http://www.spooksforum.co.uk/ Sun, 03 May 2026 22:32:40 +0000 MyBB http://www.spooksforum.co.uk/thread-1532.html Fri, 11 Feb 2011 23:54:34 +0000 http://www.spooksforum.co.uk/thread-1532.html
here's a question - from a production / editorial point of view.

Why did Spooks stick with using SKY News for so long in helping tell the story. It started creeping in in S3, and even only 4 episodes into S4 SKY News has been used a lot to assist in short-handing the story telling. I understand the effectiveness and uselfulness of this for telling the story to us as a viewer although sometimes I think it's overused and a bit lazy. I'd be interested on others views on this.

But my main point is why the BBC allowed SKY News to be used for so long, complete with several main SKY presenters (Jeremy Thomson Anna Botting etc).

When does the Grid re-tune it's TVs to BBC News 24 (BBC News Channel later)? And how did they get away with SKY for so long?]]>
here's a question - from a production / editorial point of view.

Why did Spooks stick with using SKY News for so long in helping tell the story. It started creeping in in S3, and even only 4 episodes into S4 SKY News has been used a lot to assist in short-handing the story telling. I understand the effectiveness and uselfulness of this for telling the story to us as a viewer although sometimes I think it's overused and a bit lazy. I'd be interested on others views on this.

But my main point is why the BBC allowed SKY News to be used for so long, complete with several main SKY presenters (Jeremy Thomson Anna Botting etc).

When does the Grid re-tune it's TVs to BBC News 24 (BBC News Channel later)? And how did they get away with SKY for so long?]]> http://www.spooksforum.co.uk/thread-1322.html Fri, 05 Nov 2010 23:13:05 +0000 http://www.spooksforum.co.uk/thread-1322.html Whatever happened to Sam Buxton? As far as I know she is the only character whose exit from the show hasn't been explained in the story. Near the end of episode 3.10, after Danny is shot, Ruth tells Harry that she (Sam) has had to be put under sedation. And thats it; we never see or hear of her again! Or did I miss something?....]]> Whatever happened to Sam Buxton? As far as I know she is the only character whose exit from the show hasn't been explained in the story. Near the end of episode 3.10, after Danny is shot, Ruth tells Harry that she (Sam) has had to be put under sedation. And thats it; we never see or hear of her again! Or did I miss something?....]]> http://www.spooksforum.co.uk/thread-1076.html Mon, 09 Aug 2010 02:07:58 +0000 http://www.spooksforum.co.uk/thread-1076.html
-Strange recap -- jumps around different eps.

-Actor playing Peter -- came in for one day's shooting and just cried, very difficult to do. His scene was shot in all one take. His audition consisted of crying on cue.

-NW: noise blood makes when Peter shoots himself is quite disturbing.

-Howard Brenton script -- opening scene stayed the same through all the drafts. Don't see Angela's face in opening scene.

-Ruth's piece of paper in door -- added to scene at last minute.

-Ruth entering her house -- shot in daylight and film processed so it looks like night.

-Ruth walking down her hallway with mace -- meant to be like a horror movie, waiting for someone to jump out at her.

-Uses of tradecraft -- even Ruth does something when she leaves home (piece of paper) for security. Same with her carrying mace.

-Using mace, even at a distance, will bring down everyone in a room -- don't need to be right on top of someone for it to be effective.

-Lindsay Duncan extraordinary as Angela Wells. Ruth and Angela vie with each other throughout ep. Nice darkness to their relationship that is instantly apparent when they're onscreen together.

-Everyone at the top of their game in this ep.

-How did Ruth manage to get MD reader off the grid? Great image that Ruth "borrows" equipment to take home -- touch of kleptomania!

-Ruth and Angela both totally unfazed by microdot hidden in false tooth.

-Don't often see long scenes with two strong women.

-Structure of this ep unusual for spooks -- mostly very theatrical, long scenes, not the more typical quick, short scenes; most likely because HB is primarily a playwright.

-HB pitched the idea for a Princess Diana ep.

-MR didn't want to say "lozzie" line but director wanted to keep it in.

-Given how often The George is mentioned, MR thinks the odd scene should be shot there. NW thinks it would be interesting to see the whole crew use legends together.

-Angela's handbag a copy of one that MR owns.

-Angela's entry onto grid -- difficult to shoot because there were so many people involved and difficult for actors because they needed to hit their marks and say lines in a crowd.

-MR: loves Malcolm when he's being effusive. HB loves writing for Malcolm.

-"Get her out of here" -- Angela framed centrally in her shots because she's taking control of the grid.

-NW: Lindsay got through "false bottom" line with no trouble. If any of the regulars had had to say it, they would have needed to do a number of takes because everyone would have been laughing hysterically.

-Ep 10 shot before ep 9 -- Lindsay and Julian were the "new kids" together.

-Harry doesn't get shouted at too often but Angela doesn't hesitate.

-Angela taking charge is somewhat terrifying for team -- even when they're not necessarily in control of a situation, they're always in control of the grid.

-Huge lighting change when grid goes into lockdown -- great sound effect, then totally different look. Grid turns into a totally different place via lighting.

-Trojan Horse -- Angela gets onto grid because everyone's keen to meet and flatter her. Juliet smuggles her in and then gets huffy when she discovers Angela's lifted a classified document. Interesting that Juliet's breach of protocol has no repercussions.

-Over past several eps, Juliet's gone to lots of meetings -- needed to find various ways to get her off the grid.

-MR: Lindsay very "unactressy" except with respect to the remote control device -- didn't want anyone else messing with her button.

-Zaf running at Angela to disarm her -- very tricky to work out and shoot; so many different points of view to take into account. Very hard to maneuver with so many people on the grid.

-From when Juliet and Angela enter grid to when Angela and Jo go into conference room -- one long 10-page scene.

-Experienced Angela vs. newbie Jo -- nice juxtaposition. Angela chilling in scenes with Jo -- has the ability to absolutely destroy her; goes halfway toward doing so and then pulls back. Julian winding MR up -- wanted to plant a puddle of piss under Jo's chair in conf room.

-HB threw some comic relief into script with Colin digging through wall.

-NW: enjoyed watch Rory rehearsing how to say "Mice" -- he came up with about 12 different ways to deliver line and, ultimately, he does sell it.

-Julian: the first thing you do as a director when someone like Lindsay Duncan walks onto your set is to quake in terror.

-Julian: loves to set scenes in the Forgery Suite and the corridor -- you really have no idea where you are in the geography of the grid. NW: Hard to have private conversations on the grid, works much better in the corridor.

-Zaf explaining how MI5 and MI6 killed Princess Diana -- best scene in ep; completely sucks you in. Very long speech by Raza and not much time to learn it -- his delivery is absolutely brilliant and he uses the props fantastically (board and marker).

-Intercutting of recreated Princess Diana scenes while Zaf describes the action -- the uncovering of the conspiracy; we're seeing the whole episode unfold as he narrates it.

-Cut from Ruth's face to Harry with Ruth's psych evaluation -- makes Harry seem very sinister.

-NW: Ruth slightly losing her mind at the thought that Harry helped kill Princess Diana and she might have to have him arrested. Fighting back her personal feelings.

-NW: Ruth goes through the whole ep being brave and thinking she's doing the right thing and the terrible revelation is that she's being played, being taken for an absolute ride. Julian: But as a character, she's still being absolutely courageous and strong -- what she's being asked to do is a real test for her.

-All the other actors stayed on the set to watch the final scene between Ruth and Angela -- a staggering scene -- NW and LD were bouncing off each other so well. Ruth was breaking Angela down, watching her crack. Ruth couldn't afford to react emotionally -- had to break through the tears and twist the knife. Ruth obviously upset, too, but wasn't giving in to it. Difficult for Ruth to talk about sex, but to talk about having sex with her step-brother and to do so at Harry's command was very tricky. Harry saw something in Ruth's file which led him to believe she could confront Angela about Peter.

-Strength of LD's performance -- when Angela pressed the button, NW really flinched even though she knew it wasn't real.

-NW: ending of this ep is her favorite of all the series.

-Original ending of ep had Angela blowing herself up up in the middle of Whitehall. Alternate ending had to be shot in one day.

-Final 10 mins of ep a totally different story than first 40 mins.

-Pegasus underground location -- corridor underneath Thames Barrier.

-When RPJ cuts wires, he nipped his finger -- kept him licking his finger in because it looked cool.

-"Bravery is something I dread" -- great Malcolm line.

-NW: to imply that both Adam and Harry are killed at end of ep is genius.

[This is a great commentary -- make time to listen if you have it.]]]>
-Strange recap -- jumps around different eps.

-Actor playing Peter -- came in for one day's shooting and just cried, very difficult to do. His scene was shot in all one take. His audition consisted of crying on cue.

-NW: noise blood makes when Peter shoots himself is quite disturbing.

-Howard Brenton script -- opening scene stayed the same through all the drafts. Don't see Angela's face in opening scene.

-Ruth's piece of paper in door -- added to scene at last minute.

-Ruth entering her house -- shot in daylight and film processed so it looks like night.

-Ruth walking down her hallway with mace -- meant to be like a horror movie, waiting for someone to jump out at her.

-Uses of tradecraft -- even Ruth does something when she leaves home (piece of paper) for security. Same with her carrying mace.

-Using mace, even at a distance, will bring down everyone in a room -- don't need to be right on top of someone for it to be effective.

-Lindsay Duncan extraordinary as Angela Wells. Ruth and Angela vie with each other throughout ep. Nice darkness to their relationship that is instantly apparent when they're onscreen together.

-Everyone at the top of their game in this ep.

-How did Ruth manage to get MD reader off the grid? Great image that Ruth "borrows" equipment to take home -- touch of kleptomania!

-Ruth and Angela both totally unfazed by microdot hidden in false tooth.

-Don't often see long scenes with two strong women.

-Structure of this ep unusual for spooks -- mostly very theatrical, long scenes, not the more typical quick, short scenes; most likely because HB is primarily a playwright.

-HB pitched the idea for a Princess Diana ep.

-MR didn't want to say "lozzie" line but director wanted to keep it in.

-Given how often The George is mentioned, MR thinks the odd scene should be shot there. NW thinks it would be interesting to see the whole crew use legends together.

-Angela's handbag a copy of one that MR owns.

-Angela's entry onto grid -- difficult to shoot because there were so many people involved and difficult for actors because they needed to hit their marks and say lines in a crowd.

-MR: loves Malcolm when he's being effusive. HB loves writing for Malcolm.

-"Get her out of here" -- Angela framed centrally in her shots because she's taking control of the grid.

-NW: Lindsay got through "false bottom" line with no trouble. If any of the regulars had had to say it, they would have needed to do a number of takes because everyone would have been laughing hysterically.

-Ep 10 shot before ep 9 -- Lindsay and Julian were the "new kids" together.

-Harry doesn't get shouted at too often but Angela doesn't hesitate.

-Angela taking charge is somewhat terrifying for team -- even when they're not necessarily in control of a situation, they're always in control of the grid.

