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Pat Sweeney is a British gaffer. A late starter in the industry, Sweeney began his professional life as a motor mechanic. Sweeney entered the lighting department in 1997 when he joined Lee Lighting in Glasgow. Initially tasked with maintaining lighting trucks and generators, he soon worked on set, gradually rising from generator operator to electrician, best boy, and eventually to gaffer. His first break came by chance while working on Gregory's Two Girls, where he connected with Steve Kitchen,...
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en, who offered him a best boy role in London. That collaboration became a long-standing professional relationship, spanning over 20 feature films.
Throughout his career, Sweeney worked on various projects, bringing his technical skill and creative vision to each one. Notable among his credits is War Machine, shot in Abu Dhabi with DP Dariusz Wolski ASC, where Sweeney worked alongside the UAE military in what he describes as a "boys' toys" shoot, complete with Black Hawk helicopter rides. Another standout experience was The Woman in Black with Tim Maurice-Jones, his first foray into horror and a masterclass in mood lighting using gas and candlelight.
Sweeney embraced the evolution of digital cinematography, seeing digital cameras as a helpful tool that enables real-time feedback and adjustment. Yet, he remains grounded in the traditional skills of lighting, as evidenced by the creative challenges he's tackled, such as simulating daylight for a scene in The Theory of Everything at Lancaster House, where he built a 120-foot blackout tent to control light and avoid interference from natural sunlight precisely.
Known for his leadership, Sweeney likens managing a lighting crew to coaching a football team—putting the right people in the right roles, whether on the floor, in rigging, or keeping generators running. He also takes pride in mentoring upcoming talent, giving opportunities to crew members like Jonny Franklin, who has since become a gaffer.