How Stephen Graham Carried the Weight of Adolescence

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Warning: Plot details ahead for the Netflix show Adolescence, which became available to stream in its entirety on March 13.

In many films, Stephen Graham is known for portraying tough, macho characters. However, in the Netflix series “Adolescence,” Graham departs from this stereotype and delivers a deeply emotional performance as Jamie Miller’s father, Eddie. Despite not showing the usual swagger audiences might expect from him, Graham effectively conveys regret, vulnerability, and confusion through his portrayal of Eddie, who is grappling with the truth of his son’s actions.

In each episode of “Adolescence”, a single camera was used for a continuous take, creating an intense immersion that amplifies the impact of the characters’ emotional peaks. The show capitalizes on our surprise when we witness Jamie’s metamorphosis over seven months in a youth facility, particularly in “Episode 3” where a psychologist’s interview triggers Jamie’s outbursts of anger and resentment. However, it tugs at our heartstrings in “Episode 4”, as it dedicates its entire final segment to the Millers, who on Eddie’s 50th birthday discover that Jamie has chosen to admit guilt.

Jamie’s confessional phone call triggers an emotional, introspective crisis for Eddie, a crisis that ultimately leads him to Jamie’s bedroom. There, Eddie’s teenage son had plunged into the depths of social media and soiled himself when police arrived to apprehend him. Graham describes Eddie’s character as a deeply analytical Everyman, shaped by his personal experiences, such as observing his male relatives and their tales of corporal punishment in school, and raising his two children with Hannah Walters, who jointly produced the series under their production company Matriarch Productions. According to Graham, Eddie was consistently trying to maintain composure, especially from the moment in “Episode 1” where he learns that his son has made a mistake. “He’s stunned and will never be the same again,” Graham says.

In Episode 4, Eddie and Amanda (Christine Tremarco) engage in a dialogue about Jamie that’s filled with queries. You might wonder, “Haven’t we done anything wrong?” She counters with, “Weren’t we the ones who brought him into the world, though?” This dynamic of questioning seems fitting 13 months after Jamie committed the murder of Katie, as they grapple with guilt, doubt, and seeking understanding. Jack masterfully portrays human complexity through this exchange.

We spent an entire week studying the script, discussing and reading it extensively. For the initial day, our discussions took place in the living room. On the second day, we moved around the house while continuing our discussions and analysis. Throughout each rehearsal week, Jack was present for the first three days. This allowed us to delve deeply into every detail of the script, focusing on every subtle nuance. Our goal was to create a natural and fluid conversation between characters. What makes this process unique is its one-take approach, which puts us in a state of flow where we start at the beginning, the whistle blows, and everything unfolds naturally. Jack’s writing has a rhythmic quality that adds a beautiful melody to our performances.

During the second week is when our exceptional Director of Photography, Matthew Lewis, joins us. On the first day, it’s only him and his camera team, and we spend the entire day exploring the space together with Matt and Lee David Brown, our other camera operator. They take turns operating the camera in a carefully planned sequence. The following day, the whole crew arrived. Now we work as a team. I must admit, it’s hard not to sound pompous, but [laughs] it feels like we’re composing a small symphony. It gradually grows and evolves, layer by layer. You have the sound operators secretly placing microphones in strategic locations so they can’t be seen, and then you have the props department setting up items carefully and ensuring they disappear when we move away.

The scene in “Episode 4” occurs 13 months later, and I’m intrigued about how you wanted Eddie’s physical appearance to be distinct. How did you go about conveying the possible effects of time on Eddie’s character?

To immerse myself into Eddie’s role, I actually mowed the garden before we started filming. This was surprising for the crew since I usually don’t do gardening tasks. [Laughs.] Before our first take, I mowed the entire garden to get me in the right mindset. Although I’ve operated a lawnmower before, I wanted to be in Eddie’s garden, as he is now 50 years old. As he puts away the mower, he notices Jamie’s bike; I specifically requested a BMX with mag wheels because it was the bicycle he didn’t have when he was a child. Eddie is attempting to reconnect with his childhood through Jamie or recapture the childhood he never had by gazing at the bike and holding onto that memory for a moment, which helps him temporarily escape the weight on his shoulders. I’m going to have a good day today. And then I see the bike: He’s not here. Fuck.

In the fourth episode, did any technical aspect of camera movement necessitate a higher level of precision and coordination?

One specific instance that comes to mind is the transition from inside the Millers’ house to outside where we see Eddie getting into his van. There’s a camera rig set up on the van, and they have to attach the camera to it smoothly without any hiccups. This involves careful timing and precise execution, not just during attachment but also during detachment. In the initial attempts, there’s often a sense of relief as we successfully navigate through the process. However, once we reach a state of flow, confidence kicks in, and we know everything will go smoothly.

For example, during the scene where Eddie chases the teenagers who vandalized his van, I remember saying to Matt, “Matt, I’m not happy with you trying to get through that hole in that gate. Can we lift the wire up a little bit?” The gap wasn’t large, but it was tricky because of the speed at which the action had to take place. In the early takes, there was always a sense of tension as we managed to squeeze through the gap. But once we got into a rhythm, I knew Matt would make it through without any problems.