-Huge lighting change when grid goes into lockdown -- great sound effect, then totally different look. Grid turns into a totally different place via lighting.

-Trojan Horse -- Angela gets onto grid because everyone's keen to meet and flatter her. Juliet smuggles her in and then gets huffy when she discovers Angela's lifted a classified document. Interesting that Juliet's breach of protocol has no repercussions.

-Over past several eps, Juliet's gone to lots of meetings -- needed to find various ways to get her off the grid.

-MR: Lindsay very "unactressy" except with respect to the remote control device -- didn't want anyone else messing with her button.

-Zaf running at Angela to disarm her -- very tricky to work out and shoot; so many different points of view to take into account. Very hard to maneuver with so many people on the grid.

-From when Juliet and Angela enter grid to when Angela and Jo go into conference room -- one long 10-page scene.

-Experienced Angela vs. newbie Jo -- nice juxtaposition. Angela chilling in scenes with Jo -- has the ability to absolutely destroy her; goes halfway toward doing so and then pulls back. Julian winding MR up -- wanted to plant a puddle of piss under Jo's chair in conf room.

-HB threw some comic relief into script with Colin digging through wall.

-NW: enjoyed watch Rory rehearsing how to say "Mice" -- he came up with about 12 different ways to deliver line and, ultimately, he does sell it.

-Julian: the first thing you do as a director when someone like Lindsay Duncan walks onto your set is to quake in terror.

-Julian: loves to set scenes in the Forgery Suite and the corridor -- you really have no idea where you are in the geography of the grid. NW: Hard to have private conversations on the grid, works much better in the corridor.

-Zaf explaining how MI5 and MI6 killed Princess Diana -- best scene in ep; completely sucks you in. Very long speech by Raza and not much time to learn it -- his delivery is absolutely brilliant and he uses the props fantastically (board and marker).

-Intercutting of recreated Princess Diana scenes while Zaf describes the action -- the uncovering of the conspiracy; we're seeing the whole episode unfold as he narrates it.

-Cut from Ruth's face to Harry with Ruth's psych evaluation -- makes Harry seem very sinister.

-NW: Ruth slightly losing her mind at the thought that Harry helped kill Princess Diana and she might have to have him arrested. Fighting back her personal feelings.

-NW: Ruth goes through the whole ep being brave and thinking she's doing the right thing and the terrible revelation is that she's being played, being taken for an absolute ride. Julian: But as a character, she's still being absolutely courageous and strong -- what she's being asked to do is a real test for her.

-All the other actors stayed on the set to watch the final scene between Ruth and Angela -- a staggering scene -- NW and LD were bouncing off each other so well. Ruth was breaking Angela down, watching her crack. Ruth couldn't afford to react emotionally -- had to break through the tears and twist the knife. Ruth obviously upset, too, but wasn't giving in to it. Difficult for Ruth to talk about sex, but to talk about having sex with her step-brother and to do so at Harry's command was very tricky. Harry saw something in Ruth's file which led him to believe she could confront Angela about Peter.

-Strength of LD's performance -- when Angela pressed the button, NW really flinched even though she knew it wasn't real.

-NW: ending of this ep is her favorite of all the series.

-Original ending of ep had Angela blowing herself up up in the middle of Whitehall. Alternate ending had to be shot in one day.

-Final 10 mins of ep a totally different story than first 40 mins.

-Pegasus underground location -- corridor underneath Thames Barrier.

-When RPJ cuts wires, he nipped his finger -- kept him licking his finger in because it looked cool.

-"Bravery is something I dread" -- great Malcolm line.

-NW: to imply that both Adam and Harry are killed at end of ep is genius.

[This is a great commentary -- make time to listen if you have it.]]]> http://www.spooksforum.co.uk/thread-1071.html Sat, 07 Aug 2010 02:55:40 +0000 http://www.spooksforum.co.uk/thread-1071.html
-PF has shorter hair in this ep -- NW approves.

-Ep shot in June -- very hot on grid set re PF sweating.

-Wardrobe lost Ruth's necklace for awhile during this ep -- NW upset and created continuity problems.

-Lipstick cam on helicopter -- how they got shots of what heli was flying over.

-Slo mo of Alex Roscoe walking away from heli at beginning of ep -- every actor's dream shot.

-Big debate over how loud to shout when Adam confronts Roscoe -- heli wasn't actually going at the time; actors very self-conscious.

-Harry getting angry at everyone in this ep.

-Adam -- ad libbed wave to Roscoe when he gets into heli.

-Good opening sequence for this ep.

-Prescience of ep re relations between US and Iran.

-Khurvin observation location was originally a "horrible shade of yellow" -- changed it to white in post production.

-Actor shot in obs room in this ep gets killed and then beat up in s5 (stunt register in UK has only 50-60 people -- use stunt people over and over).

-Harry Pearce -- the "big white hat" character of spooks.

-"Sacking" scene between Harry and Juliet -- largely improvised.

-Anna Chancellor doesn't watch any of her eps -- doesn't like to see herself onscreen. NW told AC she should watch -- "bloody brilliant character."

-Ruth in meeting room scene after H suspended -- is in grief.

-Miranda had several different hair styles in this ep -- they still hadn't figured out her character and kept playing with her hair.

-Group a little lost without Harry around.

-Different directors and DOP's light forgery suite differently -- in this ep, it's blue.

-Pic of Khurvin in terrorist training camp -- taken in Wales.

-The two Khurvin scenes where he's sitting at a desk with plans and missile schematics added after ep was shot because plot was getting too complicated -- needed to see him planning attack to remind audience of threat.

-Jo and Zaf -- after asking her in previous three eps to move in with him, they cut her saying "yes" in this ep.

-Best part of ep -- seeing Harry at home; we get to know the character a little better seeing him off the grid. PF had to improvise with dog because it wouldn't follow trainer's commands.

-Who looks after Scarlet when Harry's at work?

-If the group listened to Ruth, ep would last about 15 mins.

-Grid looks very blue and icy in this ep. No set "house style" for spooks.

-Characters in spooks tend to live in very expensive houses -- need bigger rooms in order to fit lights and cameras, crew, etc.

-Harry's neighborhood shop was a real place.

-Sequences of Harry practicing tradecraft very important for his character -- you finally get to see why he's the boss and how good he probably was as a field agent.

-Dog was great with PF, less so with the animal trainer.

-"Link analysis" -- a very advanced Google.

-Cashpoint in Paternoster Sq -- a fake put in by spooks crew. Some woman passing by kept trying to get money from it.

-Dog track -- great shots of racing. PF eating jelly deals (?) for first time -- didn't like them but decided he really needed to eat to stay in character (PF very method in his acting). Continuity problem -- cup in and out of PF's hand; unlike PF to make mistakes like that.

-Relationship between Harry and Adam has been developing through s5 -- beautiful in this ep.

-Harry with dog whistle -- couldn't get dogs to bark so had to get lots of shots of dogs and add sound effects.

-Star Trek references in ep -- USS Enterprise (US ship near Iran) and Cardassia Financial Services (planet in the United Federation of Planets). Rupert Walters (writer) a trekkie.

-Lots more humor in this ep than is usual.

-Rory (Colin) had to learn reams of technical lingo for this ep.

-Ruth falling in love with Harry.

-NW -- her favorite Harry legend, so far, is Giles Farmer.

-Raza getting up from bench to follow Pollard during surveillance -- looked quite cool until he walked into a bench and banged his knee; leg gave way and he started hopping.

-Pollard surveillance and breaking into office -- great spooks sequence; lots of split screen following all the action and grid personnel.

-Adam and Jo -- the two best looking cleaners in London.

-Shooting on bridge a disaster because so many tourists; kept looking directly into camera.

-Bus scene -- Ruth reading Jane Austen (NW thought she should be reading Mary Shelley). Camera focus always on Ruth -- Harry soft-edged. Ruth pissed when Harry talks about Adam.

-Harry figures out some piece of crucial info re Khurvin -- you read it in his face.

-Roscoe and Juliet meeting -- both wearing sunglasses (look very American); playing poker, can't see each other's eyes. When Roscoe removes his sunglasses, you know he's lost.

-Michael Gorman (John Sharian - American actor) -- first American character who has same level of knowledge as Harry and is brutally honest about what's really happening. A renegade, outside the system -- doesn't have an agenda. Not someone Harry could usually meet with but his present non-status gives him some leeway.

-" . . . happening on our doorstep, on our watch" -- whatever is being planned, Harry won't let it happen on his watch.

-Adam and Jo following Khurvin in car -- shot during the day and film processed to make it look like night.

-Khurvin's weapon was a real (deactivated) surface-to-air missile. Rented from weapons prop shop.

-Harry in Pollard's office -- sweet victory. Actor playing Pollard did a great job portraying the character without having said a word.

-NW -- actors frequently try to imagine what music will be used in scenes and then try to sing it.

-Harry frequents the dog track -- interesting character insight.

-2nd dog track scene totally improvised and ad libbed by PF and RPJ (including Harry cheering dog on). They were really betting on the races and James Dicker (Wes) kept winning. PF spent the day protecting Dicker -- no one could get near him.

-Teaser for 4.10 -- best teaser for any ep of spooks.

[This is a really good commentary -- well worth listening to if you have it.]]]>
-PF has shorter hair in this ep -- NW approves.

-Ep shot in June -- very hot on grid set re PF sweating.

-Wardrobe lost Ruth's necklace for awhile during this ep -- NW upset and created continuity problems.

-Lipstick cam on helicopter -- how they got shots of what heli was flying over.

-Slo mo of Alex Roscoe walking away from heli at beginning of ep -- every actor's dream shot.

-Big debate over how loud to shout when Adam confronts Roscoe -- heli wasn't actually going at the time; actors very self-conscious.

-Harry getting angry at everyone in this ep.

-Adam -- ad libbed wave to Roscoe when he gets into heli.

-Good opening sequence for this ep.

-Prescience of ep re relations between US and Iran.

-Khurvin observation location was originally a "horrible shade of yellow" -- changed it to white in post production.

-Actor shot in obs room in this ep gets killed and then beat up in s5 (stunt register in UK has only 50-60 people -- use stunt people over and over).

-Harry Pearce -- the "big white hat" character of spooks.

-"Sacking" scene between Harry and Juliet -- largely improvised.

-Anna Chancellor doesn't watch any of her eps -- doesn't like to see herself onscreen. NW told AC she should watch -- "bloody brilliant character."

-Ruth in meeting room scene after H suspended -- is in grief.

-Miranda had several different hair styles in this ep -- they still hadn't figured out her character and kept playing with her hair.

-Group a little lost without Harry around.

-Different directors and DOP's light forgery suite differently -- in this ep, it's blue.

-Pic of Khurvin in terrorist training camp -- taken in Wales.

-The two Khurvin scenes where he's sitting at a desk with plans and missile schematics added after ep was shot because plot was getting too complicated -- needed to see him planning attack to remind audience of threat.

-Jo and Zaf -- after asking her in previous three eps to move in with him, they cut her saying "yes" in this ep.

-Best part of ep -- seeing Harry at home; we get to know the character a little better seeing him off the grid. PF had to improvise with dog because it wouldn't follow trainer's commands.

