In the expansive auditory universe of Star Wars, the diversity of alien dialects rivals the iconic brass motifs composed by John Williams. Among these, the Ghorman language featured in Andor season 2 stands out as particularly distinctive, even within the rich tapestry of galactic languages. Unlike the simplistic beeps of R2-D2 or the guttural speech of Jabba’s Huttese, Ghorman, spoken by the proud Ghor species, is one of the most thoroughly developed constructed languages-commonly known as conlangs-in the entire franchise. To express gratitude, Ghor speakers say, “Indebe”-a phrase you can now recognize as Ghorman for “thank you,” courtesy of dialect coach and conlang innovator Marina Tyndall.
Tyndall reveals that the creation of Ghorman drew inspiration from the phonetic structure of terrestrial French. “Over 85 percent of Ghorman’s phonology is rooted in French,” she explains. While the language’s sound system is heavily influenced by French, it’s important to note that Ghorman vocabulary is entirely original, with no direct borrowing from French words. “You might catch a syllable that resembles a French sound, but it’s a false cognate,” she clarifies, emphasizing that recognition is superficial rather than literal.
Originating from London, Marina Tyndall has established herself as a versatile dialect coach and conlang creator with an expanding portfolio in Hollywood productions. Her credits include major films such as Inferno (2016), Tenet (2020), and Death on the Nile (2022), as well as acclaimed TV series like Killing Eve. Since 2016, she has contributed significantly to the Star Wars universe, starting with Rogue One: A Star Wars Story and continuing with Andor. In the first season, she devised the languages of Kenari and Aldhani, and for the second season, which wrapped up in May, she crafted the entire Ghorman language from scratch.
“Our initial goal was to ensure that all Ghorman characters sounded roughly similar when speaking English,” Tyndall states. “It was crucial that both the characters and their actors shared a broad phonetic and articulatory foundation, creating a cohesive linguistic identity.”
Marina Tyndall, the architect behind the Ghorman language in Andor season 2, explains that the language was primarily inspired by French but “assembled like Lego bricks,” incorporating elements from various other languages-including extinct ones.
Tyndall’s process was collaborative, involving key figures such as Andor creator Tony Gilroy, along with on-set dialect coaches Naomi Todd and Marion Déprez. Producer David Meanti, a native French speaker, also provided insights to prevent any words from unintentionally carrying inappropriate or humorous connotations, ensuring the language’s integrity within the narrative context.
If there were an academic authority on Ghorman, it would undoubtedly be Tyndall herself. Her language development process began in early summer 2022, culminating just as filming commenced in the fall. Her efforts included training hundreds of extras in Ghorman for pivotal scenes, such as the eighth episode of Andor, where the Ghor sing their national anthem before facing a brutal Empire crackdown.
For Tyndall, creating the language was akin to composing a song-an improvisational yet structured art form. “Working with my team resembles a jam session,” she shares. “We experiment with words and melodies, then reverse-engineer the language. While conlang creation can be approached scientifically, integrating storytelling and performance transforms it into a true art.”
This artistic approach was especially evident when translating the Ghor’s anthem for episode 8. The lyrics, initially penned in English and performed by Tony Gilroy-who also has a surprisingly good singing voice-were sent to Tyndall for translation into Ghorman. She humorously likens her role to Bernie Taupin writing lyrics for Elton John, noting, “I was among the fortunate few to hear the original English version.” She adds, “Gilroy’s vocal performance was quite impressive.”
“One day, I walked into the office and saw David Meanti and others singing the anthem to each other,” Tyndall recalls. “Their full-throated renditions reflected a genuine sense of Ghor pride, and I was delighted to see that spirit spreading even into the production office. I wouldn’t be surprised if some of our team could perform it at karaoke.”
Marina Tyndall co-created the Ghorman anthem, building upon an English draft penned and performed by Tony Gilroy.
While French serves as the primary influence, Ghorman also features a mosaic of linguistic elements-scrambled, mutated, and back-formed words drawn from various languages, including extinct ones. “It’s a language that has evolved through free association, pulling words from the semantic cloud of English,” Tyndall explains. “For example, if the root word were ball, we might generate related words like throw, arc, bounce, then fuse these elements into a new term.”
The linguistic diversity of Ghorman has resonated with the cast. Some actors have remarked that the language reminded them of learning Hebrew, while others sensed influences from Breton. This highlights the richness and complexity of the language, which draws from a broad spectrum of linguistic traditions.
Tyndall emphasizes the importance of casting multilingual actors, noting that their knowledge of multiple languages offers access to different thought processes and emotional frameworks. “What we asked these actors to do was extraordinary,” she says. “Their performances reflect a deep understanding of the language’s nuances, and they excelled at this high-wire act.”
The choice of French as the core influence remains somewhat mysterious, even to Tyndall. While she acknowledges parallels between the Ghor’s resistance against the Empire and France’s historical struggles during World War II-particularly the French Resistance-she was not privy to the broader creative rationale. “My role was solely to develop the language,” she notes. “Any creative decisions about casting or thematic symbolism were beyond my scope.”
From a broader perspective, Tyndall believes Ghorman offers insights into the Ghor’s worldview. Applying the Sapir-Whorf hypothesis, she suggests that the language shapes their perception of reality, emphasizing trade and resilience. “Ghorman is a language of commerce,” she explains. “It’s likely infused with terms borrowed from various trading partners, allowing for precise expression-perhaps even multiple words for the concept of ‘to know,’ depending on context, whether it’s acquaintance, mastery, or empathy.”
This linguistic precision reflects the Ghor’s pragmatic and strategic nature, especially vital in their ongoing rebellion. Their communication style is efficient yet highly specific, a necessity born from centuries of navigating perilous trade routes and hostile environments.
“The Ghor are adept at conveying complex ideas succinctly,” Tyndall observes. “They have developed multiple ways to express the same concept, a linguistic adaptation driven by their history of danger and commerce. This language’s richness underscores their resilience and resourcefulness in the face of constant threats.”
