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Let's go, Joe. Let's go. Yeah.

You see a swan glide gracefully across

the water, but its legs are flapping

like mad. And that is basically what

each one of these episodes are. Yeah,

let's make the cool.

Police get down on the floor.

With adolescence being a singleshot

format, it all runs very differently to

normal. It took a few weeks to really

understand that it was only one camera

moving through space, that there was no

cuts, and that whatever was shot is the

episode. I have a warrant to search your

premises, sir. Where's your son? He's in

his bedroom. He's in his bedroom. You

need Where is he? You kind of feel like

you're in a theater space more than a TV

space. Once a train starts moving, no

one can stop it. Do you know what I

mean? Mr. Miller, I will arrest you for

obstruction. Please stop. Please. What

you need me for? I'm arresting you on

suspicion of murder. Do you understand?

The dad, I haven't done anything.

Adolescence is not a who done it. It's a

why done it. How did this boy end up in

this place? You saw he's been arrested

on suspicion of murder. And this started

with a phone call from Steven saying,

"How do we tell that story in four

1-hour shots?"

I always wanted to tell a tale over a

long time span, but not do it the way

normal chronological stories work.

Don't say nothing. That was the idea of

spanning it across 13 months, but

dipping in and out. Dad, and so we

quickly worked out we're going to do the

arrest, we're going to do school, then

we're going to spend some time with

Jamie, and then we're going to spend

some time with the

family. Episode one is looking at a

particular situation and trying to be as

impartial as possible. Excuse

me. Can you tell me when we can see me

son? Not long, Mr. Miller. All right. It

could happen to anybody. You know what I

mean? We thought we'd be interesting to

shine a light on the devastation that

that causes. You know, the ripple effect

that that has on everybody. Did you do

it? It's going to touch a nerve with a

lot of different people, and it's

important for us to represent in the

right way and be accurate. He's a He's a

good kid. This wasn't about othering

Jamie. Don't put this in the

extraordinary. Make this feel like it

could happen to you because that is the

reality of what is happening in our

world. You'd have it by your side all

the way through it. All right. Okay.

Okay. We wanted the audience to be

thinking there's no way he's done this.

This kid couldn't do that. So for him to

see this act committed by his boy, he's

paxed and his life from that moment on

will never be the same

again. What have you

done? Episode two should be something

that makes people think, sparks debate,

and opens the door for other directors,

writers to feel that they can show the

harsher sides of reality beautifully.

Hi,

Ryan. What have you done?

This show is about windows, right? You

get four different windows into Jaime's

world, but it was working out where the

windows were best placed so that we

could understand him. Episode two is

kind of like piecing it together within

the school and seeing how kind of social

media can affect our children these

days. What's up? It's not going well cuz

you're not getting it. What am I not

getting? You're not reading what they're

doing. What's happening? What are you

talking about?

The theme of the show is

reality. The youngsters don't live in a

blinkered world where they don't know

that these things happen. Man, these

kids are [ __ ] impossible. I mean,

what am I supposed to do? There's 300

kids as well as all of the teachers, all

the chaperones that are being led around

by lots of dressed in ads. So, it's got

to be really meticulously planned out.

You're going to get instructions from

the cast teachers to get back in line.

Do not listen to them.

We have three weeks for one episode,

right? So, our first week is spent

literally walking through scene by

scene. Should we pop inside? We're going

to be going through it a lot over and

over again. Then it becomes muscle

memory, you know. Then we do the tech

rehearsal with all the crew that week,

you know, we put a lens on it. We start

moving through the space. We start

realizing what doesn't work. Kind of two

steps forward, one step back a little

bit. It's good that they happen now.

This is just rehearsals. And look, we're

all doing it without scripts and ready

anyway. And in the last week, we get 10

chances, two a day at shooting one take.

Jane, this is a huge loss. Love will

arrange for somebody for you to have a

chance. Not another shrink. No, it's not

a shrink. It's just that please. No, you

can't go back to class. You know, you

can't. When I first read the script, it

blew my mind. Like felt like I just knew

all these characters and I could

visualize the whole thing.

Let's have a word with Ryan.

The collaboration on this show, a lot of

it was technical, but the surprising

thing was using technical to free us.

Action. I'd written in this chase

sequence, and this chase sequence took

Baskam and this boy beside the murder

site, and then the camera was going to

travel back on its own back to the

school. That moment would have felt

almost like a video game walking down

the street. I think it would just take

the audience away from from what the

piece is. And then Phil called me up and

he said, "Matt and I think we found a

way to make the camera fly.

