines unfolding across different planets, each with its own tone and atmosphere: Cassian Andor struggles to stay airborne in a malfunctioning TIE Avenger, Bix Caleen and Wilmon Paak fight off an imperial home invasion, and Mon Mothma’s daughter’s wedding explodes into a politically charged, high-society reception on Chandrila. The episode’s scope is wide, but its mood remains intimate, punctuated by quiet dread and political tension.
From the wedding’s winter-blue melancholy to the dusty stillness of the fields on Mina-Rau, the episode showcases Nuyens’ ability to balance naturalism with visual drama. “We always tried to give a look to each set of three episodes,” he tells Awards Focus. “The idea was that [Ghorman] should look like Turin in winter, with the sun behind the mountains — a bit blue, gloomy, and already lit for dark days.” Whether it’s artificial rain hitting cobblestones or sunlight diffusing through painted backdrops instead of VFX screens, the level of in-camera ingenuity across “Andor” consistently elevates the series.
The events of “Harvest” may play out in a galaxy far away, but the tension feels close to home. With Imperials storming homes on Mina-Rau and the Ghorman massacre looming, the imagery calls to mind modern-day surveillance, ICE raids, and political crackdowns. That collision of genre and reality is what continues to set Andor apart.
And for all its tension, the show still leaves room for poetic moments: Mon Mothma’s dance, the blur of riot smoke against moonlight, and a climactic gift exchange that feels as ceremonial as it is heartbreaking. Nuyens’ compositions embrace the language of cinema, not just genre television. His use of wides, cool palettes, and precise lighting builds a visual language that honors “Star Wars” while transcending it. “There was a lot of freedom,” Nuyens shares. “We took it seriously and really arrived on set prepped. I think you see that in the details — everybody worked really hard because they mattered.”
Christophe Nuyens spoke with Awards Focus about crafting the look of Ghorman, working through the SAG strike, and how the visual language of “Harvest” was shaped in the fields, on soundstages, and through one of television’s most grounded revolutions.
Awards Focus: Christophe, it’s a pleasure to speak with you. To start, how did you first get involved with “Andor”? Had you worked with Tony Gilroy before, or were you drawn in by the project’s connection to the “Star Wars” universe?
Christophe Nuyens: I never worked with Tony before, and I like “Star Wars.” I really like “Star Wars,” but I’m not the biggest fan. As a DP, it’s difficult not to like “Star Wars” because visually—the sets, the costumes, the world—it’s so attractive for a cinematographer. Very appealing.
Awards Focus: “Star Wars” comes with a massive legacy and a very passionate fanbase. How did you approach the pressure of contributing to such a beloved universe while still making it your own?
Nuyens: I think the nice thing about “Star Wars,” and especially “Andor,” is that there’s still a lot of freedom and a lot to play with. This season had many different worlds, environments, and sets to create. For us as a team—me and the director—our first episodes involved creating Ghorman and the whole Ghorman world. Then we had the mineral fields and Yavin. It was really nice to create those little worlds and a visual language for each one. We really tried to differentiate them and make every world quite specific.
Awards Focus: Were there any overarching visual principles or rules that you and Tony established early on to guide the look of the season?
Nuyens: Not overall. It’s written in the script what he wants. The scripts are so well written—they’re really clear. I think the rhythm in the episodes is really important to him. Visually, sometimes there weren’t many notes. I remember for the wedding at the end of episode three, his only note was that it should feel like a rave party in “Star Wars.” A rave party during daytime. Good luck. But he gives nice challenges. The writing is so clear—that’s the way he communicates with us.
Awards Focus: You mentioned the wedding in episode three. Were there specific sequences that posed greater challenges when it came to lighting, scale, or atmosphere?
Nuyens: The end of Episode Three [“Harvest”] was quite challenging overall because of the different sets. Starting with the wedding, like I mentioned, Tony wanted it to feel like she was losing her mind and getting into a trance. We were thinking about how to achieve that during daytime in a ballroom, which was quite classical. We decided to play with low sun and flares. Those elements have complications when working with VFX. Normally you’d have windows with green screens, but we decided against it. We used painted backdrops like in the old days. Everything was in-camera—almost everything. That was a really nice way to work.