-Who looks after Scarlet when Harry's at work?

-If the group listened to Ruth, ep would last about 15 mins.

-Grid looks very blue and icy in this ep. No set "house style" for spooks.

-Characters in spooks tend to live in very expensive houses -- need bigger rooms in order to fit lights and cameras, crew, etc.

-Harry's neighborhood shop was a real place.

-Sequences of Harry practicing tradecraft very important for his character -- you finally get to see why he's the boss and how good he probably was as a field agent.

-Dog was great with PF, less so with the animal trainer.

-"Link analysis" -- a very advanced Google.

-Cashpoint in Paternoster Sq -- a fake put in by spooks crew. Some woman passing by kept trying to get money from it.

-Dog track -- great shots of racing. PF eating jelly deals (?) for first time -- didn't like them but decided he really needed to eat to stay in character (PF very method in his acting). Continuity problem -- cup in and out of PF's hand; unlike PF to make mistakes like that.

-Relationship between Harry and Adam has been developing through s5 -- beautiful in this ep.

-Harry with dog whistle -- couldn't get dogs to bark so had to get lots of shots of dogs and add sound effects.

-Star Trek references in ep -- USS Enterprise (US ship near Iran) and Cardassia Financial Services (planet in the United Federation of Planets). Rupert Walters (writer) a trekkie.

-Lots more humor in this ep than is usual.

-Rory (Colin) had to learn reams of technical lingo for this ep.

-Ruth falling in love with Harry.

-NW -- her favorite Harry legend, so far, is Giles Farmer.

-Raza getting up from bench to follow Pollard during surveillance -- looked quite cool until he walked into a bench and banged his knee; leg gave way and he started hopping.

-Pollard surveillance and breaking into office -- great spooks sequence; lots of split screen following all the action and grid personnel.

-Adam and Jo -- the two best looking cleaners in London.

-Shooting on bridge a disaster because so many tourists; kept looking directly into camera.

-Bus scene -- Ruth reading Jane Austen (NW thought she should be reading Mary Shelley). Camera focus always on Ruth -- Harry soft-edged. Ruth pissed when Harry talks about Adam.

-Harry figures out some piece of crucial info re Khurvin -- you read it in his face.

-Roscoe and Juliet meeting -- both wearing sunglasses (look very American); playing poker, can't see each other's eyes. When Roscoe removes his sunglasses, you know he's lost.

-Michael Gorman (John Sharian - American actor) -- first American character who has same level of knowledge as Harry and is brutally honest about what's really happening. A renegade, outside the system -- doesn't have an agenda. Not someone Harry could usually meet with but his present non-status gives him some leeway.

-" . . . happening on our doorstep, on our watch" -- whatever is being planned, Harry won't let it happen on his watch.

-Adam and Jo following Khurvin in car -- shot during the day and film processed to make it look like night.

-Khurvin's weapon was a real (deactivated) surface-to-air missile. Rented from weapons prop shop.

-Harry in Pollard's office -- sweet victory. Actor playing Pollard did a great job portraying the character without having said a word.

-NW -- actors frequently try to imagine what music will be used in scenes and then try to sing it.

-Harry frequents the dog track -- interesting character insight.

-2nd dog track scene totally improvised and ad libbed by PF and RPJ (including Harry cheering dog on). They were really betting on the races and James Dicker (Wes) kept winning. PF spent the day protecting Dicker -- no one could get near him.

-Teaser for 4.10 -- best teaser for any ep of spooks.

[This is a really good commentary -- well worth listening to if you have it.]]]> http://www.spooksforum.co.uk/thread-1065.html Sun, 01 Aug 2010 14:49:04 +0000 http://www.spooksforum.co.uk/thread-1065.html http://www.spooksforum.co.uk/thread-1046.html Mon, 26 Jul 2010 23:37:16 +0000 http://www.spooksforum.co.uk/thread-1046.html
-Opening recap -- gives an idea of where Adam's mind is when this ep begins.

-Ghost of Fiona passing behind Adam while he's watching the tv -- question of whether that read to the audience.

-Wandsworth Prison used as a location.

-Hugo Ross -- Howard Brenton (writer) wanted George Baker to be cast in the role. Actor has an inherent softness and pathos but can also seem very menacing -- a gentle giant. Portrays a great sadness behind his smile.

-Ross house -- location in Hartfordshire. Rambling mansion with "mildewed grandeur."

-Great on-screen chemistry between Ross and his wife -- the affection between them is palpable.

-Hampton Court House -- location for Tring. Fiona's parents place just around the corner from the this location.

-First scene between Harry and Adam (discussing Ross) was undirected -- just let the actors do their thing together.

-First scene between Adam and Ruth at doghouse -- very weighty, gives the grist of the ep [info usually disseminated in meeting room scenes].

-Club scene -- location the Cross in King's Cross.

-Harry and Hugo Ross -- two grand masters squaring up to each other in their first scene together. Great writing by Howard Brenton -- well structured scene.

-Excelsior Hotel -- location at Trinity Square, opposite ticket window for the Tower of London.

-Ben Daniels (Oleg Korsakov) -- one of those actors who appears to really be the person he's playing. Ability to keep his face still but convey that a lot is going on underneath.

-Korsakov's flat -- a designed set. Hinted at power, very cold -- hard to film because it was so white.

-Raza Jaffrey very good at action sequences (fight in Korsakov's flat) -- lots of technical stuff to get right while staying in character.

-Special ops team that smashed into Korsakov's flat -- real spec ops personnel.

-Discussion about what should happen to Ross -- memory loss or have him die. Thought they were killing off too many people so went with memory loss -- more poignant end for his character.

-Adam and Wes at end of ep -- very touching, especially with piano underscoring.

[Sorry folks -- this was one seriously uninformative commentary; they spent most of it discussing camera angles, tracking vs. hand held camera shots, editing, etc.]]]>
-Opening recap -- gives an idea of where Adam's mind is when this ep begins.

-Ghost of Fiona passing behind Adam while he's watching the tv -- question of whether that read to the audience.

-Wandsworth Prison used as a location.

-Hugo Ross -- Howard Brenton (writer) wanted George Baker to be cast in the role. Actor has an inherent softness and pathos but can also seem very menacing -- a gentle giant. Portrays a great sadness behind his smile.

-Ross house -- location in Hartfordshire. Rambling mansion with "mildewed grandeur."

-Great on-screen chemistry between Ross and his wife -- the affection between them is palpable.

-Hampton Court House -- location for Tring. Fiona's parents place just around the corner from the this location.

-First scene between Harry and Adam (discussing Ross) was undirected -- just let the actors do their thing together.

-First scene between Adam and Ruth at doghouse -- very weighty, gives the grist of the ep [info usually disseminated in meeting room scenes].

-Club scene -- location the Cross in King's Cross.

-Harry and Hugo Ross -- two grand masters squaring up to each other in their first scene together. Great writing by Howard Brenton -- well structured scene.

-Excelsior Hotel -- location at Trinity Square, opposite ticket window for the Tower of London.

-Ben Daniels (Oleg Korsakov) -- one of those actors who appears to really be the person he's playing. Ability to keep his face still but convey that a lot is going on underneath.

-Korsakov's flat -- a designed set. Hinted at power, very cold -- hard to film because it was so white.

-Raza Jaffrey very good at action sequences (fight in Korsakov's flat) -- lots of technical stuff to get right while staying in character.

-Special ops team that smashed into Korsakov's flat -- real spec ops personnel.

-Discussion about what should happen to Ross -- memory loss or have him die. Thought they were killing off too many people so went with memory loss -- more poignant end for his character.

-Adam and Wes at end of ep -- very touching, especially with piano underscoring.

[Sorry folks -- this was one seriously uninformative commentary; they spent most of it discussing camera angles, tracking vs. hand held camera shots, editing, etc.]]]> http://www.spooksforum.co.uk/thread-1044.html Sun, 25 Jul 2010 19:28:43 +0000 http://www.spooksforum.co.uk/thread-1044.html I do enjoy watching this episode. George Baker is great as Hugo and his onscreen chemistry with Harry. Hugo is an idealist and spends 30 years in jail for his beliefs. When he comes out he is not bitter and jail has not changed him at all. He still cares very little about all the British agents he sold out. Harry seems to accept, that was part of the Cold War, but Zaf is a little less forgiving probably because he was not in service at the time.

I am a little surprised in this episode that Juliet went along with an operation that flew in the face of a direct order from Downing Street. She also did not change sides when she and Harry were stitched up at the end, to her credit. Very unlike Juliet I thought considering her career was totally on the line.

I couldn't quite fathom why Harry was in such a strange mood this episode either. He shouted at Ruth a couple of times and even raised his voice to Malcolm when he screwed up the spike. He was quite patronising to Ruth when he told her that in this job they do not have friends, and before she could answer, he put his head phones on quite dismissively. Also when she was smiling at him at the end when he took Adam back, his face was like stone. But then he told Adam that he WAS his friend. Confusing! It didn't quite make sense to me. Maybe he was trying to put some distance between him and Ruth after what had just happened to Fiona.

Loved Malcolm in the obs van still wearing his suit and tie and also Adam calling Harry a fox. I did notice that Adam was reading Mansfied Park. Do you have to be an Austen fan to work in Section D?

I felt quite sad at the end when Hugo "died." Did he deserve it? Probably not. He was totally loyal to Russia. I guess Russia had changed so much since he was sent to jail though. 30 years is a long time.]]> I do enjoy watching this episode. George Baker is great as Hugo and his onscreen chemistry with Harry. Hugo is an idealist and spends 30 years in jail for his beliefs. When he comes out he is not bitter and jail has not changed him at all. He still cares very little about all the British agents he sold out. Harry seems to accept, that was part of the Cold War, but Zaf is a little less forgiving probably because he was not in service at the time.

I am a little surprised in this episode that Juliet went along with an operation that flew in the face of a direct order from Downing Street. She also did not change sides when she and Harry were stitched up at the end, to her credit. Very unlike Juliet I thought considering her career was totally on the line.

I couldn't quite fathom why Harry was in such a strange mood this episode either. He shouted at Ruth a couple of times and even raised his voice to Malcolm when he screwed up the spike. He was quite patronising to Ruth when he told her that in this job they do not have friends, and before she could answer, he put his head phones on quite dismissively. Also when she was smiling at him at the end when he took Adam back, his face was like stone. But then he told Adam that he WAS his friend. Confusing! It didn't quite make sense to me. Maybe he was trying to put some distance between him and Ruth after what had just happened to Fiona.

Loved Malcolm in the obs van still wearing his suit and tie and also Adam calling Harry a fox. I did notice that Adam was reading Mansfied Park. Do you have to be an Austen fan to work in Section D?

I felt quite sad at the end when Hugo "died." Did he deserve it? Probably not. He was totally loyal to Russia. I guess Russia had changed so much since he was sent to jail though. 30 years is a long time.]]> http://www.spooksforum.co.uk/thread-1035.html Mon, 19 Jul 2010 02:04:19 +0000 http://www.spooksforum.co.uk/thread-1035.html
-Olga 5-6 months pregnant during filming of ep -- no wide shots of her, body covered with files, handbags, jumpers throughout the ep, creative use of camera angles.

