The Acolyte
Posted on Sep 5, 2024 by Katie Kasperson
Back in Time
DOP Chris Teague explores new Star Wars series The Acolyte, blending nostalgia from the original trilogy with its distinctive identity
Words Katie Kasperson IMAGES Lucasfilm
Set in the High Republic era – around a century before The Phantom Menace (Star Wars: Episode I) – The Acolyte follows sisters Osha and Mae, and their rocky relationships with the Jedi Order. Made by Leslye Headland, the series combines a character-driven plot with a lived-in production design, evoking a similar vibe to the original Star Wars trilogy.
Having worked together on Russian Doll, Headland and DOP Chris Teague developed the show’s look from the outset. “Leslye knows the [Star Wars] universe inside and out,” shares Teague. “She’s talented in many respects when it comes to being a great writer, she’s good with actors and understands the visual side of filmmaking; it’s rare to find somebody who excels in all those ways.”
During his initial research phase, Teague began by rewatching every Star Wars movie. “I connected with how the original films looked – the way the sets, spaces and costumes all felt weathered and worn. There was this texture and grittiness to it,” he describes. “At the same time, the original series did not shy away from bright pops of colour. Those were elements we all strove to bring into The Acolyte. We wanted it to feel akin to the original films without necessarily feeling retro.”
Teague and his crew searched for a balance between paying homage and flat-out copying. “We took some of the elements we liked – an image that wasn’t pristine and perfectly sharp, for example – these deep oranges and bright blues where it felt appropriate. We were going for something which feels colourful but still grounded.”
Practical magic
To achieve that smoother image, Teague employed ARRI ALFA anamorphic lenses. “ARRI gave them this beautiful character – I wouldn’t describe it as a vintage feel, but they had a softer feel which I found pleasing on faces. You can be close to an actor, and they look amazing. The sets also look fantastic; you get a great balance between being able to see the world behind them and them feeling larger than life,” Teague explains.
Aside from selecting The Acolyte’s optics, Teague worked with the VFX team, who agreed to do as many practical and in-camera effects as possible – such as using CO2 smoke, handcrafted clouds, atmospheric haze and snow on the planet Carlac. “Everybody was on board with this handmade aesthetic across all departments,” he recounts.
“Our art department built these incredible backdrops, so rather than doing a big blue-screen wash in the background, you get these beautifully detailed paintings which we would light in a way so you could integrate them with the structural foreground elements,” continues Teague. “With the forest set in episode 4 – there is a massive painted backdrop behind most of that set.”
Because Star Wars is a world entirely its own, “there are elements you won’t be able to recreate on-set,” admits Teague. “We found a way to work with visual effects which was mutually beneficial,” he adds. “Whenever we came up with a problem to solve, our first approach was: how can we do this in camera? If we can’t, how can we do most of it in camera, then have visual effects help us out with the rest?”
Action-packed
Unlike most Star Wars films and spin-offs, The Acolyte doesn’t include a major war, with the action mostly contained in one-to-one fight sequences. “We looked at martial arts films such as Come Drink with Me and Lady Snowblood,” Teague reveals, also citing Kill Bill and Crouching Tiger, Hidden Dragon as key influences. “The camera moved with a sense of intention; it didn’t move any more than it needed to. This tied in nicely with the classic aesthetic we were after.”
Chris Cowan served as the series’ action designer, but also doubled as an additional camera operator, filming certain segments himself. “As we worked well in our planning, his moves would cut seamlessly with many of the moves we were doing in our unit,” shares Teague. “There was a real harmony in that.”
Akin to the original trilogy, The Acolyte follows a more leisurely tempo. “It’s not just non-stop fighting,” claims Teague. “There’s a musical rhythm where there’s a slow build and then a burst of action. Things settle for a moment, then there’s another burst of action. It’s what draws you and keeps you engaged.”
A series of scale
Now that The Acolyte is out in the world, Teague feels ‘fortunate’ to have contributed to such a ‘massive piece of IP’. “I believe the show reflects an exceptional collaboration between all departments,” he beams. “That is something you can’t take for granted on any show; you have various people coming from diverse backgrounds and experiences. It’s incredible that on a show of this scale, everyone gelled beautifully and there was a consistency of vision.”
Star Wars: The Acolyte is now streaming on Disney+.
This feature was first published in the September 2024 issue of Definition.
