The premiere episode of Apple TV+’s “Slow Horses” opens with a masterclass in cinematic misdirection. Within the first eight minutes, viewers are treated to a meticulously crafted spy-thriller sequence, designed to dazzle and engage before subtly shifting gears. This initial flourish, adapting a 15-page prologue from Mick Herron’s novel, presented a unique directorial challenge for James Hawes, known for his work on “Penny Dreadful” and “Black Mirror.” The goal was to immerse audiences unfamiliar with the source material into a world of espionage, offering the high-octane excitement of the genre before delving into the show’s more unconventional narrative.
Hawes aimed to deliver the “shiny, Aston Martin cocktail-swigging bit of the spy genre” before the series takes a “handbrake turn into the rest of the show.” This opening, featuring junior MI-5 agent River Cartwright (Jack Lowden) in pursuit of a potential target, masterfully creates a sense of urgency and intrigue. Even without prior knowledge that Cartwright is destined for the mundane world of Slough House, a dumping ground for MI-5 rejects led by the disheveled Jackson Lamb (Gary Oldman), the sequence successfully conveys a feeling of impending consequence. The jarring cut to the opening credits after Cartwright’s apparent failure serves as the first of many narrative surprises in a season that consistently plays with viewer expectations.
Crafting the High-Stakes Opening Scene
The logistical puzzle of filming the opening sequence was significant. Initially set at King’s Cross Station, the production faced numerous obstacles. Railway stations, with their complex administration and public presence, proved difficult to secure. Surprisingly, airports were more receptive, viewing the depiction of preventing a terrorist attack as a demonstration of their security capabilities. Heathrow Airport initially agreed to facilitate the shoot, but the burgeoning pandemic brought these plans to a halt.
As the production explored alternatives like a cruise ship or a party boat, Hawes felt his initial directorial ambitions diminishing. A breakthrough came with Stansted Airport, which, due to the pandemic, had significantly reduced operations. This provided a narrow window of opportunity to film the crucial scenes. “For once, the pandemic was our friend,” Hawes remarked.
Choreographing the Chase: From Tarmac to Stadium
With a location secured, the next step involved reimagining the chase sequence to fit Stansted’s geography. The original plan of River Cartwright running through terminal buildings was untenable. Hawes devised the idea of the chase extending onto the tarmac, culminating in Cartwright apprehending the suspect as they boarded a plane. This required navigating the complexities of a live airfield, a feat made possible by the pandemic-induced closures. Hawes elaborated on the process: “You’ve got to invent obstructions and incidents along the way.”
Further scene-building took place within Wembley Stadium, specifically in the area after baggage reclaim. The stadium’s escalators and tiered levels offered dynamic possibilities for filming, allowing Hawes to place the camera intimately on River’s shoulder, enhancing the sense of immersion. The use of “broken conspiratorial frames,” capturing glimpses through windows and over shoulders, added to the tense atmosphere. The production team further dressed the area to resemble an airport environment, seamlessly blending it with footage shot at Stansted.
The Shooting Schedule and Authenticity
The actual filming of this elaborate sequence was condensed into a tight TV schedule. Three days were allocated for the terminal and tarmac scenes at Stansted, with an additional day for the Wembley Stadium portion, a day for the train sequence, and a day for the MI-5 hub. “Preparation was everything. Communication was everything,” Hawes emphasized, highlighting the necessity for meticulous planning and coordination.
The authenticity of the scene was paramount. Hawes consulted with airport security teams and real police officers to ensure the depiction of security procedures was accurate. Many of the uniformed personnel seen in the airport were genuine officers providing guidance on their real-world actions. Similarly, the airport staff in high-visibility jackets were acting as they would in a genuine situation. These elements, combined with the actors’ performances, were intended to lend credibility and a sense of real jeopardy to the unfolding events. Jack Lowden, the lead actor, played a crucial role in ensuring the scene’s believability, providing feedback on anything that felt inauthentic.
Subtle Clues and Audience Trust
Hawes strategically embedded subtle details within the opening sequence, hinting that the dramatic events might be a training exercise. “There are little bits there that you can go back and find,” he noted. The presence of individuals with clipboards and video cameras, observing the action, served as visual cues for the exercise’s assessment.
The director also underscored the importance of trusting the audience’s intelligence. In a genre defined by intrigue and conspiracy, Hawes believes that withholding information and allowing viewers to piece things together enhances the viewing experience. “If you signpost everything, it just becomes dull,” he stated. This narrative strategy is evident in the way Cartwright is initially presented – his head down, his identity obscured – and in the gradual reveal of Jackson Lamb, whom the audience first encounters through indirect clues like a file and a worn sock. By employing these techniques, “Slow Horses” engages viewers, encouraging them to actively participate in unraveling the mysteries presented.
The first two episodes of “Slow Horses” are currently available for streaming on Apple TV+. New episodes are released weekly on Fridays.
