Mon Mothma, a character first seen in “Return of the Jedi,” gained depth in recent productions like “Andor.” Genevieve O’Reilly took over the role, showcasing Mon’s transformation from a quiet strategist to a rebellious leader, ultimately sacrificing her daughter for the rebellion. O’Reilly collaborated with showrunner Tony Gilroy to make Mon an emotionally complex character, highlighted by a chaotic dance scene that encapsulated her turmoil. The narrative built toward a pivotal Senate speech, revealing Mon’s non-violent power. O’Reilly expressed gratitude for the role’s evolution and the opportunity to portray such a nuanced character in a profound narrative.
Fans of Star Wars have long found Mon Mothma to be a compelling character—a serious, dignified figure who first appeared in 1983’s Return of the Jedi as the head of the Rebellion, lamenting the loss of “many Bothans.” Remarkably, she had only one scene at that point, portrayed by seasoned British actress Caroline Blakiston. The notion that we would eventually delve deep into Mon Mothma’s psyche seemed as improbable as a Pinteresque drama featuring the Hammerhead and Walrusman from the Cantina.
In 2004, the talented Irish-Australian actress Genevieve O’Reilly assumed the role for Revenge of the Sith, only to be almost entirely removed from the final cut. However, the creators of 2016’s Rogue One honored that casting choice, allowing O’Reilly to further develop the character. In the recently concluded and groundbreaking series Andor, she effectively became the second lead, illustrating her descent as she transitions from subtle opposition to outright rebellion against the Empire. Showrunner Tony Gilroy and O’Reilly have together shaped one of television’s most intricate and emotional characters. She recently spoke with Rolling Stone to discuss the craft behind this season’s standout performances.
Mon Mothma agreed last season to essentially sacrifice her daughter for the rebellion by arranging her marriage — and in the beginning of this season, we witness the event unfold in intricate detail. How did you feel about that?
When Tony mentioned that we would start with the wedding, I was initially shocked, saying, “Oh my God, Tony, no. We aren’t really going there, are we?” He replied, “Yes, we are.” As a mother, I was left thinking, “Wow, that’s audacious. We’re actually doing this.”
What’s truly remarkable about Tony is his genuine interest in my perspective as it relates to the character. That’s a rarity. I told him, “I really need to ponder this—it confronts me strongly.” A week later, I called him and proposed, “I think she should give her daughter an option, a way out. I believe she would do that.”
Wow. So the scene where she tells her daughter she can opt out of the wedding was your suggestion.
It was a collaborative effort; as soon as I suggested it, Tony agreed and placed it at the most dramatic point possible.
Nobody expected a lengthy drunken dance sequence from Mon Mothma. Yet, she grapples with the reality that she has essentially permitted the death of her childhood friend, once again, for the cause of the rebellion.
I thought to myself, why wouldn’t she grab a drink? So, she indulges and indulges again. Tony had scripted that she yearns to feel the chaos within her, becoming almost a whirling dervish. “She spins and spins embodying the turmoil in her mind,” something like that.
I told our choreographer, “Let’s experiment with the spinning; let’s see how long I can keep it up.” I spun and spun, and they said, “Alright, let’s try it again.” I kept spinning until I had to rush outside and actually vomit. Just ran outside and vomited for real.
Oh, no.
The producer came out, concerned, asking, “Are you okay? Oh my gosh!” I responded, “I think we should rethink that. We might not be able to do this.”
When we finally returned to it, post-strike, it felt almost serendipitous. Our energy was high, and we were eager to present it. We aimed to liberate her from any past representations of Mon Mothma and to display that chaos—yes, through dance—but also the chaos within her that we had never witnessed before. Filming that day was one of my all-time favorites; Tony was present as we found this collective moment, and it was incredibly fulfilling.
Given the continuity, I assume you were aware that Mon would eventually have to make a significant, defiant speech in the Senate before her escape.
Absolutely. I was always aiming for that pivotal moment since it represents everything she has to lose—her voice. She doesn’t wield a weapon; her strength lies in what she risks by daring to speak.
A speech had already been established in [the animated series] Rebels, which I worked on with Dave Filoni years ago. I was initially concerned we might not get to incorporate it into the series. But Tony devised a way to make it happen. I am profoundly grateful to him for creating the narrative space necessary for her to deliver an impactful speech.
You could say the entire series built up to that pivotal episode, especially as the two main arcs revolve around Cassian and yourself. Finally, those storylines intersect.
I believe so—imagine the courage it took to hold off until that moment!
And during the filming of the Senate scenes, were you simply in front of a green screen? How does that even work?
On the day of the speech, it was somewhat solitary, as I was perched on a significant scaffold where the pods were situated, surrounded by an expansive studio with green screens all around. Everyone else was a story below, communicating via loudspeaker.
Did the script for that episode evolve at any point?
