The premiere of Apple TV+’s “Slow Horses” opens with a masterclass in misdirection. For the first eight minutes, viewers are treated to a meticulously crafted spy-thriller sequence, akin to a magician’s sleight of hand, designed to captivate and conceal the true nature of the unfolding narrative. This intricate setup is the adaptation’s gateway into the world of Mick Herron’s espionage novels, immediately immersing the audience in high-stakes action.
A Calculated Beginning
Director James Hawes, known for his work on “Penny Dreadful” and “Black Mirror,” faced the considerable task of bringing the novel’s sprawling 15-page prologue to life. The sequence follows junior MI5 agent River Cartwright (Jack Lowden) as he tracks a suspected target through a bustling transport hub. Hawes strategically designed this opening to serve as an accessible entry point for those unfamiliar with the source material. He aimed to deliver the “shiny, Aston Martin cocktail-swigging bit of the spy genre” before executing a dramatic “handbrake turn into the rest of the show.” Whether viewers are aware of Cartwright’s impending banishment to the dreary world of Jackson Lamb (Gary Oldman) and his band of disgraced agents or not, Hawes expertly crafts a sense of unease, hinting that our protagonist might be pursuing a phantom through the uncanny valley of action thrillers. The jarring cut to the opening credits after Cartwright’s apparent failure and the subsequent reveal that this intense chase was merely an exercise serve as a brilliant kickoff for a season that consistently plays with audience expectations.
Navigating Logistical Challenges
The initial planning for this pivotal scene presented significant logistical hurdles. The novel originally set the chase in London’s King’s Cross Station. However, securing permission for such a large-scale production in a highly trafficked public space, especially for a scene depicting a terrorist attack, proved insurmountable. While airports were more amenable, viewing the sequence as a demonstration of their security capabilities, unforeseen circumstances, including the onset of the pandemic, complicated matters further. The initial hope of filming at Heathrow was dashed as the airline industry became consumed with its own survival. Even proposals to film on a cruise ship or a party boat failed to materialize, threatening to extinguish Hawes’ directorial ambitions for the scene. A breakthrough came with Stansted Airport, which, due to the pandemic’s impact on holiday travel, offered a limited but crucial window for filming. In a strange twist of fate, the pandemic, a disruptor for so many, became an unlikely ally, enabling the production to capture the necessary footage.
Choreographing the Chase
Once a location was secured at Stansted, the focus shifted to choreography. Hawes, along with the writer, VFX supervisor, and production designer, scouted the airport to reimagine the chase sequence. The geography of Stansted differed significantly from King’s Cross, necessitating creative solutions. Hawes conceived the idea of Cartwright pursuing his target onto the tarmac and apprehending him as he boarded a plane – a move impossible on a live airfield without special arrangements. Drawing inspiration from a writer’s observation that a hero in pursuit can only run faster, sideways, or climb, Hawes focused on inventing obstructions and incidents to maintain momentum and tension.
The sequence further evolved by incorporating Wembley Stadium into the narrative. After the baggage reclaim scene at Stansted, which didn’t offer the desired escalating environment, Wembley provided the necessary escalators and tiered structures. Hawes aimed to place the camera shoulder-to-shoulder with Cartwright, creating a sense of immediate participation. He also employed “broken conspiratorial frames,” utilizing look-throughs over shoulders and through windows to enhance the feeling of suspense. The production team ingeniously dressed a corner of Wembley with a duty-free stall and luggage trolleys to seamlessly integrate this new location. The final part of the chase then returned to Stansted.
The Demands of a Tight Schedule
The actual shooting of this complex sequence was compressed into a tight schedule, underscoring the importance of meticulous preparation and clear communication. The team had three days to film the terminal and tarmac scenes at Stansted, one day for the Wembley segment, one for the train, and another for the MI5 hub. This focused approach, characteristic of television production, instilled a palpable energy into the process. Hawes emphasized that thorough planning is crucial, as actors like Jack Lowden, known for his discerning eye, will rigorously test the logic and authenticity of their actions and reactions. Lowden’s enthusiasm for the action and his willingness to perform his own stunts, including driving, were invaluable to the filming process.
Subtle Clues for Re-watchers
While the primary goal of the opening was to fully immerse the viewer, Hawes strategically planted subtle details that reward repeat viewings, hinting that the dramatic chase is, in fact, a training exercise. Observers might notice individuals with clipboards and video cameras, serving as assessors for the exercise. Airport security teams and real airport staff provided authentic guidance, contributing to the scene’s verisimilitude. These elements, combined with Cartwright’s palpable desperation and the risks he takes—perhaps more than he would if a real bomb were present—create a compelling illusion of genuine jeopardy.
The Art of Withholding Information
The narrative structure of “Slow Horses” deliberately plays with audience patience. Jackson Lamb’s early mention of a past exercise gone awry is only visually confirmed later when River is with Webb. Hawes believes in balancing the need to provide narrative clarity with the desire to keep the audience actively engaged. He argues that over-signposting plot points can render a story, particularly one rich in intrigue and conspiracy, dull. The series employs a strategy of withholding reveals, even in its cinematography. River’s initial appearance after ascending stairs is deliberately obscured, with his head down, making him unrecognizable until he is fully revealed. Similarly, Jackson Lamb is not immediately shown; instead, viewers encounter clues like a file or a worn sock before he is finally unveiled. This narrative approach trusts the audience’s intelligence, especially within a genre known for its complexities, allowing them to piece together the unfolding mystery.
The first two episodes of “Slow Horses” are currently available on Apple TV+. New episodes are released weekly on Fridays.
