The premiere episode of Apple TV+’s “Slow Horses” opens with a masterfully executed sequence, a testament to meticulous planning and directorial vision. This nearly eight-minute action-packed introduction masterfully blends the allure of spy genre thrills with a “handbrake turn” into the series’ unconventional narrative, all while subtly weaving in clues that this high-stakes pursuit is, in fact, a training exercise. James Hawes, the director behind this compelling opening, shared insights into the logistical challenges and creative choices involved in bringing this pivotal scene to life.
From Kings Cross to Stansted: Adapting to Circumstance
The original novel by Mick Herron envisioned the opening chase sequence in the bustling Kings Cross Station. However, the production faced significant hurdles in securing this location due to administrative complexities and the sensitive nature of depicting a terrorist attack. “Amazingly, the airports said, ‘We see this differently. We see this as demonstrating how clued up we are to prevent a terrorist attack. We see this as deterrence,’” Hawes noted. Heathrow initially expressed willingness, but the burgeoning pandemic forced a rethink. Ideas of filming on a cruise ship or a party boat were considered, but ultimately, Stansted Airport, with its reduced activity due to COVID-19, offered a crucial window of opportunity. “And for once, the pandemic was our friend,” Hawes remarked.
Choreographing the Chase: A Multi-Location Production
With Stansted secured, the creative team, including the writer, VFX supervisor, and production designer, reconnoitered the location to reimagine the chase. The geography of Stansted necessitated a departure from the novel’s depiction. “So I came up with the idea that he goes down onto the tarmac, that he catches the guy as he’s boarding the plane,” Hawes explained. This meant navigating the complexities of a live airfield, a feat made possible by the airport’s cooperation.
The sequence further expanded beyond the tarmac. To build the world and escalate the tension, the scene transitions to Wembley Stadium for its escalators and varied tiers, allowing for dynamic camerawork, including shots from River Cartwright’s (Jack Lowden) perspective. “I also wanted these broken conspiratorial frames. You get look-throughs over people’s shoulders through windows, through doors,” Hawes stated, describing the visual language employed. The production team ingeniously dressed a corner of Wembley with a duty-free stall and trolleys to create a believable transition before rejoining Stansted Express for the final leg of the pursuit.
The Reality of a TV Schedule: Precision and Performance
The actual shooting of this complex sequence was condensed into a tight TV schedule. “Preparation was everything. Communication was everything,” Hawes emphasized. They had three days for the terminal and tarmac at Stansted, one day for the Wembley Stadium scenes, one day for the train, and another for the MI-5 hub. This focused approach, Hawes believes, contributes to the “certain energy” of the final product. He praised Jack Lowden’s performance, noting the actor’s ability to discern authenticity and his enthusiasm for action sequences. “And he did his own driving,” Hawes added.
Subtle Clues: The Training Exercise Unveiled
Hawes intentionally embedded subtle details to hint that the opening sequence was a training exercise, rewarding observant viewers upon rewatching. “There are little bits there that you can go back and find,” he revealed. Spotting individuals with clipboards and video cameras, who served as assessors, or observing the genuine airport security and staff acting as they would in a real situation, provides clues. “So there’s clues and there’s authenticity done throughout,” Hawes confirmed. The desperation in River Cartwright’s performance also serves as a subtle indicator, suggesting he might be taking risks he wouldn’t if faced with genuine peril. Despite these hints, the aim was to maintain a sense of real jeopardy, ensuring the audience was fully immersed in the ride.
Trusting the Audience: Withholding Reveals for Intrigue
The narrative structure of “Slow Horses” relies on withholding information to maintain intrigue, a deliberate choice Hawes and the writing team embraced. “It’s always a balance between how much you feel the need to give the story geography to the audience and how much you want to keep them working,” Hawes explained. He firmly believes that “if you signpost everything, it just becomes dull, especially in a genre that has intrigue and conspiracy attached to it.” This philosophy is evident in the visual storytelling, such as River’s disoriented return upstairs, his identity obscured initially. Similarly, the introduction of Gary Oldman’s character, Jackson Lamb, is deliberately delayed, with viewers first encountering a file and a holey sock before he is revealed. “I think audiences are damn smart, especially in a genre piece. They know. They’re working it out,” Hawes concluded, expressing confidence in the audience’s ability to piece together the narrative.
The first two episodes of “Slow Horses” are currently available on Apple TV+, with new episodes premiering weekly.