If the camera could float away by

itself, then it couldn't possibly be

attached to a person. It kind of feels

more ethereal." So you've got Baskin

finding his own sort of resolution and

you're with this character Jade whose

heart is pulled out and you're with all

these kids as they pull out their phones

and then the camera takes off and the

camera comes the rest of the murder

site. It was an example of the technical

meeting the story and finding a fusion

which is actually better than anything

that the story had come up with on its

own.

What Jack Thorne is so brilliant at is

being so brutal and so human. That's the

crux of this episode and probably the

whole series is how interesting it is

what people present versus what's

within.

I always wanted episode 3 to be a

wonderful two-hander. It's a Jack

Thornne beautiful masterpiece. Hi,

Jamie.

Go, go, go.

It was nerve-wracking reading episode

3 and then realizing, oh, we need to

cast a 13-year-old lad who can really

like go on a journey emotionally,

who looks extremely innocent and looks

like a vulnerable, afraid young boy. We

haven't finished. Because of schedule

needs, we had to start with episode

three, which I was very nervous about

because that's an hourong script for a

young actor to learn acting opposite

Aaron Docky. Do it quick. What was that?

That rehearsal week, you're constantly

asking yourself, can he get there? Soon

as you lose that eye contact, almost

gone. You'll be giving him notes and

he's just looking at you like that look.

He's giving you that look and I'm like,

is he is he listening to me? I [ __ ]

want to sit down. You do not tell me

where to sit down. Get that in that

[ __ ] little of yours. And then he'll

go and do a take. Every single note will

be nailed. It was a combination of two

voices in the room for him. It was Phil

who's so gentle. And it was Aaron. I

need you to sit down. Just so well

written that it kind of requires you to

just be there.

We're just surrendering to the script

and each other.

Something happened between the two of

them and it just took Owen into another

place and took Jamie into another place.

And actually, it was the best start we

could have made for him. That night, I

didn't touch

her. I could have touched her, but I

didn't. I just I had a knife. She was

scared, but I didn't do that. I could

have touched any part of her body I

wanted to. really wanted to, but I

didn't. I just most boys would have

touched her. What's so heartbreaking for

Bry at the end, you witness her have to

let go of everything she's wanted this

boy to be. What do you think about me?

Okay. Okay.

And all these thoughts kind of come into

her mind and it's kind of symbolized

through this sandwich. the person that

she was when she entered the room who

was making the offer to then the person

who won't even touch

it. Oh.

Oh, it's just such a great thing to

play.

We always see the perspective of the

victim's family, which is rightly so. Do

you know what I mean? Of course we

should. And with episode 4, I wanted to

have a look at the impact it has upon

the family of the boy who has committed

the act.

All right, nuns. Hey. Hey. Hey. All

right, nuns. Did you see that to my fun?

Did you? It was really important to

Steven that this wasn't a show that made

easy answers. You two.

The one thing he said to me right at the

beginning was, "We can't blame the

parents."

I didn't want Jamie to come from a

background where his mom was a a drinker

or his dad was violent and aggressive. I

wanted to eliminate all of those things

to try and get the audience to ask the

question why, but also in the same

respect think that could be me. That

could be my

child. I wish you'd have picked you.

You'd have done better. No. Yeah, you

would.

You'd have done better. Steven's

performances are real. He opens up his

heart for people to see. He knows

exactly what he wants.

That was fantastic.

I love working with him. He's just

incredible. He's passionate. Steven is

an instinctive leader. He's someone that

just you kind of flock to. There was a

feeling of a gang on this show. Everyone

was excited about what we're doing.

Ready? Going to do a take. Let's go.

Before each take, my heart is pounding

and absolutely everyone feels it because

everyone knows how important their job

is. Action. Takes a real army of people

to pull it together, you know, cuz

there's not one person on that set who's

not important cuz without every single

person, it could all collapse. Watching

it come to life, watching the decisions

that Matt and Phil made as they were

telling the story through the camera, it

was really thrilling. I think if

anything can force us to look at a

subject that we don't want to look at,

it's a one shot cuz you really are

forced to watch it. There's no break

from it.

The fact is we are dealing with the

harsh reality of what is going on. And I

hope it does make people stand up and

think about what they're doing or what

they're not doing. Do you like me? You

don't know what's going on behind closed

doors with anyone ever. No one is just

evil. No one is just all bad. It's just

so much more complex. I was a good mom.

We're not trying to give answers. We're

not trying to lay blame particularly.

It's a really complicated time, but we

need to be talking about these things.

I'm sorry, son. I just hope it creates

debate and I hope it creates

conversation between parent and child.