Behind the Scenes Secrets of ‘Adolescence’ and ‘Squid Game’ Revealed!

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To create a vivid portrayal of “Adolescence” for the hit Netflix series, the production team had to devise methods that enabled the camera to move freely and coordinate the actions of around 300 middle school students during a simulated fire drill, all while preserving the authenticity of the show’s single-take filming style.

Stephen Graham and Jack Thorne, joint creators and showrunners of a gripping four-part UK drama thriller now among Netflix’s most popular series, shared insights into its production during the inaugural session of Produced By, an annual event organized by the Producers Guild of America, on Saturday.

Graham mentioned that a crucial factor for successfully executing the challenging filming process of “Adolescence” was closely working together with the heads of the school where most of the series was filmed.

Graham expressed to the assembled group at the day-long event on Universal’s lot, ‘We gave power to the local community and included them in our process.’ In our field, there’s often a strict hierarchy. What we did was break away from tradition and abandon the usual rules.

The hard work paid off when they discovered the script required a real fire drill involving numerous students, and there was just a small timeframe to pull it off flawlessly.

In a particular scene with 300 children, this eccentric individual opted to pen down a fire warning, as Graham affirmed, gesturing towards Thorne, his frequent partner in crime. “He’s an absolute gem,” Graham added warmly, “and one of my closest friends.” Building rapport with the school principal proved beneficial for navigating that scene and other tense scenarios.

Graham underlined that, based on his personal experiences, actors who were lower down on the call list and often made to feel unimportant, always prioritized ensuring that everyone involved in the production – both cast and crew members – felt valued and invested in the project.

Graham shared that he noticed actors at the bottom of the list, who sometimes felt neglected or undervalued, always made sure to treat everyone in the show’s team with importance and involvement.

Graham mentioned to moderator Rebecca Sun, a seasoned entertainment journalist and cultural commentator, that everyone in the original group switched roles so that those who were originally the actors are now part of the crew and vice versa.

In my perspective as a movie reviewer, I must commend the filmmakers for their masterful choreography of intricate storyline elements, particularly scenes featuring characters behind the wheel. The challenge they faced in executing these sequences without a single edit is truly remarkable. As Graham himself pointed out, managing traffic lights was no easy feat.

Drones served as a means for the characters to navigate through real-world environments while maintaining the uninterrupted flow of the single-shot style.

According to Thorne, once the camera is detached from a character, its influence wanes. If the camera moves independently, such as flying, then it’s no longer considered a computer game; instead, it represents something different.

Graham and Thorne shared that for every episode, they shot multiple variants to refine their single-take format, yet daily limitations allowed them to capture just two full takes. For all episodes beyond the initial one, the final footage chosen was consistently the very last one taken.

For the first episode, the broadcasted version was actually the second attempt. The second episode required take 16 to nail it. According to Graham, the third one was either take 11 or 12. And unfortunately, the heart-wrenching final installment was take 14.

The achievement of “Adolescence” demonstrates that global viewers are receptive to a wide variety of storytelling, and this was emphasized by Graham and Thorne. Previously, they encountered resistance when pitching certain projects due to their heavy use of “Liverpool accents,” as Graham reminded us. However, with Netflix and “Adolescence,” such concerns were not an issue.

“This shows the joy of the particular. We are a very particular show,” Thorne said.

Graham and Thorne acknowledged the tireless efforts of producers Jo Johnson and Hannah Walters, along with cinematographer Matthew Lewis and director Philip Barantini, for their exceptional work.

Thorne mentioned that neither of us would label ourselves as ‘showrunners.’ Instead, it was a collaborative effort involving multiple individuals.

Johnson “was the Atlas who held the weight of the show on her shoulders,” Thorne added.

The duo observed that during “Adolescence,” several newcomers were appointed as department heads for the first time, particularly in crucial behind-the-scenes roles. The show’s achievements have significantly boosted their career trajectories.

Graham stated, ‘Every bit was crafted with affection and diligence, always mindful of our subject.’ He continued, ‘Each element played a crucial role in achieving the complete image, for without any one piece, the finished product wouldn’t have been possible.'”

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“Graham emphasized, ‘We put love and attention into every detail, treating our subject with utmost respect.’ He went on to explain, ‘Each component was essential in creating the final masterpiece. If even one piece were missing, we wouldn’t have achieved the complete picture.'”

Both versions convey the original message but in a more natural and easy-to-read manner.

During the session, Sun engaged in discussion with the creator, executive producer, showrunner, and director of “Squid Game,” Hwang Dong-hyuk. Sun inquired about the challenging situation where Hwang had ample time to develop ideas for Season 1 but was given just half a year to write Seasons 2 and 3 (since Hwang began developing the concept as a movie script in 2009).

Director Hwang compared it to an endless task, mentioning that he had unfortunately lost a few more teeth,” (in reference to the tale that he lost teeth due to stress during Season 1’s production). “Season 1 debuted in September 2021 and garnered immense popularity, ultimately surpassing all other scripted series on Netflix.

However, after the filming concluded, Director Hwang believed that it would only have one season. Consequently, he didn’t preserve any of the sets, causing them to need to be rebuilt three years later for the production of additional episodes.

In a reminiscent manner, Director Hwang shared that while he had a larger budget for Seasons 2 and 3, he fondly recalled how the financial restrictions of Season 1 compelled creative adjustments that eventually shaped distinctive aspects of the thriller.

“The limited budget in Season 1 worked in our favor in some ways,” director Hwang said.

Initially, I had envisioned a different area exclusively for the players’ dormitory, distinct from where they eat and cast their votes. However, my co-producer informed me that we didn’t have the funds for this arrangement. As a result, we settled on a communal sleeping space, with multiple beds stacked upon each other.

Director Hwang alternated between English and Korean, with Jung translating. He sparked laughter among the assembled industry experts by highlighting a significant distinction between the initial nine episodes of Season 1 and those that followed. In the first season, half of the characters involved in the deadly game met their end in the very first episode. The explanation behind this, he admitted, was straightforward.

“More extras means more money,” he said with a grin.

(Shown above: Creators Jack Thorne and Stephen Graham of the show ‘Adolescence’ alongside moderator Rebecca Sun)

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2025-06-01 00:17