-All Middle East interiors in ep filmed at Seaford House in Belgravia.

-Ep was a bit short in final cut -- several scenes added.

-When Fiona tells Harry she wants the op -- she has a plan she's not telling anyone about.

-Ep shot in a semi-documentary style (influenced by the Bourne Supremacy).

-Embassy party and exteriors shot at Royal College of Surgeons (off Lincoln's Inn Fields).

-A lot of split sceen usage in this ep.

-Meeting scene -- necessary exposition but the cast has become really good at making the scenes interesting and investing emotional importance in what's being said.

-Small device that Malcolm gives Fiona (that shoots two bullets) -- real technology.

-Street scenes of Fiona and friend shot in London streets -- people in background are passersby, not actors.

-This ep broke all-time spooks record for amount of film footage shot -- had a lot of choices in editing room re what sequences to use.

-Restaurant scene -- shot in a very posh and expensive restaurant in the City.

-Blood pressure gauge used in hospital scene got passed around the crew -- turns out half of them had high blood pressure.

-Harry leaning over the back of Ruth's chair -- has become a standard shot over the last couple of eps.

-Car chase scene (with "Alex" walking in front of car) took 2/3 of a day to shoot.

-When Ruth is going over CCTV footage of embassy reception, NW is actually looking at a blank screen -- incredible that you can see every nuance of her reactions; great acting by NW.

-Adam swapping cup in minder's hand before going into hospital room -- nice spooks touch, something a real MI5 officer would do. RPJ's idea.

-Harry and Juliet walking -- Lincoln's Inn Fields.

-Adam -- makes politics (assassinating foreign intelligence agent) sound like a personal issue; emotional undertones.

-Rubber bat used in scene where Farook beats Barzali.

-Energy of ep picks up tremendously once the spooks figure out what's going on -- 12 minute finale; Adam thinking through what to do on the move.

-Location of place where Fiona changes clothes -- underground car park at huge Tesco's off the M4.

-Farook in car -- holding a pair of handcuffs that never figure into ep.

-Adam driving to find Fiona -- looks like he's driving really fast but actually only about 30 mph; trick with camera lens and sound effects.

-Adam breaking Syrian's arm -- used rubber arm.

-Farook -- Darryl D'Silva played him with a "stillness" that made the character seem extraordinarily menacing.

-Airstrip location -- north of London off the M25.

-Fiona stabbing Farook -- great filmic moment.

-Fiona escaping from Farook -- Olga actually did some of the running before the stunt double took over.]]>
-Olga 5-6 months pregnant during filming of ep -- no wide shots of her, body covered with files, handbags, jumpers throughout the ep, creative use of camera angles.

-All Middle East interiors in ep filmed at Seaford House in Belgravia.

-Ep was a bit short in final cut -- several scenes added.

-When Fiona tells Harry she wants the op -- she has a plan she's not telling anyone about.

-Ep shot in a semi-documentary style (influenced by the Bourne Supremacy).

-Embassy party and exteriors shot at Royal College of Surgeons (off Lincoln's Inn Fields).

-A lot of split sceen usage in this ep.

-Meeting scene -- necessary exposition but the cast has become really good at making the scenes interesting and investing emotional importance in what's being said.

-Small device that Malcolm gives Fiona (that shoots two bullets) -- real technology.

-Street scenes of Fiona and friend shot in London streets -- people in background are passersby, not actors.

-This ep broke all-time spooks record for amount of film footage shot -- had a lot of choices in editing room re what sequences to use.

-Restaurant scene -- shot in a very posh and expensive restaurant in the City.

-Blood pressure gauge used in hospital scene got passed around the crew -- turns out half of them had high blood pressure.

-Harry leaning over the back of Ruth's chair -- has become a standard shot over the last couple of eps.

-Car chase scene (with "Alex" walking in front of car) took 2/3 of a day to shoot.

-When Ruth is going over CCTV footage of embassy reception, NW is actually looking at a blank screen -- incredible that you can see every nuance of her reactions; great acting by NW.

-Adam swapping cup in minder's hand before going into hospital room -- nice spooks touch, something a real MI5 officer would do. RPJ's idea.

-Harry and Juliet walking -- Lincoln's Inn Fields.

-Adam -- makes politics (assassinating foreign intelligence agent) sound like a personal issue; emotional undertones.

-Rubber bat used in scene where Farook beats Barzali.

-Energy of ep picks up tremendously once the spooks figure out what's going on -- 12 minute finale; Adam thinking through what to do on the move.

-Location of place where Fiona changes clothes -- underground car park at huge Tesco's off the M4.

-Farook in car -- holding a pair of handcuffs that never figure into ep.

-Adam driving to find Fiona -- looks like he's driving really fast but actually only about 30 mph; trick with camera lens and sound effects.

-Adam breaking Syrian's arm -- used rubber arm.

-Farook -- Darryl D'Silva played him with a "stillness" that made the character seem extraordinarily menacing.

-Airstrip location -- north of London off the M25.

-Fiona stabbing Farook -- great filmic moment.

-Fiona escaping from Farook -- Olga actually did some of the running before the stunt double took over.]]> http://www.spooksforum.co.uk/thread-1034.html Mon, 19 Jul 2010 01:30:23 +0000 http://www.spooksforum.co.uk/thread-1034.html
1) Fiona discovers that her ex-husband is still alive and decides to lure him to England so she can . . . what? I just don't believe that she would do this alone and without some kind of plan. I can buy that she wanted to protect Adam, and so didn't want to involve him, but the idea that she'd take on a ruthless Syrian intelligence operative solo just doesn't make sense, imo.

2) Farook comes into the country disguised as a Kuwaiti diplomat and waltzes through a very cursory immigration check at a private air strip. And this after 9/11 -- be serious! There's no way anyone coming from the Middle East is getting into any western country that easily.

There were some things in the ep that I thought were good -- the music, for instance, is terrific. Also, I thought Olga S. (and the cameramen) covered her pregnancy really well. Ruth being the one to figure out what was really happening just reinforces her brilliance at lateral thinking and her ability to put together disparate pieces to complete the puzzle.

I enjoyed that the audience had much more knowledge than the spooks about Fiona's motivations up until minute 43 in the ep, when Ruth finally cottoned onto what was happening. Also thought seeing how quickly Juliet got onboard with assassinating a foreign national (no qualms whatsoever) just reinforces the idea that she has absolutely no scruples. And Harry taking a shot at Juliet was great: "Ah, the beast of deniability rears it's ugly head yet again."

A couple of very good guest performers in this ep; the woman who played Fiona's friend was absolutely terrific in their scenes together and Darryl D'Silva was one scary dude as Farook.]]>
1) Fiona discovers that her ex-husband is still alive and decides to lure him to England so she can . . . what? I just don't believe that she would do this alone and without some kind of plan. I can buy that she wanted to protect Adam, and so didn't want to involve him, but the idea that she'd take on a ruthless Syrian intelligence operative solo just doesn't make sense, imo.

2) Farook comes into the country disguised as a Kuwaiti diplomat and waltzes through a very cursory immigration check at a private air strip. And this after 9/11 -- be serious! There's no way anyone coming from the Middle East is getting into any western country that easily.

There were some things in the ep that I thought were good -- the music, for instance, is terrific. Also, I thought Olga S. (and the cameramen) covered her pregnancy really well. Ruth being the one to figure out what was really happening just reinforces her brilliance at lateral thinking and her ability to put together disparate pieces to complete the puzzle.

I enjoyed that the audience had much more knowledge than the spooks about Fiona's motivations up until minute 43 in the ep, when Ruth finally cottoned onto what was happening. Also thought seeing how quickly Juliet got onboard with assassinating a foreign national (no qualms whatsoever) just reinforces the idea that she has absolutely no scruples. And Harry taking a shot at Juliet was great: "Ah, the beast of deniability rears it's ugly head yet again."

A couple of very good guest performers in this ep; the woman who played Fiona's friend was absolutely terrific in their scenes together and Darryl D'Silva was one scary dude as Farook.]]> http://www.spooksforum.co.uk/thread-1019.html Sun, 11 Jul 2010 19:24:34 +0000 http://www.spooksforum.co.uk/thread-1019.html
-Opening scene (Malik being let out of prison) was done with "bleach bypass," which processes film without usual color saturation so that it appears almost to be black and white -- highlights scene.

-Location for prison -- Thames Barrier.

-Jimi Mistry (Malik) had a blanket over his head for about an hour as they kept shooting the scene in the car.

-Ep is Zaf's first big story line.

-Olga pregnant in this ep -- showed a little if you look closely.

-How long can you keep people in prison without a trial? Topic still relevant.

-Jo's first ep in the inner sanctum of the grid.

-Not many extras in ep -- grid looks empty.

-Harry, Malcolm, Adam and Zaf walking in corridor -- shoulder to shoulder because not very wide.

-The whole team has the "spooks walk."

-Paul Seymour spends the entire ep trying to cover his ass.

-Jimi Mistry -- grew his hair longer and roughed up his beard for this ep, wanted to get the right look for the character of Malik. Very different to how he usually looks.

-Raza and Jimi mates prior to ep but had never worked together before.

-NW -- hated speaking French in ep.

-Harry and Ruth have a "nice little thing" going on between them.

-Ironic intercuts -- team planting bugs and using CCTV surveillance while Rebecca (lawyer) is making a speech about civil liberties.

-Raza: you get a real sense of the worry of young British Muslims based on what happens to Malik in this ep.

-Zaf flirting with Jo when he tells her about room in his flat.

-During filming of scene in subway -- Jimi kept getting hit on by young women.

-Complicated plot -- mistaken identity but then what is the innocent Malik doing?

-Spooks and audience working out what's happening at basically the same time in this ep.

-Scene where Zaf keeps Malik from committing suicide -- shot with blue screen; not really on top level of car park.

-"Fuck you" graffitti on rear wall of elevator in warehouse -- didn't catch it in the editing.

-Adam and Zaf talking with Malik in warehouse -- long 6-page scene in a stark, white room. Used passing trains to give scene some sounds and also to build tension. Discovery scene -- everyone finally figures out what's going on.

-Zaf feels a connection with Malik.

-Jimi -- had a voice coach to get Malik's accent right.

-Rebecca being smashed in head with bat -- a "face in the deep fat fryer" moment. Sound effect was a watermelon being hit.

-PF -- great dry humor: "I wasn't aware of having given Mr. Seymour the keys to Thames House."

-This is one of the most moving eps of this series -- has great emotional depth.

-NW -- great timing in comedic moments.

-Ep has a long, slow build --lots of exposition, lots of chasing around until all becomes clear.

-Algerian bank president as assassination target -- terrorists sending a message to their own people: don't get involved with the West.

-Actual op in this ep doesn't really begin until 47 mins in -- stopping Malik and rescuing his family.

-Malik disguising himself as janitor -- political statement. No one would notice him because he's just another Asian janitor.

