An in-depth exclusive interview with cinematographer MARK PATTEN discussing crafting the diverse yet contained world of SILO with light and lens.
SYNOPSIS: SILO is the story of the last ten thousand people on earth, their mile-deep home protecting them from the toxic and deadly world outside. However, no one knows when or why the silo was built and any who try to find out face fatal consequences. Rebecca Ferguson stars as Juliette, an engineer, who seeks answers about a loved one’s murder and tumbles onto a mystery that goes far deeper than she could have ever imagined, leading her to discover that if the lies don’t kill you, the truth will.
Created by Graham Yost and based on the book series SILO by Hugh Howey, SILO is Executive Produced by Yost and Morten Tyldum. SILO is directed by Tyldum, Adam Bernstein, Bertie Ellwood, David Semel, and Amber Templemore. Boasting an all-star cast led by Rebecca Ferguson, this dystopian underground world of SILO features, among others, Common, Tim Robbins, David Oyelowo, Harriet Walter, Will Patton, and Rashida Jones.
A British cinematographer known best for working with filmmakers like Luke Scott, Rob Lorenz, and Morten Tyldum, MARK PATTEN reteams with Tyldum for the incredible Season One 10-episode series SILO on AppleTV, serving as cinematographer on six of the episodes bookending with the first three episodes and the last three episodes and overseeing other cinematographers on the remaining episodes.
Designing the world of SILO and adapting it from the books (thus far, adapting only the first book in the series – “Wool”) required collaboration and cohesion to make the world not only look and feel authentic, but emotionally resonant with the human condition. Starting from the ground up with production design and lighting, the work of production designer Gavin Bocquet and that of MARK PATTEN was key to the visual tonal bandwidth and design of the silo itself with Mark’s lighting and lensing showcasing Bocquet’s physical structuring of the world.
MARK PATTEN likes detail in his work, but also efficiency, which reteaming with Morten Tyldum affords them both. As we dug into Mark’s work on the series in this exclusive interview, we discussed, among others:
- visualizing a dystopian underground society
- visual tonal bandwidth and world-building
- collaborating with Morten Tyldum (directs 3 episodes) and Adam Bernstein (directs 3 episodes)
- the process for creating the visual tone of the series
- setting parameters by shooting on the large format Alexa and sticking with only five anamorphic lenses throughout the entire series – Chameleons by Caldwell ranging from 23mm to 100mm; emphasized the vertical aspect ratio
- why anamorphic lenses; benefit and purpose
- creating visually engaging environments within the underground housing units for the Silo’s inhabitants
- reflected light to illuminate the deep structure with weaker light at the bottom of the silo
- overall lighting and color design in a dystopian sci-fi film
- lighting and lensing of the lower engine room and turbines
- working with engineers and the special effects team
- lighting the industrial, mechanical aesthetic for much of the silo’s interior
- color palette; the farm level with pops of vibrant green and yellow; fluorescent lighting
- camera movement and visual grammar that engages with the characters and the rooms; camera movement with circular, long, slow moves
- experimentation with the midsections of the silo, evolving with texture, lighting and other elements to create a dynamic and varied space
- change of visual tone as Juliette (Ferguson) moves out of the silo and above ground to the outside
- changes from the book; the metal central staircase is now concrete/cement in the series; some character changes
- and more!
TAKE A LISTEN. . .
by debbie elias, exclusive interview 09/28/2023
SILO is streaming on AppleTV.
