THE ACOLYTE PRODUCTION
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
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