Name: The Making Of Adolescence: The One-Shot Explained | Netflix
Uploaded: 2025-04-21T15:43:10.000Z
Duration: 12 min 51 s
Description: Thousands of YouTube videos with English-Chinese subtitles! Now you can learn to understand native speakers, expand your vocabulary, and improve your pronunciation...

To-infinitive

Okay, confirming 10-51, ready to go, over.

Bravo Delta 5-0 to Bravo Delta 6-0, are you ready to roll up?

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.

All right, police, get down on the floor.

With adolescence being a single-shot 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.

You kind of feel like you're in a theatre space more than a TV space.

Once the train starts moving, no one can stop it.

Mr. Miller, I will arrest you for obstruction.

I'm arresting you on suspicion of murder.

Adolescence is not a whodunit, it's a why-dunit.

Your son, he's been arrested on suspicion of murder.

And this started with a phone call from Stephen saying, how do we tell that story in four one-hour shots?

I always wanted to tell a tale over a long time span, but not do it the way normal chronological stories work.

That was the idea of spanning it across 13 months, but dipping in and out.

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.

In episode one, he's looking at a particular situation and trying to be as impartial as possible.

Dad, can you tell me when we can see my son?

It could happen to anybody, you know what I mean?

We thought it'd be interesting to shine a light on the devastation that causes, the ripple effect that that has on everybody.

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.

Make this feel like it could happen to you, because that is the reality of what is happening in our world.

You'd have a bit by your side all the way through it, all right, okay?

We wanted the audience to be thinking, there's no way he's done this.

So for him to see this act committed by his boy, he's pollaxed, and his life from that moment on will never be the same again.

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.

You get four different windows into Jamie'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.

It's not going well because you're not getting it.

You're not reading what they're doing, what's happening.

The youngsters don't live in a blinkered world where they don't know that these things happen.

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.

We have three weeks for one episode, right?

So our first week is spent literally walking through scene by scene.

We're going to be going through it a lot, over and over again.

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 realising what doesn't work.

Kind of two steps forward, one step back a little bit.

This is just rehearsals and look, we're all doing it with our scripts already anyway.

And then the last week, we get 10 chances to a day at shooting one take.

We'll arrange for somebody for you to have a chat.

Please, Jane, no, you can't go back to class.

When I first read the scripts, it blew my mind.

I felt like I just knew all these characters and I could visualise the whole thing.

The collaboration on this show, a lot of it was technical, but the surprising thing was using technical to free us.

I'd written in this chase sequence and this chase sequence took Bascom 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 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.

Subtitles ListPlay Video

The Making Of Adolescence: The One-Shot Explained | Netflix

episode

sort

extraordinary

debate