Movies

With ‘Adolescence,’ Stephen Graham wants you to consider the unthinkable

BBG News

As a film enthusiast, I can appreciate the challenges associated with creating a one-shot film or series. It’s an impressive technical feat that requires precision and coordination among cast, crew, and camera operators to pull off successfully. In fact, it’s quite rare to find films or TV shows that are truly “oners” without any cuts. However, Stephen Graham has managed to accomplish this in his new Netflix series “Adolescence,” which premieres on Thursday. The four one-shot episodes showcase his mastery of the technique and contribute to the tense and emotionally complex narrative.

The television show, centered around a 13-year-old British boy accused of murdering a female classmate, shares similarities with the 2021 film “Boiling Point,” directed by Philip Barantini who is also known for “Adolescence.” Interestingly, “Boiling Point” was initially created as a 22-minute short in 2019 by both Tom Georges and Barantini. Afterward, it was expanded into a full-length feature that garnered four BAFTA nominations.

In a conversation from Netflix’s London office in February, Graham, aged 51, recalls, “We discovered an exquisite method of finely tuning each instance and hitting it just right.” He continues, “Phil and I collaboratively devised this structure. Fast forward to the BAFTAs where I was nominated for best actor, sharing the spotlight with Leonardo DiCaprio.

It was during their journey to the BAFTA event that Graham proposed Barantini the concept for a miniseries focusing on the surge of brutal stabbings in the U.K., a disturbing phenomenon that peaked last summer with the tragic incident at a dance studio in Southport, England, where an 18-year-old named Axel Rudakubana took the lives of three young girls. Prior to this event, Graham had witnessed numerous similar incidents on the news, many involving teenage boys killing teenage girls.

Graham expresses, “I found myself questioning, ‘What’s transpiring? Why is this occurring in our society?’ It’s not an isolated event. It’s appalling. And it’s deeply distressing for us as a nation and a community to comprehend. The thought crossed my mind about raising that issue within the public discourse, using the single-issue narrative and style that Phil and I had devised.

In a later phone conversation, Barantini mentioned that Graham often thought up each episode while they were both in the car. “Initially, there was some doubt – ‘Are we actually going to do this again?’ – but it proved logical,” he said. “In my opinion, the single take should never be the focus. It should serve as a secondary element, enhancing the story and offering something for the narrative.

Titled “Adolescence,” this production by Matriarch Productions follows the story that unfolds after the arrest of Jamie Miller (portrayed by newcomer Owen Cooper) at his humble residence. Following the departure of armed officers in tactical gear, the narrative focuses on Jamie’s experience being processed at the local police station and interrogated by detectives Luke Bascombe (played by Ashley Walters) and Misha Frank (Faye Marsay). Graham assumes the role of Eddie, Jamie’s father, and Christine Tremarco portrays his mother Manda, both characters grappling to understand this chaotic turn of events. The narrative then leaps forward in three subsequent episodes. In the second, Luke Bascombe and Misha Frank question Jamie’s friends and schoolmates; in the third, Jamie has a tense dialogue with a psychologist (Erin Doherty). The final episode delves into the impact that Jamie’s imprisonment has on his family, particularly Eddie, who wrestles with self-blame.

In this production, Graham makes his debut as a writer. To bring his vision to life, he teamed up with screenwriter Jack Thorne. Together, they developed the characters and shaped the narrative’s flow. Graham acknowledges that Thorne played a crucial role in crafting the scenes’ depth, particularly by incorporating real-life aspects like online toxic masculinity communities, known as incel culture. However, it was at Graham’s request for Episode 3 to emulate the style of Jack Thorne writing a David Mamet play.

Graham humbly states, “I may not consider myself a writer, but I know my strengths and what I can offer. Jack has an extraordinary ability to extract ideas from me and breathe life into them, enhancing them greatly. It’s deeply moving. I believe we’ve successfully captured the spirit of our time.

