LONDON — Each episode of the Netflix drama “Adolescence,” debuting on Thursday, is presented in a unique filmmaking style: a single continuous shot. This four-part series, set in Britain, explores the emotional aftermath of a teenage stabbing. The production process involved passing the camera like a baton between operators, transitioning seamlessly on and off drones, and maneuvering swiftly alongside the crew as they filmed the actors through various locations and vehicles.
Director Philip Barantini has previously used this method, known for its ability to pull viewers into the scene and create a heightened sense of immersion for the actors. The cast includes the talented Stephen Graham, Erin Doherty, and Ashley Walters. Graham, who previously collaborated with Barantini on the series and film “Boiling Point,” describes the acting technique as zen-like.
“There’s a spontaneity and energy similar to live theater where everything feels present and alive, blended with the naturalistic style typical of television,” explains Graham.
Owen Cooper, a new face in the acting world, stars as Jamie Miller, a young boy implicated in the stabbing. The narrative centers on him, but gradually expands to showcase the repercussions on police officers, professionals involved in the investigation, his family, friends, and school children. Graham, in collaboration with writer Jack Thorne as creators of the show, decided to flip the narrative focus from the victim’s family to the context surrounding the accused, probing deeper into the root causes of youth violence.
At just 15 years old, Cooper committed to delivering a word-perfect performance for rehearsals, uncertain about how the one-take method would unfold. His diligent preparation and natural ability left a lasting impression, with Graham remarking on Cooper’s potential, likening him to a young Robert DeNiro.
Barantini emphasizes that meticulous planning is crucial for executing this film style. Upon receiving the script from Thorne, Barantini and his team meticulously edit each one-hour episode, removing elements that do not suit the one-shot format. Location scouting follows. Set in Northern England, a custom-built police station became a centerpiece, where even the stair count was tailored to fit dialogue timing.
Jack Thorne describes the show’s technical execution as astonishing, albeit regretful about cutting a school scene involving a football due to it prolonging the flow. The logistical puzzle extended to creating proximity between locations, such as finding a family home within a short drive of the constructed police station. An old warehouse nearby was converted into a DIY store integral to the plot.
“We would digitally map out everything, including camera moves, then adapt to what unfolds on set,” recounts Barantini. Describing the process as a choreographed dance, he emphasizes adaptability.
Rehearsals were comprehensive, ensuring that the cast and crew were well-coordinated by the time the camera rolled. Ashley Walters, portraying a contemplative detective on Jamie’s case, used the physical navigation within scenes to perfect his timing.
Erin Doherty, famous for her portrayal of Princess Anne in “The Crown,” found single-take projects exhilarating, claiming they cultivate a “glorious” experience. The symbiotic relationship with the camera team became second nature.
Doherty shares the screen predominantly with Cooper, playing Jamie’s clinical psychologist, and praises his acting ability: “It’s mesmerizing to watch him in action.”
Mishaps were addressed during rehearsals. Christine Tremarco, playing Jamie’s mother, made an error by entering the kitchen when she was supposed to be elsewhere, a mistake quickly rectified at Graham’s reminder.
“None of us fundamentally messed up,” confirms Graham. Only once did filming restart due to a cameraman being left outside; opening doors was integral to the cast’s maneuvers.
Comparing the experience to a football team, Graham explains, “Everyone understands their role and stays in position, leading to a cohesive performance.”
Doherty concludes, “Creativity thrives when there’s no safety net. Removing it invites exhilarating possibilities.”
