For a Star Wars fan like me, the Disney+ collectionAndor has been a miracle of storytelling and scope, along with being a few of the greatest TV of this yr, full cease. The story of rebels preventing their galactic oppressors is timeless and common, and it is executed right here at such a granular, emotional, life like degree that, at occasions, the Star Wars of all of it is nearly secondary. You simply actually care about these folks and their struggles.
The cinematography actually performs a giant half in that, and lately I used to be joined by DP Mark Patten to speak about his episode block on Season 2.
Patten has constructed a powerful profession working with a few of TV’s most revered creators. His current tv work contains acclaimed collection akin to Taboo, Pennyworth, Raised by Wolves, and Silo.
For Andor Season 2, Patten introduced this wealth of expertise to Episodes 7, 8, and 9 (arguably a few of the most visually putting and emotionally highly effective installments of the collection). His work on the Ghorman bloodbath sequence alone demonstrates a masterful understanding of how cinematography can serve each intimate character moments and epic storytelling.
He gave us some wonderful recommendation throughout our dialog. Take pleasure in.
Break Down Motion Sequences Methodically
Cassian Andor (Diego Luna) in Lucasfilm’s Andor Season 2, solely on Disney+.
Photograph courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
A centerpiece of the season, Episode 8 (“Who Are You?”) sees a number of storytelling threads culminating in an epic protest-turned-massacre on the planet Ghorman, the place the Empire levels a false flag operation to strip-mine the world to devastation.
It was an enormous enterprise. Patten emphasised the essential function his collaboration with lead DP Christophe Nuyens and Damián García performed.
“Due to the dimensions of the present, it was very intuitive and helpful to have Christophe after which Damián in a while, once we went to Valencia for the large Coruscant scenes, all on web site in order that we might create a story spine for the story,” Patten mentioned.
How did he plan for such an enormous set piece?
“I believe that the most important factor was the geography. You might have all of those characters which might be launched in the back of 7, after which they arrive in at 8,” he mentioned. “I believe it was key between me and Janus [Metz] that we might by no means lose these tales inside this coming of humanity. How do you visually tag every character? In order that [editor] Yan Miles, when he cuts again, we wished to make it possible for the viewer did not lose them or lose their sense of story.”
He and the group used a surprisingly lo-fi solution to plot the sequence.
“I bought a large whiteboard and a few fridge magnets and caught the characters’ faces on these fridge magnets. As a result of Mr. [Dan] Gilroy’s script is so lean, there is no fats on it, you would actually hint every character round that plaza. We might go down there, pre-vis it with our ADs, stroll them by means of the plot factors geographically the place they had been going to be, after which go and actually draw it, analog, on this large whiteboard.”
Blocking was clearly essential right here, and the strategy proved extraordinarily efficient.
“It nearly grew to become an outline, or a chicken’s-eye view of the plaza. After which we might monitor every character on a timeline, after which from that work out the place we’d deploy the cameras in order to not let the viewer get confused as to the place they had been in that house.”
They ran 4 or 5 cameras all through the 40-day shoot to get their protection.
Use A number of Focal Lengths to Serve Story Beats
(L-R) Supervisor Dedra Meero (Denise Gough) and Syril Karn (Kyle Soller) in Lucasfilm’s Andor Season 2, solely on Disney+.
Photograph courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
One other ingredient that makes the sequence so highly effective is its emotional impression. As a result of each character’s journey is traced by means of the sequence, the viewers is aware of precisely what they need, and what occurs as they expertise the horror of the scenario.
“We shot on Extremely Vistas, which Christophe selected, and I believe my dogma was to be with every character,” he mentioned. “So at any time when there was a switch inside that house, I might be with that character with a main. After which because the Ghor flood into that house, I might then sit again a bit with my different cameras and nearly be a bit extra goal about how the gang swells. Create these huge, huge, nearly lengthy wides. Sit again on a telephoto. However as a result of the units had been so big, it appears broad. That offered the dimensions of occasions. Every character was getting misplaced into the ocean of humanity.”
The emotion and drama of the sequence guided Patten’s shot and lens selections.
“Because the occasions unfold, and because it turns into extra excruciating, and because the chant turns into louder for the folks … to get that feeling of what it means to be a part of a voice in opposition to fascism. How do you be trustworthy in the direction of what that tune was about? So that you return together with your prime lenses, be with the characters, after which come out once more to see how the gang has embraced that.”
This interaction between the entire and the person regularly ratchets up the stress till the inevitable explosion.
Be Conscious of VFX Wants
Okay-2SO (voiced by Alan Tudyk) in Lucasfilm’s Andor Season 2, solely on Disney+.
