The premiere episode of Apple TV+’s “Slow Horses” immediately captivates viewers with a masterfully executed opening sequence. This intricate spy thriller flourish, spanning the first eight minutes, is a calculated misdirection, drawing the audience into a world of espionage before revealing its true nature. The adaptation of Mick Herron’s novel begins with junior MI-5 agent River Cartwright, portrayed by Jack Lowden, in pursuit of a suspected target within a bustling transport hub. Director James Hawes, known for his work on series like “Penny Dreadful” and “Black Mirror,” faced the significant challenge of bringing this complex scene to life across various logistical and creative vectors.
This meticulously crafted opening serves a dual purpose. For viewers unfamiliar with the source material, it acts as an immediate entry point, immersing them in the high-stakes world of the spy genre. As Hawes himself admits, the sequence is designed to deliver the “shiny, Aston Martin cocktail-swigging bit of the spy genre” before a dramatic “handbrake turn into the rest of the show.” Even without prior knowledge that Cartwright is destined for the backwaters of Slough House, alongside the disheveled Jackson Lamb (Gary Oldman) and his team of disgraced agents, the opening effectively conveys a sense of impending downfall for the ambitious protagonist. The jarring cut to the show’s credits after Cartwright’s apparent “failure” sets the tone for a season that consistently plays with audience expectations. In a conversation with IndieWire, Hawes detailed the intricate process of building authentic tension within a fictional universe where deception is paramount.
The Logistical Tightrope: From King’s Cross to Stansted
The initial planning for this pivotal scene presented considerable logistical hurdles. The novel depicted the chase taking place at King’s Cross Station. However, securing permission for filming at such a high-traffic location, especially with a scene involving a simulated terrorist attack, proved unfeasible due to administrative complexities and safety concerns. While airports initially expressed interest, demonstrating how security measures could be highlighted, the onset of the COVID-19 pandemic significantly altered those plans, as the airline industry shifted its focus to survival. Early discussions considered alternative settings like a cruise ship or a party boat, but these options lacked the desired impact.
A breakthrough came with Stansted Airport, which was largely closed during the pandemic, offering a limited window for filming. This unexpected turn of events, Hawes noted, proved beneficial. The production team, collaborating with the writer, VFX supervisor, and production designer, reimagined the chase sequence to fit the available geography. Since Stansted lacked the terminal layout of King’s Cross, the decision was made to move the action onto the tarmac, culminating in Cartwright intercepting the target as they boarded a plane. This dynamic shift required careful choreography, as Hawes explained, “Once you start your hero running, all he can do is run faster, run left, run right, climb a bit, double back. You’ve got to invent obstructions and incidents along the way.”
Further creative solutions were implemented to enhance the narrative. While the tarmac provided a unique setting, the area post-baggage reclaim at Stansted did not offer the desired visual complexity. The team ingeniously transformed a section of Wembley Stadium, the national football stadium, complete with escalators and multiple tiers, to depict this segment. This allowed for dynamic camerawork, including shots from Cartwright’s perspective and “broken conspiratorial frames” offering glimpses through windows and doors. Additional elements, such as a duty-free stall and luggage trolleys, were introduced to dress the scene. The sequence concluded by returning to Stansted for the final moments.
The Choreography of Suspense: On-Set Execution
With the locations secured, the actual shooting schedule was demanding, necessitating meticulous preparation and clear communication. The team had three days to capture the scenes at the terminal and tarmac, followed by a single day for the Wembley Stadium segment, a day for the train sequence, and another for the MI-5 hub. This compressed schedule, typical for television production, imbues the final product with a palpable energy. Hawes emphasized the collaborative nature of directing, where actors like Jack Lowden play a crucial role in testing the logic and authenticity of the action. Lowden’s ability to identify anything that felt inauthentic, coupled with his enthusiasm for the action, was instrumental. Notably, Lowden performed his own driving stunts.
To deepen viewer immersion, subtle details were embedded within the opening sequence, hinting that the elaborate chase might be a training exercise. Hawes strategically placed individuals with clipboards and video cameras, serving as assessors of the exercise. The authenticity of the scene was further enhanced by the involvement of real airport security personnel and staff who advised on procedures and acted as extras, responding as they would in a genuine situation. These elements, combined with Cartwright’s palpable desperation and the risks he takes, are intended to maintain a sense of real jeopardy for the audience, even if discerning viewers might pick up on the underlying clues upon rewatching.
Withholding the Reveal: The Art of Audience Engagement
The narrative structure of “Slow Horses” deliberately withholds information, trusting the audience’s intelligence and patience. Hawes, along with the writing team, consciously opted to reveal details gradually, particularly concerning Jackson Lamb and the specifics of Cartwright’s failed exercise. This approach is central to the genre, which thrives on intrigue and conspiracy. The visual storytelling further complements this, employing techniques such as close-ups of Cartwright’s downcast head upon his return, obscuring his identity initially, and utilizing fragmented framing to build suspense. Lamb himself is not immediately revealed; instead, the audience encounters clues like a file and a worn sock before his full appearance.
Hawes firmly believes that over-signposting plot points can render a story dull. He trusts that audiences, especially those drawn to genre pieces, are adept at piecing together clues and working out the narrative. This deliberate withholding of immediate answers, applied to both the visual presentation and the unfolding story, is a key element in maintaining engagement and fostering a sense of discovery throughout the season.
The first two episodes of “Slow Horses” are currently available for streaming on Apple TV+. New episodes are released weekly on Fridays.
