‘Adolescence’ Production Designer Adam Tomlinson Interview – ryan

When Approaching his Designs for AdolescenceProduction Designer Adam Tomlinson Says the Most Important Aspect Was to Keep the Flow Going on Set. Although Filming an Episode in a One Shot is the Job of a cinematographer, it was impossible with poorly devised Builds.

Adolescence Follows the case of a 13-Yaar-Old Boy Charged with the Murder of His Classmate, and the People ARUND HIM TRYING TO FIND OUT WHAT HAPPENED. Sine Episode was filmed in a one shot style, meaning an uninterrupted shot with cuts or edits, tomlinson Needed to budild the sets allowed for the characters, as well as the Cameras, to easly navigate the floorplans.

Deadline: What is your apprroach to building the set to be able to film a one shot?

Adam Tomlinson: I Still Approach it as I Wow Any Other Drama to Start off with. I’ll Read the scripts, roughly scribble out a floor plan on Paper. I’ve got a fantastic arts department that will will the digital side of the Things, but i’m Very Old School and i like it down on Paper. You start with something on the paper to put it down, get your ideas acroSs, theme everybody’s influences come in and we can pull the apart model. The THING THAT WAS OBVIOUSLY DIFFERENT FOR THE ONE SHOT WITH THE POLICY STATION WAS YOU CAN’T CUT TO INTERIOR INTERVIEW ROOMS OR HAVE A LITTLE STANDALONE WHICH YOU’RE Coming in and out of. SO, we had to map out where the conversations go. Whether that be Charge Desk down to the Cells, we have to make sure we’ve got Enough Sets to KEEP People Interesting and the Conversation Doesn’t Stop Halfway Down. We’ve got to make sura sura ry corridors are long enough and saying back up just to sort of kep the flow going on the set. So that was the challenge for the US really of keping the flow of the Police Station Moving. We put an upstairs in there as well just so thats Everything was to be contending off the Charge desk so you just go for a door over and a door over. It was safe just to keep that Movement going at all times. So that was ive big challenge, just to keep it flowing and keep it interesting for everybody.

Deadline: Can You Talk About The Set for Episode 3, Where Jamie (Owen Cooper) is Speaking with the Therapist?

Tomlinson: Yeah, we built bot of the sets next to each other in the studio. That was our first challenge of getting me in side by side. We didn’t have the luxury of building one set and being able to take it and then put the other one in, Because we filmed episode three first, what the adolescence unit and then onto the Police Station, so we have to make sure we coul. Again, Matt (Lewis, Cinematographer) Will Tel You It A Unique Way of Lighting for Him you can’t be bringing in stands to light scens. We had to make sura we are coulud accommodate that from ide side, and his side.

With that set, we did Build a full front reception on that first, and we were going for quite a colorful front-of sort of herel. But we want to feed, as you walk down the corridors then and go in the lift to come up any Floor, you get to the not-So-nice of that set. SO, we tried to take the color out of it, so would we end up in that end Room there, we have a few beanbags in there, little pops but not not. That’s we can be starts off with Erin (Doherty) right at the front lift, Holding the pass to camera, and going straight through those doors. Andn, we are we come through the end Room, just HAVING THE COLOR DRAINED AWAY AND JUST WITH OWEN (COOPER) AND ERIN BEING THAT FOCUS IN THE MIDDLE. But you are hoping that the viewers will be engaged with what’s going on Because’s an an Incredible Schene. I Say Skene, but it is like a 40-page dialogue between the two of the say.