Photograph courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
There are a few different iconic photographs within the sequence I like—at one level, a TIE Fighter zooms over Syril Karn (Kyle Soller), reminding us that that is the Star Wars universe. In one other scene, Syril is directed to a saferoom the place Imperial cronies have been tucked away with a squad of KX droids. The lengthy beat as he appears on the killer machines is terrifying and weighty.
A part of Patten’s work is with the ability to combine these VFX photographs.
“Every part above that first degree [of the set] is VFX,” he mentioned, talking of the plaza. “In order that first degree above the plaza, that was all greenscreen. A giant shout-out to Mohen [Leo] and TJ Falls and all the artists who work on that.”
He made planning for the VFX a part of his course of.
“After which, okay, you have bought KX items being deployed. How do you do this? You’ve got bought KX items selecting up people, throwing them 40, 50 toes throughout a plaza. So then that is a mix of understanding, ‘What are your plate photographs, how do you break that down, how do you make it look actual? How’s all of it going to pre-vis?’ Once more, every part of that 45 minutes actually took so lengthy by way of the breakdown. You bought the emotion of Syril being shot at excessive pace. You’ve got bought KX items coming in and dumping folks within the background. And then you definitely’ve bought the combat sequence itself on the bar.”
It actually helped that each one these plates had been shot on an actual, stay set, quite than created digitally.
Use Digicam Motion to Improve Storytelling
(L-R) Mon Mothma (Genevieve O’Reilly) and Bail Organa (Benjamin Bratt) in Lucasfilm’s Andor Season 2, solely on Disney+.
Photograph courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
The following episode, “Welcome to the Riot,” is simply as key within the story of the combat in opposition to the Empire. Right here, Mon Mothma (Genevieve O’Reilly) speaks out in opposition to Palpatine within the Senate and should instantly flee to keep away from being taken into custody. Cassian (Diego Luna) is tasked with getting her to security.
How did that have an effect on Patten’s strategy?
“I believe using actual places has helped inform the story of what wanted to be seen on the dimensions of it,” he mentioned. “And clearly, the digicam on that episode wanted to maintain transferring to get Mon [Mothma] out of that assembly.”
Shifting the digicam that a lot is a problem on a number of ranges. You need to contemplate lighting from numerous angles, what shall be within the shot, how you will seize sound, how you can place the actors…
“It was merely utilizing our two nice digicam operators. They’re nice technicians by way of what was wanted to maneuver that digicam. And it is easy, however fundamental stuff. So it is crane work, Technocrane work, a mix of handheld after which Joe Russell, a digicam operator’s unbelievable use of Steadicam,” he mentioned. “I believe the thought was to create motion to create that pressure and to harness that capability to get Mon out. At no matter price, she needed to get out.”
Use Imagery That Displays a Bigger Theme
Syril Karn (Kyle Soller) in Lucasfilm’s Andor Season 2, solely on Disney+.
Photograph courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
Since I had shared a few of my favourite moments with Patten, I requested him about his. His first was from “Who Are You?”
“Wow. It is both the motion round Syril, emotionally, that second when he feels his world’s fallen aside,” he mentioned. “We toyed with the thought of overcranking and going excessive pace. Nevertheless it actually felt at that second that the entire occasion had actually landed inside him. I wished to seize that, the round nuances of the plaza, that there was this huge gyre all circulating, all of the characters had been transferring continually.
“You middle him after which transfer the digicam round him nearly as if he is being elevated out of the plaza inside himself—after which out of the blue he sees the nemesis that he is been looking for, and all of it comes crashing down. So I felt that basically labored.”
It’s lovely, emotional, visible storytelling. His second favourite second was from Episode 9.
“Then I preserve coming again to a singular picture when Mon has the assembly with Luthen at night time below that incredible metal blue fish construction. When he lays it out to Mon and says, ‘You need to go away.’ And it pulls again, and also you simply see these two tiny silhouetted figures on this large auditorium. I believe that was a particular second for me.”
I advised him, “I believe it speaks to the present’s means to not solely deal with the human beings in these conditions, but in addition simply present us the dimensions of how huge their combat is.”
Each of those moments assist inform the story of what is occurring to those characters, with out something being mentioned. It is gorgeous work.
By no means Cease Asking Questions
(L-R) Wilmon Paak (Muhannad Bhaier), Bix Caleen (Adria Arjona) and Cassian Andor (Diego Luna) in Lucasfilm’s Andor Season 2, solely on Disney+.
Photograph courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
I requested Patten if he had any recommendation for aspiring cinematographers.
“Yeah, preserve asking questions continually,” he mentioned. “Maintain asking questions while you’re arising by means of the ranks, simply ask your seniors what it’s that motivates you, what it’s that drives you. After which get the technical particulars out. Do not ever really feel which you could’t ask questions.”
From Your Web site Articles
Associated Articles Across the Net