-Based on Ruth's moral qualms about how far they're willing to go in using the Algerian bank president as bait, Harry orders Zaf to shoot Malik.

-Zaf doesn't want to brutalize Malik any more than has already happened, wants to talk him down.

-Harry's final satisfaction -- besting Seymour; smile at end of scene.

-Non-verbal communication between Zaf and Malik at end of ep -- their eyes said all that needed to be said.]]>
-Opening scene (Malik being let out of prison) was done with "bleach bypass," which processes film without usual color saturation so that it appears almost to be black and white -- highlights scene.

-Location for prison -- Thames Barrier.

-Jimi Mistry (Malik) had a blanket over his head for about an hour as they kept shooting the scene in the car.

-Ep is Zaf's first big story line.

-Olga pregnant in this ep -- showed a little if you look closely.

-How long can you keep people in prison without a trial? Topic still relevant.

-Jo's first ep in the inner sanctum of the grid.

-Not many extras in ep -- grid looks empty.

-Harry, Malcolm, Adam and Zaf walking in corridor -- shoulder to shoulder because not very wide.

-The whole team has the "spooks walk."

-Paul Seymour spends the entire ep trying to cover his ass.

-Jimi Mistry -- grew his hair longer and roughed up his beard for this ep, wanted to get the right look for the character of Malik. Very different to how he usually looks.

-Raza and Jimi mates prior to ep but had never worked together before.

-NW -- hated speaking French in ep.

-Harry and Ruth have a "nice little thing" going on between them.

-Ironic intercuts -- team planting bugs and using CCTV surveillance while Rebecca (lawyer) is making a speech about civil liberties.

-Raza: you get a real sense of the worry of young British Muslims based on what happens to Malik in this ep.

-Zaf flirting with Jo when he tells her about room in his flat.

-During filming of scene in subway -- Jimi kept getting hit on by young women.

-Complicated plot -- mistaken identity but then what is the innocent Malik doing?

-Spooks and audience working out what's happening at basically the same time in this ep.

-Scene where Zaf keeps Malik from committing suicide -- shot with blue screen; not really on top level of car park.

-"Fuck you" graffitti on rear wall of elevator in warehouse -- didn't catch it in the editing.

-Adam and Zaf talking with Malik in warehouse -- long 6-page scene in a stark, white room. Used passing trains to give scene some sounds and also to build tension. Discovery scene -- everyone finally figures out what's going on.

-Zaf feels a connection with Malik.

-Jimi -- had a voice coach to get Malik's accent right.

-Rebecca being smashed in head with bat -- a "face in the deep fat fryer" moment. Sound effect was a watermelon being hit.

-PF -- great dry humor: "I wasn't aware of having given Mr. Seymour the keys to Thames House."

-This is one of the most moving eps of this series -- has great emotional depth.

-NW -- great timing in comedic moments.

-Ep has a long, slow build --lots of exposition, lots of chasing around until all becomes clear.

-Algerian bank president as assassination target -- terrorists sending a message to their own people: don't get involved with the West.

-Actual op in this ep doesn't really begin until 47 mins in -- stopping Malik and rescuing his family.

-Malik disguising himself as janitor -- political statement. No one would notice him because he's just another Asian janitor.

-Based on Ruth's moral qualms about how far they're willing to go in using the Algerian bank president as bait, Harry orders Zaf to shoot Malik.

-Zaf doesn't want to brutalize Malik any more than has already happened, wants to talk him down.

-Harry's final satisfaction -- besting Seymour; smile at end of scene.

-Non-verbal communication between Zaf and Malik at end of ep -- their eyes said all that needed to be said.]]> http://www.spooksforum.co.uk/thread-1018.html Sun, 11 Jul 2010 18:24:58 +0000 http://www.spooksforum.co.uk/thread-1018.html http://www.spooksforum.co.uk/thread-980.html Mon, 05 Jul 2010 21:30:01 +0000 http://www.spooksforum.co.uk/thread-980.html
-Opening panorama of London with Harry and Clive -- shot from British American Tobacco building.

-Snowed continually during the week of filming -- were constantly sweeping snow away prior to shooting.

-Hicks entering Clive's house -- whole scene shot at night. All lighting artificial to make it look like daytime. Matched lighting to exterior when Hicks walks into back yard.

-Hick's hidden under the branches -- really cheesy but it worked.

-Show titles get better every year.

-Ep engineered to introduce new character (Jo).

-Byplay between Harry and Ruth -- starting to develop in s4, becomes much more substantial in s5. Real sparkle between them.

-Hardest thing about spooks is to get a balance between the lighter moments and the serious spy stuff.

-Scene between H and R, discussing Clive's death -- shot in silhouette. Can't really see characters so you concentrate more on the dialogue.

-Meeting between Harry, Juliet, Woodring -- shot at bandstand at Lincoln's Inn. Location has nice spooks feel. Shot 6 or 7 times to get the circular motion that Lovering was looking for.

-Ruth and Hicks had a relationship in the past, which is why he comes to her when he's in trouble.

-Harry Pierce never wears pajamas, even in the middle of the night.

-Scene between Harry and Ruth on the phone -- extremely well written. Hicks upstages H and R dialogue -- moving around in background, looking in fridge, drinking. Had to film scene several times as Hicks kept dropping things out of fridge and NW kept laughing.

-H disappointed that R's call is not just an invitation to her place.

-Woodring's involvement is revealed to the audience early in the ep because it raises the danger tremendously for the spooks team. He's so high up that he has the power to kill any of them -- puts them all in jeopardy.

-Woodring -- head of Military Intelligence.

-Very bold lighting in this ep. Also very dark ep -- shot early in filming schedule (winter), lots of shadows.

-Harry and Juliet walking on Embankment (first time) -- friend of Anna Chancellor's saw her there and walked into the shot to greet her.

-Everyone trying to escape from Debra Langham.

-Raymond Curry (writer) -- great intro of Jo's character.

-Question in first scene between Adam and Jo -- how much should they flirt?

-NW and Doug ?? (Hicks) -- worked really well together onscreen. Play their scenes like an old couple that has a lot of history together.

-Why does Jo try to get in touch with Adam -- because she fancies him or because she's intrigued by him? No one was really sure why, other than it suited the story.

-Adam and Fiona searching Clive's home -- not blocked, except for a couple of shots. Put RPJ and OS in a room with a cameraman and let them go to it.

-Hicks in car with Zaf -- what makes the scene work is the London points of view seen through the windows -- bus stop, police at accident scene, cyclist riding past.

-Hick's office -- interior of British American Tobacco company.

-MR auditioned 3 or 4 times before she was cast as Jo Portman.

-Man following Ruth in hallway of Thames House -- had to be shot 15 times because they couldn't get the guy to do the walk properly.

-Scene between Harry and Ruth discussing Hicks -- added later because it was felt that the plot was not sufficiently clear. Needed to establish the link between Ruth and Hicks, and then to MI5 -- otherwise whole thing too serendipitous.

-Exterior safehose location -- Angel Sq, Islington.

-NW looking askance at eggroll -- so Ruth.

-Only lighting in shootout scene was a strobe.

-No police show up at shootout because the budget was depleted. Used flashing light to imply police presence.

-When Jo arrives home after shootout scene -- her hair is perfectly dry (even after spending hours outside in the snow).

-"You don't really work for a security company, do you?" -- Jo's figured out that Adam is a spy.

-Harry using recorded call signals -- added scene so that audience sees spooks find out who bad guy is.

-Scene between Harry and Woodring -- shows how much Harry cares. Harry as the moral guardian.

-Great HP ep.

-"Clive's job was to take his secrets to the grave" and "no tolerance with weaklings" -- very persuasive argument from Juliet.

-In earlier draft of script, Harry ends up shooting Woodring.

-At end of ep, a stalement between Harry and "the club."

-Harry's house and Woodring's house -- same location.]]>
-Opening panorama of London with Harry and Clive -- shot from British American Tobacco building.

-Snowed continually during the week of filming -- were constantly sweeping snow away prior to shooting.

-Hicks entering Clive's house -- whole scene shot at night. All lighting artificial to make it look like daytime. Matched lighting to exterior when Hicks walks into back yard.

-Hick's hidden under the branches -- really cheesy but it worked.

-Show titles get better every year.

-Ep engineered to introduce new character (Jo).

-Byplay between Harry and Ruth -- starting to develop in s4, becomes much more substantial in s5. Real sparkle between them.

-Hardest thing about spooks is to get a balance between the lighter moments and the serious spy stuff.

-Scene between H and R, discussing Clive's death -- shot in silhouette. Can't really see characters so you concentrate more on the dialogue.

-Meeting between Harry, Juliet, Woodring -- shot at bandstand at Lincoln's Inn. Location has nice spooks feel. Shot 6 or 7 times to get the circular motion that Lovering was looking for.

-Ruth and Hicks had a relationship in the past, which is why he comes to her when he's in trouble.

-Harry Pierce never wears pajamas, even in the middle of the night.

-Scene between Harry and Ruth on the phone -- extremely well written. Hicks upstages H and R dialogue -- moving around in background, looking in fridge, drinking. Had to film scene several times as Hicks kept dropping things out of fridge and NW kept laughing.

-H disappointed that R's call is not just an invitation to her place.

-Woodring's involvement is revealed to the audience early in the ep because it raises the danger tremendously for the spooks team. He's so high up that he has the power to kill any of them -- puts them all in jeopardy.

-Woodring -- head of Military Intelligence.

-Very bold lighting in this ep. Also very dark ep -- shot early in filming schedule (winter), lots of shadows.

-Harry and Juliet walking on Embankment (first time) -- friend of Anna Chancellor's saw her there and walked into the shot to greet her.

-Everyone trying to escape from Debra Langham.

-Raymond Curry (writer) -- great intro of Jo's character.

-Question in first scene between Adam and Jo -- how much should they flirt?

-NW and Doug ?? (Hicks) -- worked really well together onscreen. Play their scenes like an old couple that has a lot of history together.

-Why does Jo try to get in touch with Adam -- because she fancies him or because she's intrigued by him? No one was really sure why, other than it suited the story.

-Adam and Fiona searching Clive's home -- not blocked, except for a couple of shots. Put RPJ and OS in a room with a cameraman and let them go to it.

-Hicks in car with Zaf -- what makes the scene work is the London points of view seen through the windows -- bus stop, police at accident scene, cyclist riding past.

-Hick's office -- interior of British American Tobacco company.

-MR auditioned 3 or 4 times before she was cast as Jo Portman.

-Man following Ruth in hallway of Thames House -- had to be shot 15 times because they couldn't get the guy to do the walk properly.

-Scene between Harry and Ruth discussing Hicks -- added later because it was felt that the plot was not sufficiently clear. Needed to establish the link between Ruth and Hicks, and then to MI5 -- otherwise whole thing too serendipitous.

-Exterior safehose location -- Angel Sq, Islington.

-NW looking askance at eggroll -- so Ruth.

-Only lighting in shootout scene was a strobe.

-No police show up at shootout because the budget was depleted. Used flashing light to imply police presence.