Adolescents sometimes engage in harsh behaviors. When Eddie grabbed the other boy, it dawned on Eddie that what he was doing was not appropriate. However, the things Eddie was telling this child were indeed correct: “You shouldn’t do that. You don’t know the whole story. You have no idea about what’s going on inside me.” Eddie revealed more to this kid than he usually does at home. Then, he recognized the fear he was instilling in the child, and that scared him.

In a shift from earlier in the series, the camera position changes during their return journey. Instead of being mounted on the van’s hood, it’s now located in the backseat, providing a view of Eddie, Amanda, Lisa, and their daughter. Jamie calls to inform Eddie about his guilty plea, but you don’t see much of Eddie on this drive. You’re emotionally detached, observing from outside the frame. In episode 1, we intentionally kept Jamie’s face partially hidden from view, focusing instead on the side of his face to maintain a level of mystery and avoid probing too deeply into his emotions. However, in episode 4, having the camera in the back allows for more freedom of movement, as if filming a traditional drama would involve multiple cameras fixed at different positions. But we choose to trust our audience, understanding that they are actively listening and observing rather than constantly cutting between perspectives. As Eddie opens the door to remove the plant, his face is revealed, showing his devastation. We offer this brief glimpse, and it’s a powerful impact: boom.

What I find particularly captivating is when we enter the house with Christine, and she puts her coat away. It’s some of the most moving acting I have encountered. She evokes memories of my mother, grandmother, aunt, and wife: that inner fortitude. She struggles to maintain composure for the family, but for a moment, she falters as she hangs up her coat – and then, with remarkable resilience, she gathers herself to ascend the stairs.

As a huge fan, I can’t help but delve into the heartwarming moment where Amélie kisses Eddie’s teddy bear and places it in his bed. This spontaneous act wasn’t part of the original script, but instead emerged during rehearsals. Could you share some insights about this unexpected yet profoundly moving scene?

In the movie, when Amélie asks, “How did we make her?” and Christine responds, “The same way we made him,” it carries such weight, yet remains so sincere. During our first visit to the bedroom, I found myself asking, “What will happen, Phil, when I enter this room? I want to come in and take a look because this is where it all began.” At that moment, Phil placed the teddy bear on the bed, and I wondered, “What’s that for?” He explained he had an idea. As I drew closer, the urge to hold it overcame me. Being a loving parent myself, I often cuddle my children before bedtime, giving them kisses on the forehead and whispering goodnight. It was in this tender moment during rehearsals that the idea was born.

As we filmed this scene together, immersed in the warmth of the bedroom and the memories it held, the energy between us grew stronger. When you consider this act within the broader context of the entire scene and shot, the emotions become even more powerful. The experience left an indelible mark on me, and I believe it will resonate with viewers as well.

But what Philip did do —

In a playful manner, I must admit, he tricked me into placing my family photos on his bed during filming. And boy, did he succeed! He’s such a dear friend. That’s where Philip truly shines – as an actor’s director. You think you’ve reached your limit, and you believe you’ve taken it to a certain level, but he just has this amazing knack for guiding us a little further. In this case, however, his guidance wasn’t subtle at all. Instead, he used these heartwarming photographs of my children with a “We love you, Dad, we’re so proud of you” message. Seeing that touched Stephen deeply, but he managed to stay in character as Eddie – that was the crucial part for me. It was on the last take of the final day we were shooting. [Laughs]

Did he realize that was our final attempt, or did I have more to offer? To clarify, we had already recorded a few takes earlier. Everyone knew we nailed it, so there wasn’t the same level of tension as in “Episode 2,” where we kept missing the mark until the very last try. This time around, let’s savor the moment. Let’s put this one out there and express our gratitude for this wonderful creative journey. We’ll leave it to fate to see how it turns out.

So, regarding “Episode 2”, it seems there was a focus on the drone towards the middle of filming. Toby Bentley from Netflix was quite amiable. He suggested that Eddie should make an appearance at the end to tie his character into the story, but wanted him near the flowers. Since I wasn’t scheduled as an actor for that scene, I couldn’t rehearse it on that day. I tried to jump in and help since it was my production, but they needed to follow proper procedures. We ended up rehearsing with Phil’s brother instead, and there’s a take where he appears. [Laughs]

On Wednesday, we began our venture for the first time, and it was quite shaky. The next day, Thursday, the winds were too strong to fly the drone. We had to conclude our sessions with him near the school. Come Friday morning, we managed to get one flight, but it was still rather unsteady. In the afternoon of the same day, we made our last attempt. It was our final chance since we couldn’t return on Monday due to new locations being set up. We captured a fantastic take during the second attempt on Monday, but this new ending was yet to be created. So, we pondered what to do. And then — boom. The solution struck like a bolt of poetry. Each performance had that beautiful, fluid quality, just like jazz, effortlessly coming together beautifully.

Graham and series director Philip Barantini also worked together on the 2021 one-take restaurant-kitchen-set film Boiling Point.
Eddie’s van is spray-painted with the word nonse, a misspelling of the insult “nonce,” British slang for a sex offender or pedophile. Says Graham, “They’re not necessarily setting out to be evil or to be particularly cruel. They’re just basically going, ‘Oh, that’s where the killer is. That’s where that horrible kid is. For a dare, let’s write nonce.’ And when I said that, I always wanted it to be spelled wrong.”

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2025-03-22 20:02