People thought it was clever editing, but it was STILL all just one continuous shot
It’s safe to say that over the weekend, Netflix secured a banger on its hands with the new limited series Adolescence. The show is a harrowing tale of how a 13-year-old gets arrested on suspicion of murdering a female classmate, and is brought to life by an amazing creative team with Stephen Graham and Jack Thorne writing, as well as Graham starring and producing. But the director of Adolescence is none other than Philip Barantini – famous for his work with Stephen Graham on Boiling Point, both the film and TV show sequel. Boiling Point received acclaim not just for its performances, but because Barantini shot both in all one take. Adolescence follows suit with all four episodes being in the one take shot format – but there is one shot in episode two that people believed to be some kind of clever edit. This is because the episode two shot from Adolescence goes from street level seamlessly up into the air, and Netflix just revealed how the team behind the show achieved the feat.
And nope, no trickery or second edit seamlessly weaved in – the team behind Adolescence on Netflix reveal here that despite episode two having a technical flair it still maintained the one shot promise.
It’s honestly incredible
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After Jeremy Clarkson (lol) piped up, tweeting “The camera at the end of show 2. How on earth did they do that? It’s impossible.” Actor Sean Chriscole, who stars in Adolescence, explained ” It was indeed attached VERY carefully to a powerful drone. They only got the take in the bag on the final day.”
Netflix then quoted Jeremy Clarkson’s tweet with a video showing exactly how the Adolescence team achieved it. In the video, we hear writer Jack Thorne say “The collaboration on this show, a lot of it was technical. But the surprising thing was using technical to free us. I’d written this chase sequence, and the chase sequence took Bascombe [Ashley Walters] and this boy to beside the murder site and then the camera was going to travel back on its own back to the school.
“And then Phil [Barantini, director] called me up and said ‘Matt [Lewis, director of photography] and I think we’ve found a way to make the camera fly.”
The video then shows in real time how the crew filmed Jade at street level, then carefully attached it to a drone as the drone takes flight and pans over the town towards the murder site. It’s honestly amazing what the team achieved – to think everyone thought it was just clever editing.a
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