-When Jo arrives home after shootout scene -- her hair is perfectly dry (even after spending hours outside in the snow).

-"You don't really work for a security company, do you?" -- Jo's figured out that Adam is a spy.

-Harry using recorded call signals -- added scene so that audience sees spooks find out who bad guy is.

-Scene between Harry and Woodring -- shows how much Harry cares. Harry as the moral guardian.

-Great HP ep.

-"Clive's job was to take his secrets to the grave" and "no tolerance with weaklings" -- very persuasive argument from Juliet.

-In earlier draft of script, Harry ends up shooting Woodring.

-At end of ep, a stalement between Harry and "the club."

-Harry's house and Woodring's house -- same location.]]> http://www.spooksforum.co.uk/thread-978.html Mon, 05 Jul 2010 03:39:40 +0000 http://www.spooksforum.co.uk/thread-978.html
I must admit my favourite parts of this episode were, once again, Harry and Juliet sparring. (That dynamic was such fun.) But the sequence in which the shooting starts at the safe house and Jo smashes the car windows is also terrific viewing.

Implausible though Jo's recruitment is, she becomes a really useful plot device for the rest of the season. Through Jo's eyes, exposition unfolds and things are explained to us as an audience. I think Jo was a less 'clumsy' character than Sam, and making Jo an officer who actually goes out in the field after a bit makes her more interesting too.


What did you think?]]>
I must admit my favourite parts of this episode were, once again, Harry and Juliet sparring. (That dynamic was such fun.) But the sequence in which the shooting starts at the safe house and Jo smashes the car windows is also terrific viewing.

Implausible though Jo's recruitment is, she becomes a really useful plot device for the rest of the season. Through Jo's eyes, exposition unfolds and things are explained to us as an audience. I think Jo was a less 'clumsy' character than Sam, and making Jo an officer who actually goes out in the field after a bit makes her more interesting too.


What did you think?]]> http://www.spooksforum.co.uk/thread-967.html Sun, 27 Jun 2010 19:42:00 +0000 http://www.spooksforum.co.uk/thread-967.html
-Ep shot on location in Turkey for 4 days.

-Opening scene with asset killed in Instanbul was actually shot in an alley near Brick Lane in East London -- made into Turkish set.

-Ep written by Howard Brenton -- wanted to write a story about asylum seekers and how they got into the UK. Couldn't use precisely that idea because virtually impossible to shoot the route through different countries -- budget buster.

-Nicola Walker the only one who could corectly say the Prince's full name.

-Politically sensitive ep -- fictional country, loosely based on Saudi Arabia and Saudi royal family. The ep basically says one of the Saudi royals is supporting an Al Qaeda network -- not based on anything real. Also intimating that the princes are susceptible to women and alcohol -- very problematic idea given that they're Muslims.

-Malcolm and Colin off the grid -- geat scene bugging the hotel room. Controversial idea that British secret services might have been bugging Bill Clinton.

-Adam and Fiona a very convincing couple.

-Caroline (the honey trap) is a prostitute used by MI5.

-Prince's hotel was really Stoke Park -- used a lot as a film location. Convincing as a central London location.

-PF in his element as Harry, manipulating Prince with photos -- completely confident, totally articulate, 100% believable.

-When touching on issues of terrorism and religious differences, very important to show both sides of the issue without intimating what's right or wrong. Explore issues and let audience decide for themselves.

-Story is all about Yazdi, but until 19 minutes into ep, we've only seen him for one moment (in the alleyway). He's turned into an almost mythical character. When we finally meet him, the moment resonates.

-Adam as a Circassian -- a lot of discussion about whether it would be believable. RPJ had to learn a lot of Arabic.

-Khalid Abdalla (Yazdi) a very strong actor -- his eyes are tremendously expressive and emotive.

-Favorite scene -- Adam and Yazdi shut in crate together. Easy to go over the top in this kind of scene but both were so focused that it was extraordinary. Two equals in intellect and strength -- only their backgrounds and birth countries make them different. Both actors were mesmerizing.

-Ep got dinged on one point -- a Muslim would not drink water from the same bottle as a non-Muslim.

-Border checkpoint was actually shot in Chertsey.

-Death of old man in truck -- research showed that many asylum seekers die on the journey; wanted to acknowledge that reality.

-Very different type of ep -- whole thing built around the psychological turning of one man.

-Continuity issue in scene between Adam and Yazdi in forest -- leaf on right side of Adam's collar kept appearing and disappearing.

-Yazdi -- character written with great complexity and intelligence. You don't really know where his head is. "I believe in the house of Islam . . ." -- very important speech for this character who has to make a Faustian decision. Adam totally taken in.

-Fiona -- worried that Adam loves the thrill of danger as much as Yazdi.

-Khalid Abdalla -- very worried about playing a terrorist.

-HB's dialogue -- very well written and very measured. Actors love doing his scripts -- perfectly plausible storylines.

-Filming scene where armed forces apprehended Hadrami caused havoc in the area because it looked so real -- people stopped on the streets.

-Yazdi and Hadrami together -- you're still not sure what's going on. Yazdi's character has been so well set up that he's an enigma. Scene is all about mind games -- who's in control, who's telling who what, who's being fooled.

-MI5's arrogance is believing that their enemies can never double bluff them. Everyone's trying to second guess Yazdi and they all disagree with each other. No one really has a handle on what's happening and it all goes totally wrong when Juliet overrules Harry -- she believes she knows what Yazdi's thinking.

-Harry finally realizes what's going on, but just a bit too late.

-Power of the media -- fed a false story about the Prince's death but it must be true because it's on tv.

-Yazdi's bottom line -- if you don't believe as I do, you're my enemy. HB shows that the secret services don't really get that idea, don't really understand where that hard kind of self-belief comes from. They find it unfathomable, hence they couldn't predict his behavior.]]>
-Ep shot on location in Turkey for 4 days.

-Opening scene with asset killed in Instanbul was actually shot in an alley near Brick Lane in East London -- made into Turkish set.

-Ep written by Howard Brenton -- wanted to write a story about asylum seekers and how they got into the UK. Couldn't use precisely that idea because virtually impossible to shoot the route through different countries -- budget buster.

-Nicola Walker the only one who could corectly say the Prince's full name.

-Politically sensitive ep -- fictional country, loosely based on Saudi Arabia and Saudi royal family. The ep basically says one of the Saudi royals is supporting an Al Qaeda network -- not based on anything real. Also intimating that the princes are susceptible to women and alcohol -- very problematic idea given that they're Muslims.

-Malcolm and Colin off the grid -- geat scene bugging the hotel room. Controversial idea that British secret services might have been bugging Bill Clinton.

-Adam and Fiona a very convincing couple.

-Caroline (the honey trap) is a prostitute used by MI5.

-Prince's hotel was really Stoke Park -- used a lot as a film location. Convincing as a central London location.

-PF in his element as Harry, manipulating Prince with photos -- completely confident, totally articulate, 100% believable.

-When touching on issues of terrorism and religious differences, very important to show both sides of the issue without intimating what's right or wrong. Explore issues and let audience decide for themselves.

-Story is all about Yazdi, but until 19 minutes into ep, we've only seen him for one moment (in the alleyway). He's turned into an almost mythical character. When we finally meet him, the moment resonates.

-Adam as a Circassian -- a lot of discussion about whether it would be believable. RPJ had to learn a lot of Arabic.

-Khalid Abdalla (Yazdi) a very strong actor -- his eyes are tremendously expressive and emotive.

-Favorite scene -- Adam and Yazdi shut in crate together. Easy to go over the top in this kind of scene but both were so focused that it was extraordinary. Two equals in intellect and strength -- only their backgrounds and birth countries make them different. Both actors were mesmerizing.

-Ep got dinged on one point -- a Muslim would not drink water from the same bottle as a non-Muslim.

-Border checkpoint was actually shot in Chertsey.

-Death of old man in truck -- research showed that many asylum seekers die on the journey; wanted to acknowledge that reality.

-Very different type of ep -- whole thing built around the psychological turning of one man.

-Continuity issue in scene between Adam and Yazdi in forest -- leaf on right side of Adam's collar kept appearing and disappearing.

-Yazdi -- character written with great complexity and intelligence. You don't really know where his head is. "I believe in the house of Islam . . ." -- very important speech for this character who has to make a Faustian decision. Adam totally taken in.

-Fiona -- worried that Adam loves the thrill of danger as much as Yazdi.

-Khalid Abdalla -- very worried about playing a terrorist.

-HB's dialogue -- very well written and very measured. Actors love doing his scripts -- perfectly plausible storylines.

-Filming scene where armed forces apprehended Hadrami caused havoc in the area because it looked so real -- people stopped on the streets.

-Yazdi and Hadrami together -- you're still not sure what's going on. Yazdi's character has been so well set up that he's an enigma. Scene is all about mind games -- who's in control, who's telling who what, who's being fooled.

-MI5's arrogance is believing that their enemies can never double bluff them. Everyone's trying to second guess Yazdi and they all disagree with each other. No one really has a handle on what's happening and it all goes totally wrong when Juliet overrules Harry -- she believes she knows what Yazdi's thinking.

-Harry finally realizes what's going on, but just a bit too late.

-Power of the media -- fed a false story about the Prince's death but it must be true because it's on tv.

-Yazdi's bottom line -- if you don't believe as I do, you're my enemy. HB shows that the secret services don't really get that idea, don't really understand where that hard kind of self-belief comes from. They find it unfathomable, hence they couldn't predict his behavior.]]> http://www.spooksforum.co.uk/thread-965.html Sat, 26 Jun 2010 19:34:28 +0000 http://www.spooksforum.co.uk/thread-965.html
Talking Points:

- Surely the road trip mission falls under MI6 duties?
- Yazdi was brilliantly cunning.
- Middle-east royalty involved in smuggling networks.]]>
Talking Points:

- Surely the road trip mission falls under MI6 duties?
- Yazdi was brilliantly cunning.
- Middle-east royalty involved in smuggling networks.]]> http://www.spooksforum.co.uk/thread-956.html Mon, 21 Jun 2010 00:06:45 +0000 http://www.spooksforum.co.uk/thread-956.html
- Rupert Graves as William Sampson -- great performance and a hit on the set with the other actors. Plays the pompous, conservative ass brilliantly -- has just the edge needed to make the character believable.

-Story very timely re British National Party, which had won 6 seats in the most recent election. BNP had a march in South London at the same time this ep was being shot and marched directly past the studio where it was filming.

-Ep written by Ben Richards -- very different style from eps 1 and 2 (also by BR). This is more his metier -- looking into politics and the corridors of power. Very serious and realistic in his approach to this topic.

-Riot sequences -- actors had a great time smashing up the car.

-Interesting slant to the politics of the ep -- taking what looks like a very conservative politician (Sampson) and having him move over to a far right party.

-"Tonight, ladies and gentlemen, I am the voice of every frightened, disillusioned and angry person in Britain." One of the best lines in the ep and also very controversial. Went in and out of the script several times because it basically said if you're frightened and disillusioned, you need to turn to the right -- line hit a little too close to home.

