Patten has constructed a powerful profession working with a few of TV’s most revered creators. His current tv work consists of acclaimed collection comparable 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 among the most visually hanging 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 superb 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+.
Picture 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 afterward, after 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 largest factor was the geography. You’ve got all of those characters which might be launched behind 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 ensure that the viewer did not lose them or lose their sense of story.”
He and the crew used a surprisingly lo-fi method to plot the sequence.
“I obtained an enormous 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 not any 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 via 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 virtually grew to become an outline, or a hen’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 might deploy the cameras in order to not let the viewer get confused as to the place they had been in that area.”
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+.
Picture courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
One other factor that makes the sequence so highly effective is its emotional affect. As a result of each character’s journey is traced via the sequence, the viewers is aware of precisely what they need, and what occurs as they expertise the horror of the state of affairs.
“We shot on Extremely Vistas, which Christophe selected, and I believe my dogma was to be with every character,” he mentioned. “So each time there was a switch inside that area, I’d be with that character with a major. After which because the Ghor flood into that area, I might then sit again a bit with my different cameras and virtually be a bit extra goal about how the gang swells. Create these huge, huge, virtually lengthy wides. Sit again on a telephoto. However as a result of the units had been so large, it seems to be 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 decisions.
“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 direction of what that music was about? So that you return along 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 frequently ratchets up the strain till the inevitable explosion.
Be Conscious of VFX Wants
Ok-2SO (voiced by Alan Tudyk) in Lucasfilm’s Andor Season 2, solely on Disney+.
Picture 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 seems to be on the killer machines is terrifying and weighty.
A part of Patten’s work is with the ability to combine these VFX photographs.
“The whole lot above that first stage [of the set] is VFX,” he mentioned, talking of the plaza. “In order that first stage above the plaza, that was all greenscreen. An enormous shout-out to Mohen [Leo] and TJ Falls and the entire artists who work on that.”
He made planning for the VFX a part of his course of.
“After which, okay, you’ve got obtained KX models being deployed. How do you do this? You have obtained KX models choosing 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 when it comes to the breakdown. You bought the emotion of Syril being shot at excessive velocity. You have obtained KX models coming in and dumping folks within the background. And then you definitely’ve obtained the struggle sequence itself on the bar.”
It definitely helped that every one these plates had been shot on an actual, dwell set, reasonably than created digitally.
Use Digital camera 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+.
Picture courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved.
The subsequent episode, “Welcome to the Insurrection,” is simply as key within the story of the struggle 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.”
Transferring the digicam that a lot is a problem on a number of ranges. You must contemplate lighting from numerous angles, what shall be within the shot, how you may seize sound, how you can place the actors…
“It was merely utilizing our two nice digicam operators. They’re nice technicians when it comes to what was wanted to maneuver that digicam. And it is easy, however primary stuff. So it is crane work, Technocrane work, a mix of handheld after which Joe Russell, a digicam operator’s unimaginable use of Steadicam,” he mentioned. “I believe the thought was to create motion to create that rigidity and to harness that capability to get Mon out. At no matter value, 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+.
Picture 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 velocity. But it surely 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 consistently.
“You middle him after which transfer the digicam round him virtually as if he is being elevated out of the plaza inside himself—after which all of a sudden he sees the nemesis that he is been attempting to find, and all of it comes crashing down. So I felt that actually 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 evening below that incredible metal blue fish construction. When he lays it out to Mon and says, ‘You must 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 informed 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 struggle is.”
Each of those moments assist inform the story of what is taking place 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+.
Picture 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 consistently,” he mentioned. “Preserve asking questions if you’re arising via 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 you could’t ask questions.”
