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For the heart-shattering episode of Andor titled “Who Are You?”, which brings to screen the Rebellion-galvanizing Ghorman Massacre, editor Yan Miles followed a mantra: “The messier, the better.” What begins as a peaceful protest among the people of Ghorman quickly devolves into a slaughter incited by the Empire. Screams, flares, smoke, and chaotic death dominate every frame — each one controlled yet deeply disturbing.
As 350 extras depict citizens fighting for their freedom and lives, Cassian Andor (Diego Luna) tries to assassinate Imperial officer Dedra Meero (Denise Gough). “The whole thing unravels in front of him,” explains Miles. “He’s not there to protest. He knows these people, he knows what happened — but now he becomes the witness. He becomes us. The plaza is a circle — a clock face — constantly in motion, yet Cassian remains centered.”
In this chaotic environment, Miles achieves moments of emotional and visual clarity in mere seconds. “There’s a scene where Ghormans with flares walk beneath the colony — we’re with them. Then we cut to a waiter observing from a café, and finally to an oblivious stormtrooper watching the march. Just three shots — but so much is said.”
Another impactful moment comes with the dialogue-free conclusion of Syril Karn’s (Kyle Soller) arc. Amid the turmoil, Miles shifts into slow motion, a rare stylistic choice in Tony Gilroy’s grounded universe. Syril stands still as lasers fly and people fall, detached and expressionless — “He’s lost in it. Everything’s just gone.”
Then comes the existential question: “Who are you?” Spoken by Cassian during his hand-to-hand fight with Syril, the line encapsulates the tragedy of anonymity. “We tried different versions,” said Miles. “One where Cassian recognizes Syril. But Tony was firm: Andor doesn’t know him. He’s a nobody. That’s the tragedy. You dedicate your life to something, and in the end, no one remembers.”
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Tony Gilroy’s rule: if you want to do something bold — like a poetic slow-motion shot — you must earn it. That’s why the “Who are you?” line stayed, anchoring the emotional gravity of the moment.
After Syril’s death, Dedra shows a rare moment of vulnerability. Miles uses a sequence of shots — from her raising her head, to touching her neck (symbolizing Syril’s grip), to her subtle hand movement against the wall — to convey her inner fear. Then, a hard cut to her straightening her jacket — back to her Imperial composure. It marks the start of her emotional collapse.
Finally, Miles extends the story beyond the final scene. As the Ghorman anthem plays during the protest, it’s a symbol of hope. In the end, only a solo voice remains. “One of the assistants sang it on a USB mic,” said Miles. “I used it as temp music — and it stayed. Watching it a year later on Disney+, I forgot I’d left it in. It gave me goosebumps.”