One day, Tony came to my trailer and asked, “Have you read episode nine? What do you think?” I said, “I love it, Tony. I think it’s amazing.” Just as I hesitated, thinking, “How do I phrase this?” he interrupted, “You want me to write the full speech, don’t you?” I replied, “Yes, I would love that.”
Then the director informed me, “Tony has written you the entire speech.” I said, “Yes.” He replied, “We’re going to film the complete speech.” I agreed, “Indeed, that’s essential, for many reasons.” Tony sensed that instinctively.
I’ll never forget that moment—standing alone on the scaffold with the entire crew applauding at the end, feeling overwhelmingly emotional, eager for it to resonate. Then we did it about 17 more times. [Laughs.]
What did it mean for you to deliver that speech and do so with maximum impact, summoning every ounce of this character’s power to emphasize the significance of objective truth?
We filmed this two years ago, and it felt incredibly relevant at that time, given what we were experiencing in the UK. The notion that she could stand and articulate it all, especially for the Ghormans, to gather that bravery in light of their circumstances… Delivering that speech with such intensity and passion is what Tony enabled her to do. I was eager to take on that challenge.
What stands out about filming that escape scene from the Senate with Diego [Luna]? It certainly ranks among the tensest sequences in the series.
I fondly recall being in Valencia, in that breathtaking building, watching as stormtroopers arrived on foot. While running alongside Diego, I found that sequence where the driver is shot to be very poignant. It marked a significant moment, showcasing her witnessing the consequences of her words for the first time. This politician had never directly experienced such a violent outcome before. Though it may seem minor, it felt essential, illustrating how differently two individuals in disparate roles might react. His experience in that context set him apart.
In that moment, Cassian says to her, “Welcome to the rebellion.” It hit differently for her. This is when reality sets in.
How often did you and Diego see one another during the production until this moment, during this episode?
We often crossed paths, as we frequently operated two or three units simultaneously. However, I vividly remember the first day we stepped onto the set together in costume; we both extended our arms, and Diego declared, “Here we are!” He is such a generous actor, and it meant a lot to finally share the screen after so much time apart.
Amid all the high drama, it’s worth mentioning that your costumes are stunning. That must have been enjoyable.
Michael Wilkinson, our costume designer, is an exceptional artist. He’s constantly creating, innovating, and designing. Our collaboration was the most meaningful costume relationship I have ever encountered in my career. He crafted many costumes with me involved, discussing various fabrics and ideas. The costumes are truly extraordinary—rich in imagination, detail, and vibrancy. I’ve never had the chance to wear such remarkable pieces of art, and I valued every moment.
While Diego may be finished with Cassian, it’s quite likely that you’ll reprise your role as Mon Mothma. Given how you’ve enriched the character, how do you feel about that?
First and foremost, I truly don’t know. Let’s see how audiences respond, as I hope they can appreciate her in a new light after this portrayal. My hope is that they can recognize her potential beyond what they initially saw.
Ideally, future writers could build upon this foundation.
I believe ambition in storytelling is crucial. This piece stands out because Tony was so ambitious with the writing, creating a platform for all of us to elevate our performances. It ultimately boils down to the quality of the writing.
Reflecting on your journey, if you could talk to your 2005 self and say, “You may have been cut from Revenge of the Sith, but in 20 years, you’ll have one of the most fulfilling acting experiences of your life,” it would be a perplexing conversation.
I can’t even begin to imagine! I was so young then. When asked why I thought I was cast, I joked that it was probably because I was the palest person in Sydney. [laughs]
I could never have predicted the artistic fortune that came with this role. It has provided me with a rich, immersive experience—what every actor strives for. You want to create a character with depth and detail, not just a skeleton. I never envisioned that emerging from my earlier experiences.
This journey has been remarkable—from being cut to now taking on a complex lead role which has deepened this season. It truly represents a unique path toward a significant performance.
Thank you for acknowledging that. I completely agree. It’s been an unexpected experience that could not have been anticipated. The character, when first introduced, served as a critical narrative device within the broader storytelling, and again in Rogue One, she held an important, albeit expositional, role.
Now, transitioning to this longform piece, to be part of a narrative where the genre feels stripped back… Tony’s vision to construct it from scratch was daring. His achievements are exceptional, and I think Mon Mothma’s journey, and my involvement in it, mirrors this extraordinary experience, as you mentioned. That credit goes to Tony.
Tony remarked that he didn’t fully realize your potential and was genuinely thrilled to discover what you could contribute. Since he did not cast you directly, he was pleasantly surprised.
That’s kind of him to say. It’s true, he didn’t know. Kudos to Tony for recognizing my abilities and being imaginative enough to think I could handle this role. He showed great flexibility, curiosity, and trust, allowing me to fully embrace it. I extracted every bit I could from the experience.