-This was originally supposed to be ep 1 of series 4 -- decided to start new series with two-parter that had bombs going off across London. Worked well in the third slot as it was an "intellectual" ep.

-"Use the democratic process, destroy the democratic process" line -- BR manages to get his argument across quickly and succinctly; very subtle and articulate.

-Legend scene -- all characters involved.

-How realistic is the show? Swindon: "Well, I've asked MI5 and they won't return my call. MI5 aren't allowed to talk to us." Unofficially, word has come back that the series is "close to the bone" -- one of the major differences is that spooks "concentrates" time (unrealistic to get so much done in one ep -- more like 6 mos to a year).

-Bringing Wes into eps humanizes Adam and Fiona.

-Olga S -- brilliant as Fiona in this ep; much warmer than previously.

-Editing is absolutely crucial to spooks, especially because of the many different directors -- one of the strengths of the series.

-PF "relished" the scene where Harry put the screws to Perry Davis -- had a great time. PF adores the character of Harry -- has a lot of fun with it.

-Harry not anti-gay but will use any angle possible to get what he needs.

-"Bird hide" built by spooks crew and put into field. BR's father is a bird watcher and he put a bittern into the script at father's suggestion. Bitterns really rare in the UK and wouldn't be found anywhere near to where the filming took place. "That booming noise" was definitely not a bittern.

-Bird watching scene humanizes Moran (discussion about his father) -- tried to give him a motivation that the audience could sympathize with. By end of ep, even though his beliefs and politics are abominable, you do have some sympathy for him.

-Perry Davis -- well cast. Not a typical politician -- younger and more vibrant. Much scarier if someone like him went over to the far right party.

-Structure of ep -- fighting on two fronts. Political (in Commons and within British Way party) but also in media and what public are thinking. MI5 trying to control all the different strands.

-Zaf switching pens -- simple bit of tradecraft, but effective.

-Sending Ruth back to GCHQ -- longest running joke of the show.

-Raza Jaffrey brilliant with dirty tricks campaign -- great cheekiness about him.

-Rupert Graves -- dropped lots of little sexual bits into Sampson's interactions with Fiona.

-Sampson's taking advantage of child's death to garner publicity for himself -- made everyone very uncomfortable but is something that one sees in politics everyday.

-Juliet suggesting that Sampson be murdered -- quite scary because you don't know how real it may or may not be. Explores a very gray world -- what really goes on in Whitehall offices?

-Lots of thought re how would audience feel about seeing Adam shoot someone with a crossbow? Hope was that he would be forgiven because he does it for the greater good. Next scene was needed to explain Adam's action -- he can't take what he's done too casually because audience needs to like him; no good if viewers lose sympathy for Adam.

-"Make Perry your number two" -- key moment in ep, separating Sampson and Moran. Up to this point in the ep, the two have never been seen together. We finally see Sampson's true nature in the way he talks about the dead girl.

-There was a lot of argument about the use of the word "nigger" and the decision to do so wasn't made lightly. In order to make Moran as poisonous as possible, it seemed certain he would use that kind of language. If it was cut out, the character would be imbued with a set of values that he didn't really possess -- would be imposing other people's values onto him. Alrick Riley -- as a black man and director, use of the word was necessary to the believability of this character. It would be ridiculous to assume that Moran doesn't use the word. Ep is about destroying men like this specifically because they hold these views.

-NW (as disgruntled GCHQ worker) -- has an amazing ability to get you to believe whatever she says, to win trust and confidence.

-Standoff between Adam and Moran -- running toward someone who is going to shoot you. Admirable thing about Moran is that he has his beliefs and won't do any deals. If he has to go to jail for what he believes in, he will. Won't ever take the easy way out -- very unusual.

-Interrogation room -- actually an old shooting range in a disused munitions factory. Pockmarks in walls are bullet holes -- gives set lots of atmosphere.

-End shot -- the team. Harry and Ruth -- go well together.]]>
- Rupert Graves as William Sampson -- great performance and a hit on the set with the other actors. Plays the pompous, conservative ass brilliantly -- has just the edge needed to make the character believable.

-Story very timely re British National Party, which had won 6 seats in the most recent election. BNP had a march in South London at the same time this ep was being shot and marched directly past the studio where it was filming.

-Ep written by Ben Richards -- very different style from eps 1 and 2 (also by BR). This is more his metier -- looking into politics and the corridors of power. Very serious and realistic in his approach to this topic.

-Riot sequences -- actors had a great time smashing up the car.

-Interesting slant to the politics of the ep -- taking what looks like a very conservative politician (Sampson) and having him move over to a far right party.

-"Tonight, ladies and gentlemen, I am the voice of every frightened, disillusioned and angry person in Britain." One of the best lines in the ep and also very controversial. Went in and out of the script several times because it basically said if you're frightened and disillusioned, you need to turn to the right -- line hit a little too close to home.

-This was originally supposed to be ep 1 of series 4 -- decided to start new series with two-parter that had bombs going off across London. Worked well in the third slot as it was an "intellectual" ep.

-"Use the democratic process, destroy the democratic process" line -- BR manages to get his argument across quickly and succinctly; very subtle and articulate.

-Legend scene -- all characters involved.

-How realistic is the show? Swindon: "Well, I've asked MI5 and they won't return my call. MI5 aren't allowed to talk to us." Unofficially, word has come back that the series is "close to the bone" -- one of the major differences is that spooks "concentrates" time (unrealistic to get so much done in one ep -- more like 6 mos to a year).

-Bringing Wes into eps humanizes Adam and Fiona.

-Olga S -- brilliant as Fiona in this ep; much warmer than previously.

-Editing is absolutely crucial to spooks, especially because of the many different directors -- one of the strengths of the series.

-PF "relished" the scene where Harry put the screws to Perry Davis -- had a great time. PF adores the character of Harry -- has a lot of fun with it.

-Harry not anti-gay but will use any angle possible to get what he needs.

-"Bird hide" built by spooks crew and put into field. BR's father is a bird watcher and he put a bittern into the script at father's suggestion. Bitterns really rare in the UK and wouldn't be found anywhere near to where the filming took place. "That booming noise" was definitely not a bittern.

-Bird watching scene humanizes Moran (discussion about his father) -- tried to give him a motivation that the audience could sympathize with. By end of ep, even though his beliefs and politics are abominable, you do have some sympathy for him.

-Perry Davis -- well cast. Not a typical politician -- younger and more vibrant. Much scarier if someone like him went over to the far right party.

-Structure of ep -- fighting on two fronts. Political (in Commons and within British Way party) but also in media and what public are thinking. MI5 trying to control all the different strands.

-Zaf switching pens -- simple bit of tradecraft, but effective.

-Sending Ruth back to GCHQ -- longest running joke of the show.

-Raza Jaffrey brilliant with dirty tricks campaign -- great cheekiness about him.

-Rupert Graves -- dropped lots of little sexual bits into Sampson's interactions with Fiona.

-Sampson's taking advantage of child's death to garner publicity for himself -- made everyone very uncomfortable but is something that one sees in politics everyday.

-Juliet suggesting that Sampson be murdered -- quite scary because you don't know how real it may or may not be. Explores a very gray world -- what really goes on in Whitehall offices?

-Lots of thought re how would audience feel about seeing Adam shoot someone with a crossbow? Hope was that he would be forgiven because he does it for the greater good. Next scene was needed to explain Adam's action -- he can't take what he's done too casually because audience needs to like him; no good if viewers lose sympathy for Adam.

-"Make Perry your number two" -- key moment in ep, separating Sampson and Moran. Up to this point in the ep, the two have never been seen together. We finally see Sampson's true nature in the way he talks about the dead girl.

-There was a lot of argument about the use of the word "nigger" and the decision to do so wasn't made lightly. In order to make Moran as poisonous as possible, it seemed certain he would use that kind of language. If it was cut out, the character would be imbued with a set of values that he didn't really possess -- would be imposing other people's values onto him. Alrick Riley -- as a black man and director, use of the word was necessary to the believability of this character. It would be ridiculous to assume that Moran doesn't use the word. Ep is about destroying men like this specifically because they hold these views.

-NW (as disgruntled GCHQ worker) -- has an amazing ability to get you to believe whatever she says, to win trust and confidence.

-Standoff between Adam and Moran -- running toward someone who is going to shoot you. Admirable thing about Moran is that he has his beliefs and won't do any deals. If he has to go to jail for what he believes in, he will. Won't ever take the easy way out -- very unusual.

-Interrogation room -- actually an old shooting range in a disused munitions factory. Pockmarks in walls are bullet holes -- gives set lots of atmosphere.

-End shot -- the team. Harry and Ruth -- go well together.]]> http://www.spooksforum.co.uk/thread-950.html Sun, 20 Jun 2010 10:38:08 +0000 http://www.spooksforum.co.uk/thread-950.html
Main points:

- Elections time: far right wing party ideology.
- Adam and Ruth in the field.
- Harry's actions and interaction with Juliet.]]>
Main points:

