A huge admirer of the Star Wars movieRogue One, cinematographer Christophe Nuyens, SBC embraced the opportunity to serve as director of photography for the first six episodes ofAndorSeason 2. Christophe focused on expandingAndor’suniverse, meticulously crafting distinct visual identities for each world. He leaned into naturalistic lighting and a dynamic use of color to evoke a range of moods. “This show has so many different worlds and sets and every world has a different look,” he says. “Mina-rau was sunny, Chandrila was quite shiny and chic. Then you had Ghorman, which was darker and like a town in the mountains with blue light all the time. So we had all our different sets and it was really nice to play with those things to create all those little different moods.”
Christophe was committed to giving the world ofAndora tangible sense of reality. The sets were expansive, with ample room for the camera to move around and explore. Practical effects were used when possible to enhance authenticity, complemented by the strategic use of LED video wall panels for realistic backdrops, such as the depiction of rain falling outside a Coruscant apartment window. Christophe approached the lighting design as if shooting on location. In collaboration with directorAriel Kleiman, he adopted a philosophy of minimal camera movement, completing scenes with few shots and concise coverage. Subtle lighting cues, lens flares and camera moves smoothly transitioned each scene into the next.
One of the most memorable sequences in Andor Season 2 is the wedding of characters Leida Mothma and Stekan Sculdun. The event is not just a lavish affair but a crucial narrative beat in Mon Mothma’s (Genevieve O’Reilly) journey, underpinning a complex emotional and political storyline. Following the ceremony, guests dance together in a huge celebration, a sequence that presented a unique and enjoyable challenge for Christophe. He wanted to capture a nightclub atmosphere despite the daytime setting. “I end up with the idea of trying to tell a time-lapse story light-wise,” he explains. “In the beginning of the wedding, the sun is quite high. It’s bright outside the during the wedding. The sun is going lower and lower and lower, until the end when the sun is just on the horizon peeping inside and making it super flare-y. We didn’t have strobes or party lights, but it gave us something special to play with.” The intricate dance sequence, featuring numerous extras and two Steadicams weaving through the celebration to reflect Mon Mothma’s disorienting experience, required a full day of filming. (For dedicatedAndorfans, anextended one-hour version of this captivating dance sceneis available to watch on YouTube.)
Educated at film school in Brussels, Christophe knew early on that cinematography was his calling. He values continuous learning as a cinematographer. “It’s important for me to keep evolving because the moment that I feel I’m doing something as a routine, then I want to do something else. I need to have the feeling that I’m learning every time and every director is different.”
LENSES: Panavision C-, G-Series and Ultra Vista lenses
Close focus: The Road House Paradox, a phrase coined byThe Hollywood Reporter, refers to when streamers make a feature that’s good enough to get a big screen release. A possible example will be Guillermo del Toro’sFrankenstein, which is being released straight to Netflix because of his overall deal with the streamer.
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