Despite their experience in producing lengthy scenes from “Boiling Point” and further developing this skill in the BBC series, “Adolescence” presented unique difficulties for Graham and Barantini. They needed to create a method that allowed ample time for rehearsals and experimentation during filming. For each episode, the cast would dedicate one week to on-location rehearsals, another week to integrating the camera movements into these rehearsals, and a third week to shooting two takes daily, with a total of 10 takes per episode.

Graham mentions, “Jack was with us during rehearsals to help us better understand the script. Moreover, we didn’t just practice in a regular room; we were always shooting on-site. This immediately brings the script to life.

According to Barantini, the process involved constructing it step-by-step to help the performers develop muscle memory, ensuring they knew their precise positions.

In sync, cinematographer Matt Lewis and camera operator Lee David Brown collaborated closely during the filming of one continuous take for each episode. They exchanged the camera back and forth to maintain consistency, and every action from coordinating location transitions to directing character movements in and out of vehicles was carefully planned with meticulous accuracy. The second episode concluded with a challenging chase scene captured by a drone shot, a feat that required multiple attempts to perfect.

Graham describes the collaborative work on set as “much like a graceful ballet” or “a captivating dance.” He notes that there was a smooth flow to the movements involved. The process, he adds, is incredibly engaging for a performer and offers a one-of-a-kind experience. As an actor, it’s rare but truly exhilarating to be part of such an endeavor.

In his everyday routine, the actor claims to meditate regularly. However, he’s never experienced a state similar to Zen as he did during the lengthy scenes filmed for “Adolescence.

He notes that you’ve become deeply engrossed in it,” he remarks. “You’ve been practicing for a week straight, and everything is down pat. The lines and actions are all there, but what’s remarkable is that you can be fully immersed within them. And then the movements feel like second nature. By the time we started filming, you could simply jump in. The charm of it is that once Phil shouts ‘Action!’, you don’t emerge until he calls ‘Cut.’ You were completely there and in the present moment.

As a devoted cinephile, let me share my perspective: The third episode was filmed first, not for convenience due to its solitary setting, but to make Cooper feel more comfortable. Director Graham wisely chose Doherty to portray the psychologist interrogating Jamie, having collaborated with her previously on Hulu’s period boxing drama “A Thousand Blows,” another production by Matriarch Productions. Doherty shares that the set had an effortless vibe, enabling the actors to delve into a sensibility born from Graham’s “generous spirit.

Television

Stepping once more into the world of 19th century England, the mastermind behind ‘Peaky Blinders’ presents a narrative centered on East London’s brutal bare-knuckle boxing scene, featuring performances by Stephen Graham, Erin Doherty, and Malachi Kirby.

Doherty mentions that everyone was exceptionally good at allowing us to explore our roles naturally,” he said. “There was no sense of technique involved for the actors, which I believe showcases their deep comprehension of our process and their ability to draw out top-notch performances.

She remarks about Graham, ‘He strives for excellence, and this motivates everyone else to do their best too. His dedication inspires us all to reach our peak potential.’

For Cooper, his TV debut in “Adolescence” marked a significant milestone. Hailing from the northern region of England, much like Jamie, this young actor was chosen out of approximately 500 other teenage boys. His raw, authentic approach to the role truly resonated with the character. Despite having no prior experiences to compare it with, Cooper found it surprisingly straightforward to embody Jamie. This was facilitated by Stephen’s efforts to create a welcoming environment, even going as far as having a child psychologist on set to support the younger cast members.

Cooper shares that Graham was a joy to collaborate with. He offered him valuable guidance. In one instance, when the camera wasn’t focused on them, Graham rough-handled Cooper by the neck and warned, “You’ll never see your friends again! You’ll never see your mom again!” He continued this intimidating act and it was brilliant. It genuinely startled Cooper. He was truly frightened.

Graham took on the role of Eddie, a typical blue-collar individual grappling with an extraordinary predicament. His interest lay in exploring the intricate dynamics between parents and a troubled child who resorts to violence – a topic that frequently arises following U.S. school shootings.

