Adam Tomlinson Production Production Interview is an interview

When approaching his designs TeenagerProduction designer Adam Tomlinson says that the most important aspect is to maintain the flow. Although filming a ring in one shot is the function of the photographer, it will be impossible with the designs that were poorly placed.

Teenager A 13 -year -old boy is accused of killing his classmate, and the people around him are trying to know what happened. Since each episode was filmed in one style, which means a snapshot without interruption without cutting or modifications, Tomlinson needed to build groups in a way that allowed characters, as well as cameras, to move easily in floor plans.

The deadline: What is your approach to building the group to be able to photograph one snapshot?

Adam TomlinsonI am still close to that, as I would like to start with any other drama. I will read the textual programs, almost scrub a ground plan on paper. I have a wonderful arts section that will do the digital side of things, but I am a very old school and I love to pull it on paper. You start with something on the paper to put it in its position, clarify your thoughts, then the effects of everyone come at that time and we can dismantle this model. The thing that was clearly different from the single shot with the police station is that you cannot cut into the interior interview rooms or you have a small independent group that will come to it. Therefore, we had to draw where the conversations went. Whether this is a shipping office to cells, we must make sure that we have enough groups to keep people interested and the conversation does not stop in the middle of the road. We must make sure that our passages are long enough, then we only walk again to keep the group flow. This was the challenge that really faces us in keeping the police station’s flow move. We put the top floor there too so that everything is not very appropriate from the front charging office, so don’t go to the door there and a door there. It was only safe to maintain this movement at all times. This was our great challenge, only to keep its flow and maintain interesting to everyone.

The deadline: Can you talk about the Episode 3 group, where Jimmy (Owen Cooper) speaks with the processor?

Tomlinson: Yes, we built both groups next to each other in the studio. This was the first challenge that we face in obtaining it side by side. We did not have the luxury of building one group and the ability to take it away and then put the other, because we filmed the third episode first, which was the unit of adolescence and then to the police station, so we had to make sure that we could put them inside the studio. Once again, he died [Lewis, cinematographer] It will tell you that it is a unique way of lighting for him that you cannot put in light scenes. We had to make sure that we could understand it on our part, and its side.

With this group, we built a full front reception on that first, and we went to a kind of color sense. But we wanted to feel, walking in the corridors and then ascending in the elevator to come to another floor, you can reach the non -common side of that group. So, we tried to remove the color from it, so when we end up in that room there, we have some beans there, a few fixed organic pollutants but nothing nice there. This is when he starts with Irene [Doherty] Directly at the front elevator, hold a pass to the camera, and go directly across those doors. After that, when we come to the final room, just drain the color there and only with Owen [Cooper] And Erin takes place in the middle. But you hope that viewers will share what is going on because it is an incredible scene. I say the scene, but it is similar to a 40 -page dialogue between the two.