And then there were the mineral fields. Production had planted those fields even before I joined the show. There was a four-week window when the crop was the perfect height and color. The day before we started shooting, the SAG strike happened. We lost half our actors. We decided to keep shooting because we had all our sets in those fields. It was a big part of the first three episodes. Six months later, we came back to shoot the missing shots and redo some things at Pinewood, on a stage.
Awards Focus: That’s a huge logistical challenge. What was it like recreating the natural environment of the fields on a soundstage?
Nuyens: Yes. For me, it was a challenge. You’re filming in a natural environment that’s really beautiful, using natural light and wind. Then you have to recreate that same natural feel in a studio. I was quite worried about it, but I think most people won’t see the difference. I hope so. I see it sometimes, here and there.
Awards Focus: You mentioned Ghorman earlier. What were some of the visual inspirations behind that world, and how much of your own aesthetic were you able to bring in?
Nuyens: It was between me, Ari, Luke Hull the production designer, and Tony. Tony’s pitch for Ghorman was that it should be something between France and Italy. We started making mood boards and collecting ideas. The idea was that it should look like Turin in Italy—a mountain town in winter—with the sun behind the mountains. You’d always have a slightly blue, gloomy feel. Practical lights already lit those dark winter days. That was the feel for those three episodes. We always tried to give a distinct look to each set of three.
Awards Focus: That idea of treating every three episodes like a standalone film really comes through. How did working on “Andor” compare to other projects you’ve done in terms of scope and complexity?
Nuyens: It’s definitely the biggest I’ve done. I don’t think I’ll do something that size again soon. But it was nice to work on a project like this. There was a lot of freedom. I felt like the director and I had a lot of space to work. We had a lot of prep time. We did our homework with everyone else. We took it seriously and really arrived on set prepped. I think you see that in the show. There’s a lot of detail. Everyone worked really hard on those details because they mattered.
Awards Focus: Were there any particular cinematic references or visual sources you used to help shape the worlds?
Nuyens: Yes. For each set, we made mood boards. Ari made his, I made mine, and then we brought them together and picked what we liked. It’s hard to pinpoint specific examples. We pulled from films, photo books, and other sources—a bit from everywhere.
Awards Focus: If you had to highlight a scene or two that best reflect your signature as a cinematographer, which would you choose?
Nuyens: I have two favorites. The end of Episode Three, with the wedding—it’s something bright and shiny, which I don’t usually do, but I liked doing it here. And everything in the fields. That’s more natural, and I like a natural approach. Then the end of Episode Six [“What a Festive Evening”], with the heist at Ghorman and the scenes in the streets at night—that’s really something I like to do. A bit darker, with a nice mix of colors and some rain. That’s something I’m really proud of.
Awards Focus: Many people see “Andor” as a great entry point for viewers who aren’t deeply invested in the “Star Wars” universe. What do you think makes the show resonate with such a broad audience?
Nuyens: “Andor” is almost like a psychological thriller in the “Star Wars” universe. The universe isn’t the point. It’s more about the characters, the politics, and the human side. The scene between Dedra and Syril with their mom is so human. Everyone can recognize something in that. It’s very relevant to the world right now.
Awards Focus: Were you expecting the intense reaction from audiences and the press? Has it been surprising to see how deeply it’s connected with viewers?
Nuyens: I was surprised. It’s really difficult for me to view it with distance. I’ve seen several edits of my episodes. I only see the things we could have done better. But now I’m starting to let go. It’s possible to watch it normally now.
Awards Focus: Looking across the series, were there any scenes you didn’t get to work on that made you wish you could have?
Nuyens: The Ghorman massacre, the riots—that would have been lovely to work on. And the last episode, the ending that links to “Rogue One,” which is one of my favorite “Star Wars” movies. I was so flattered they asked me to do the prequel to “Rogue One.”
Awards Focus: That final moment in the fields with Bix and the baby—do you hope it opens the door to more stories in this world?
Nuyens: It would be nice. That’s also the nice thing about “Star Wars.” Even though “Andor” is more like a political thriller, there are many links between universes. There are little details that connect everything. Casual viewers can watch without noticing, but real fans catch all those connections.
Awards Focus: Christophe, thank you again. The work speaks for itself, and I hope “Andor” gets all the recognition it deserves.
Nuyens: Thank you very much.