As a film enthusiast, I often find myself reflecting on common themes in movies – one of them being the quick judgment towards parents. However, when brainstorming for my latest project, I pondered, “What if this stereotype doesn’t apply in this instance?” I wanted to explore an angle less traveled, focusing on aspects that haven’t been extensively portrayed before. The father isn’t violent, the mother isn’t an alcoholic, and the protagonist has not suffered from abuse or molestation. By eliminating these typical narrative elements, I aim to shed light on the complexities of modern society’s impact on young boys, challenging the norms we usually associate with dramatic storytelling.

Title “Adolescence” by Graham delves into the discourse surrounding youth violence, particularly knife crime, and masculinity, an issue that has gained prominence in today’s social media-driven world. Figures like Andrew Tate, infamously known as the “king of toxic masculinity,” serve as symbols of the misogyny prevalent on platforms such as Instagram and TikTok. Despite not fully grasping why young men frequently engage in these violent acts while portraying Eddie, Graham uses this opportunity to stimulate viewers’ thoughts about this ongoing crisis. Although it primarily focuses on the U.K., the weapon could be swapped with a gun, an issue of concern in the U.S., where school shootings have been persistent.

Graham explains that he’s not delivering his ideas from a raised platform or shouting them out,” he says. “In essence, our work is about entertainment. However, it’s fortunate when we can use this platform to stimulate thought in people, rather than simply keeping them amused for an hour.

Walters notes, “We’re aiming to draw people towards us instead of pushing them away. This involves exploring the ‘why’ a bit deeper. In this case, the reasons are quite complex and multilayered, not as straightforward as one might expect.

Walters characterizes Matriarch, the company they established in 2020, as one that reflects society, sometimes in an awkward manner. So far, their production company has taken on a diverse range of projects such as “Boiling Point”, “A Thousand Blows”, and “Adolescence”. Given their working-class upbringing, they strive to create opportunities for individuals with similar backgrounds.

Graham expresses profound gratitude for being at his current age and continuing to work, as he never takes it for granted. With him and his partner, Hannah, in their unique situation, they aim to uphold the values and vision of Matriarch by attempting to establish chances for children who share similar backgrounds as them.

Graham’s work is deeply rooted, likely due to his background, making it so authentic. Born in Merseyside, England, this actor is often drawn to gritty characters, even in large-scale productions such as “Pirates of the Caribbean: On Stranger Tides” and “Venom: Let There Be Carnage.” He’s been a fixture on our screens since the early ’90s, starring in films like “Gangs of New York” and TV shows like “Boardwalk Empire” and “Line of Duty.” Recently, he completed two seasons of “A Thousand Blows,” portraying boxer Sugar Goodson. Following this, he filmed “Adolescence” and just returned from New York where he was working on the biopic “Deliver Me from Nowhere,” in which he plays Bruce Springsteen’s father, Douglas.

Graham mentions that he’s created each role himself, not because they were provided or handed to him. Instead, he is drawn to portraying intriguing characters.

For Graham, honesty is consistently the main thread, a fact that his fellow collaborators have directly observed, especially during the making of “Adolescence.

According to Doherty, he won’t participate in the project unless it has personal significance for him. His performances carry an authenticity and relevance that might get overlooked in big-budget Hollywood films. Time and again, he infuses truth into his roles and narratives.

Regardless of the extent of his professional accomplishments, Graham maintains a modest demeanor. His attention is primarily directed towards the task at hand rather than the accolades that come with it. If the final product fosters awareness or dialogue about social issues, then that’s an added bonus.

He casually admits, “I’m the same 13-year-old boy who dreamed of becoming an actor.” Sometimes, he adds, moments like these make him feel as if he should pinch himself. “I’m sending messages to my friends who have traditional jobs, saying things like ‘I’m catching a flight to New York, I’ll be meeting Bruce Springsteen.’ Isn’t that something extraordinary?

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2025-03-11 13:32

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