At Fan Expo Chicago 2025, Star Wars icon Ewan McGregor shared his deep admiration for the acclaimed Disney+ series Andor, drawing a poignant contrast to his own experience starring in the Obi-Wan Kenobi limited series, as reported by PopVerse. The actor, best known for portraying Obi-Wan Kenobi in the prequel trilogy and beyond, spoke candidly about the technological shifts in filmmaking that have defined the franchise since its inception, highlighting how one key production choice in Andor elevated its storytelling in ways that resonated with him personally.
McGregor, who has been a fixture in the Star Wars universe for over two decades, began by reminiscing about the groundbreaking innovations introduced by franchise creator George Lucas during the prequel era. The Star Wars prequels advanced filmmaking technologically, including creating whole characters and backgrounds with CGI and shooting on digital camera for the first time for a major Hollywood blockbuster. He elaborated on Lucas's forward-thinking approach, noting, "George [Lucas, Star Wars creator] was pioneering what we all only shoot on. You've got to fight hard to shoot on film these days. He pioneered that. He was at the cutting edge of that."
McGregor's reflections underscore a pivotal moment in cinema history, where Star Wars: Episode I – The Phantom Menace in 1999 marked the first major blockbuster to be entirely shot on digital video, paving the way for the industry's widespread adoption of digital cinematography.
Fast-forward to 2022, when McGregor returned to the role of Obi-Wan Kenobi for the six-episode Disney+ series that bridged the gap between Revenge of the Sith and A New Hope. Filming for Obi-Wan Kenobi leaned heavily into cutting-edge virtual production techniques, including the use of a massive 360-degree wraparound LED screen known as "The Volume." This immersive setup allowed actors to perform against projected digital environments in real-time, eliminating the need for traditional blue- or green-screen chroma keying. McGregor noted that he acted in front of a 360-degree wraparound screen that projected the background, allowing him to see the environment but still confining him to a small acting area. While revolutionary for its efficiency and visual fidelity—allowing for dynamic lighting interactions between performers and sets—The Volume's constraints meant that much of the action was limited to tightly controlled studio spaces, restricting the physical expansiveness of scenes.
In contrast, McGregor singled out Andor—the gritty spy thriller series starring Diego Luna as Cassian Andor—for its deliberate return to more traditional, tactile filmmaking methods. The show, created by Tony Gilroy, eschewed the virtual screen in favor of on-location shooting, a decision that McGregor believes infused the narrative with an unparalleled authenticity. "With Andor, they decided not to use it. They used real locations. And I think that gave Andor something special," he said at the convention. McGregor's enthusiasm for the series was so profound that he admitted to binge-watching it upon release and even fantasizing about a crossover appearance, underscoring Andor's magnetic pull on both fans and fellow Star Wars alumni.
This emphasis on real-world locations in Andor not only enhanced the series' grounded, oppressive atmosphere—depicting the slow-building rebellion against the Empire with a documentary-like realism—but also allowed for expansive, immersive environments that amplified the tension of its espionage-driven plot. Production for Andor spanned a diverse array of international sites, transforming everyday landscapes into alien worlds. In the United Kingdom, the industrial grit of Coryton Oil Refinery in Essex stood in for the dystopian prison planet Narkina 5, its vast, echoing halls evoking the dehumanizing labor camps where Cassian toils in Season 1. Scotland's rugged terrains, including the Cruachan Reservoir near Glasgow and the glen-filled expanses of Glen Coe, provided the misty, foreboding backdrops for remote Imperial outposts and rebel hideaways, capturing the isolation of fringe worlds with breathtaking natural vistas.
England's Jurassic Coast, particularly the dramatic cliffs and quarries of Winspit and Middle Peak in Derbyshire, doubled as extraterrestrial rock formations for sequences involving Saw Gerrera's bunker on D'Qar in Season 2, their weathered stone faces adding a layer of raw, unforgiving texture to the action. Further afield, Spain's historic Castell de Xàtiva in Valencia served as the opulent yet sinister Aldhani citadel, its medieval architecture lending an air of ancient intrigue to the heist episode that kicked off the rebellion's spark. Even modern marvels like the sleek McLaren Technology Centre in Woking, England, were repurposed as the gleaming Imperial Security Bureau headquarters on Coruscant, juxtaposing high-tech fascism against the organic chaos of the outer rim. These choices not only reduced reliance on post-production visual effects but also fostered a collaborative energy on set, where actors could draw inspiration from tangible surroundings, much like the practical effects magic of the original trilogy.
McGregor's comments at Fan Expo Chicago, held in the heart of the Windy City, arrive at a time when Star Wars continues to evolve on both the big and small screens. The convention, a staple for pop culture enthusiasts, featured panels, cosplay, and exhibits drawing thousands of attendees eager for updates on the franchise's future. As debates rage over the balance between technological wizardry and practical storytelling, McGregor's endorsement of Andor's approach serves as a timely reminder of the enduring power of location-based immersion in an era dominated by digital tools.
For fans looking to dive deeper into the Star Wars saga, both the Obi-Wan Kenobi series and the two seasons of Andor are now streaming on Disney+.
Source: PopVerse