- Elections time: far right wing party ideology.
- Adam and Ruth in the field.
- Harry's actions and interaction with Juliet.]]> http://www.spooksforum.co.uk/thread-938.html Mon, 14 Jun 2010 02:01:38 +0000 http://www.spooksforum.co.uk/thread-938.html -Ep. 2 had more viewers that ep. 1 -- interesting for a two-parter.
-In recaps -- talk about mole than cut to Juliet. Setting up Juliet so audience thought she was the mole -- kept dropping clues throughout ep until real mole was revealed.
-Ep 1 ends at night and ep 2 begins in daylight even though it's supposedly only a minute later. Manage to get away with it because titles come in between.
-Flames from molotov cocktail enhanced with CGI to make them bigger.
-What behavior will we tolerate to stop a terrorist attack? One of the most relevant societal questions today and given Adam's history, they let him cross the line with Zaf's captors. Tash is the voice of humanity in the scene.
-Harry talking to HS re being blackmailed -- scene was originally supposed to happen much later in the ep but belief was that H would never allow himself to be used in this way; moved scene forward so H could offer resignation as soon as Juliet threatens him.
-Spooks never has actors appear as PM or Queen because it would immediately ring false. However, other politicians are portrayed and, for some reason, it works fine.
-Would an outsider (Tash) be allowed on the grid? No, but Ben Richards didn't care -- needed it to happen for the ep. Also not allowed to eat on real grid.
-Relationship between Malcolm and Tash was built up very carefully but many of the scenes had to be cut for time.
-Cutting wires to disarm bombs -- seems a little too easy to be real.
-Harry and Boyd in car going back to grid after meeting -- background scenery should be central London, but they're really on a motorway.
-Many time discontinuities in this ep because of both day and night shoots. Scenes look very different at beginnings and ends.
-Prof. Curtis -- pompous prat.
-Colin -- a little sweet on Tash.
-Technology of "wired" jacket -- real.
-RPJ, PF and AC all brilliant in Juliet's interrogation scene.
-Adam and Juliet -- alpha male vs alpha female.
-Juliet ultimately uncovers identity of mole -- nice little irony.
-Always a question on spooks of when to reveal the mole. Is it better to do so early on and let audience know before characters? Or is it better that everyone discovers the truth at the same time?
-Hard to do a "mole" story in one ep -- need more time to really develop the plot.
-Newest person in is always initially thought to be the mole.
-Slow motion and repeat of action when Curtis recognizes Boyd in the hall of Thames House -- really punctuates the moment.
-BR's favorite line of the ep -- Adam re cat's tail and plug socket. He also loved Harry's reaction to the line.
-The "Boyd" chase through Thames House -- horrendous to shoot; through the hallways, up and down the staircases -- everyone all over the place.
-Adam and Zaf with guns for Boyd chase -- unusual for spooks to have officers use guns.
-This ep really establishes Adam and Zaf as a double act -- lots of scenes together.
-Harry/Tash scene -- takeoff on trick used in The West Wing; people express diametrically opposed views and you agree with both of them.
-The actual story of eps 1 and 2 is very simple -- they have to keep finding the bombs. However, a lot of other stuff (politics, ideology, terrorism, etc) is hung onto the story.
-Boyd and bomber -- meeting place is Regents Canal.
-Tash attached to bomb -- classic spooks dilemma; should you sacrifice one person to save everyone else?
-If Adam had really walked way and Tash had died, would we have forgiven him? Probably not.
-Last sequence with bomb (after Adam tries to free Tash) is in real time.
-End of ep -- "concluding beats;" main action is over and need to tie up the various stories -- Zaf joins team, Monroe goes back to US, Juliet is appointed, Tash and Adam say goodbye, failures of Security Service.
-Final shot of London -- always under threat.]]> -Ep. 2 had more viewers that ep. 1 -- interesting for a two-parter.
-In recaps -- talk about mole than cut to Juliet. Setting up Juliet so audience thought she was the mole -- kept dropping clues throughout ep until real mole was revealed.
-Ep 1 ends at night and ep 2 begins in daylight even though it's supposedly only a minute later. Manage to get away with it because titles come in between.
-Flames from molotov cocktail enhanced with CGI to make them bigger.
-What behavior will we tolerate to stop a terrorist attack? One of the most relevant societal questions today and given Adam's history, they let him cross the line with Zaf's captors. Tash is the voice of humanity in the scene.
-Harry talking to HS re being blackmailed -- scene was originally supposed to happen much later in the ep but belief was that H would never allow himself to be used in this way; moved scene forward so H could offer resignation as soon as Juliet threatens him.
-Spooks never has actors appear as PM or Queen because it would immediately ring false. However, other politicians are portrayed and, for some reason, it works fine.
-Would an outsider (Tash) be allowed on the grid? No, but Ben Richards didn't care -- needed it to happen for the ep. Also not allowed to eat on real grid.
-Relationship between Malcolm and Tash was built up very carefully but many of the scenes had to be cut for time.
-Cutting wires to disarm bombs -- seems a little too easy to be real.
-Harry and Boyd in car going back to grid after meeting -- background scenery should be central London, but they're really on a motorway.
-Many time discontinuities in this ep because of both day and night shoots. Scenes look very different at beginnings and ends.
-Prof. Curtis -- pompous prat.
-Colin -- a little sweet on Tash.
-Technology of "wired" jacket -- real.
-RPJ, PF and AC all brilliant in Juliet's interrogation scene.
-Adam and Juliet -- alpha male vs alpha female.
-Juliet ultimately uncovers identity of mole -- nice little irony.
-Always a question on spooks of when to reveal the mole. Is it better to do so early on and let audience know before characters? Or is it better that everyone discovers the truth at the same time?
-Hard to do a "mole" story in one ep -- need more time to really develop the plot.
-Newest person in is always initially thought to be the mole.
-Slow motion and repeat of action when Curtis recognizes Boyd in the hall of Thames House -- really punctuates the moment.
-BR's favorite line of the ep -- Adam re cat's tail and plug socket. He also loved Harry's reaction to the line.
-The "Boyd" chase through Thames House -- horrendous to shoot; through the hallways, up and down the staircases -- everyone all over the place.
-Adam and Zaf with guns for Boyd chase -- unusual for spooks to have officers use guns.
-This ep really establishes Adam and Zaf as a double act -- lots of scenes together.
-Harry/Tash scene -- takeoff on trick used in The West Wing; people express diametrically opposed views and you agree with both of them.
-The actual story of eps 1 and 2 is very simple -- they have to keep finding the bombs. However, a lot of other stuff (politics, ideology, terrorism, etc) is hung onto the story.
-Boyd and bomber -- meeting place is Regents Canal.
-Tash attached to bomb -- classic spooks dilemma; should you sacrifice one person to save everyone else?
-If Adam had really walked way and Tash had died, would we have forgiven him? Probably not.
-Last sequence with bomb (after Adam tries to free Tash) is in real time.
-End of ep -- "concluding beats;" main action is over and need to tie up the various stories -- Zaf joins team, Monroe goes back to US, Juliet is appointed, Tash and Adam say goodbye, failures of Security Service.
-Final shot of London -- always under threat.]]> http://www.spooksforum.co.uk/thread-924.html Sun, 06 Jun 2010 23:05:07 +0000 http://www.spooksforum.co.uk/thread-924.html -Difficulty between series -- tying old to new.
-Start of ep -- you always know there's something wrong when you see a white van!
-Funeral scene not in script until late in writing process -- had to mark Danny's passing in some way.
-Olga (Fiona) -- 6-7 months pregnant in this ep. Fiona carrying files or hides behind something throughout s4 to cover pregnancy.
-Hard in the writing process to convey the horror of a bombing without being gratuitous -- decided to focus on tiny human details (a shoe, the pink cell phone, people sitting on curb). Audience is left to imagine what it's really like at bomb site.
-Conscious decision made to move terrorists away from Al Qaeda types -- boring if same scenarion every time.
-Music in spooks always gives a good clue as to what's going to happen, what kind of scene it's going to be.
-Effort made at start of series to make grid look vibrant, busy -- lots of people all over the place.
-Juliet Shaw great character to write for. Anna Chancellor and PF worked really well together.
-RPJ and Raza Jaffrey tried to outdo each other as bad asses in interrogation scene with Mortimer.
-PF and RPJ great together throughout s4. Different relationship between Harry and Adam than Harry and Tom -- much more interesting interplay.
-HS -- a sympathetic politician, for once -- he looks incredibly reassuring.
-American flag on desk amidst American visitors to grid -- satiric touch.
-Continuity problem in train station scene -- terrorist comes in carrying very short, single ladder. When the guy climbs the ladder, it's miraculously tripled in length. Also, they walk away after planting the bomb and leave the ladder there.
-AC, when playing Juliet, very rarely blinks -- makes her very intimidating.
-Great scene between Ruth and Curtis in field -- once she gets what she needs, she breaks cover and twists the knife with her dialogue.
-Delphine character exists solely to move the plot along, then "suicide by cop."
-Special Forces guys backing up Adam and Zaf were real SF guys -- faces covered so they couldn't be identified.
-Train evacuation scene -- feels very real; editing between station, grid and terrorists builds tension.
-"They have to be lucky all the time" -- old IRA saying.
-Ruth and Prof. Curtis scenes -- take you away from the main action but are so well-acted that it doesn't present a problem. Also, scenes are used as tension breakers -- gives audience a breather before next bomb.
-"Those old chestnuts" originally written as "that old chestnut." PF changed the line and made the gag play much better.
-"Love, love, careless love" -- from a Robert Lowell poem.
-Fiona/Wes scene -- lots of discussion about whether to keep or not. Decided to keep in because it adds a lot to Adam's character. Continuity problem in scene -- sheets on Wes' bed are different at beginning and end of scene.
--RPJ and RJ were at school together.
-Tash leaves party very quickly with Adam with no real explanation why -- not important. She goes because that's what needs to happen for the ep.
-First two-parter for spooks.]]> -Difficulty between series -- tying old to new.
-Start of ep -- you always know there's something wrong when you see a white van!
-Funeral scene not in script until late in writing process -- had to mark Danny's passing in some way.
-Olga (Fiona) -- 6-7 months pregnant in this ep. Fiona carrying files or hides behind something throughout s4 to cover pregnancy.
-Hard in the writing process to convey the horror of a bombing without being gratuitous -- decided to focus on tiny human details (a shoe, the pink cell phone, people sitting on curb). Audience is left to imagine what it's really like at bomb site.
-Conscious decision made to move terrorists away from Al Qaeda types -- boring if same scenarion every time.
-Music in spooks always gives a good clue as to what's going to happen, what kind of scene it's going to be.
-Effort made at start of series to make grid look vibrant, busy -- lots of people all over the place.
-Juliet Shaw great character to write for. Anna Chancellor and PF worked really well together.
-RPJ and Raza Jaffrey tried to outdo each other as bad asses in interrogation scene with Mortimer.
-PF and RPJ great together throughout s4. Different relationship between Harry and Adam than Harry and Tom -- much more interesting interplay.
-HS -- a sympathetic politician, for once -- he looks incredibly reassuring.
-American flag on desk amidst American visitors to grid -- satiric touch.
-Continuity problem in train station scene -- terrorist comes in carrying very short, single ladder. When the guy climbs the ladder, it's miraculously tripled in length. Also, they walk away after planting the bomb and leave the ladder there.
-AC, when playing Juliet, very rarely blinks -- makes her very intimidating.
-Great scene between Ruth and Curtis in field -- once she gets what she needs, she breaks cover and twists the knife with her dialogue.
-Delphine character exists solely to move the plot along, then "suicide by cop."
-Special Forces guys backing up Adam and Zaf were real SF guys -- faces covered so they couldn't be identified.
-Train evacuation scene -- feels very real; editing between station, grid and terrorists builds tension.
-"They have to be lucky all the time" -- old IRA saying.
-Ruth and Prof. Curtis scenes -- take you away from the main action but are so well-acted that it doesn't present a problem. Also, scenes are used as tension breakers -- gives audience a breather before next bomb.
-"Those old chestnuts" originally written as "that old chestnut." PF changed the line and made the gag play much better.
-"Love, love, careless love" -- from a Robert Lowell poem.
-Fiona/Wes scene -- lots of discussion about whether to keep or not. Decided to keep in because it adds a lot to Adam's character. Continuity problem in scene -- sheets on Wes' bed are different at beginning and end of scene.
--RPJ and RJ were at school together.
-Tash leaves party very quickly with Adam with no real explanation why -- not important. She goes because that's what needs to happen for the ep.
-First two-parter for spooks.]]> http://www.spooksforum.co.uk/thread-920.html Sat, 05 Jun 2010 11:16:33 +0000 http://www.spooksforum.co.uk/thread-920.html
Talking points:

- Danny's funeral
- The bombing of London
- Martine McCutcheon
- Shining Dawn's beliefs
- Ruth vs. Profressor

This thread will run for two weeks.]]>
Talking points:

- Danny's funeral
- The bombing of London
- Martine McCutcheon
- Shining Dawn's beliefs
- Ruth vs. Profressor

This thread will run for two weeks.]]>