Issue link: https://digital.copcomm.com/i/1545202
38 S U M M E R 2 0 2 6 I C A S Q U A R T E R L Y there wasn't much re-writing going on. Really, when you think about what was going on for the production, I'd say the ADR count was very minimal. In terms of the crowd, James had been on set so much and gotten a hold of so many recordings of schoolkids on set so we were very conscious when we were doing the crowd of how that was all going to work together. There wasn't a lot. The guys really did a great job! To me, that speaks to being really well prepared because of the script being very solid. Kiff: Well, that was kind of the beauty of this! Because it was a one-shot show, you couldn't use cutaways to change dialogue. They were happy with their script and that's what the show was going to be, and there wasn't room for someone's fingers further up the chain to change things because they couldn't, really. I think it added a strength to the show. Writers Jack Thorne and Stephen Graham had a brilliantly conceived and executed piece of drama. In doing a bit of research on this show, I read that for Episode One what we see is actually take two of the whole thing! That truly speaks to the strength of the script. But did that pose any challenges for you guys? James: There were things that we were fixing, especially in the police station, where Rob and I were constantly going back- and-forth with the AD's asking, "Is there anything you can do to stop these people from walking through the shot this time, or ask them to walk softer?" And the other takes ended up leaving us with a wealth of material to use to make fixes. That mention of footsteps brings to mind a question I had about how tied to production footsteps and the like you were in this POV kind of edit. Did it end up being mostly Foley? Jules: They did a really thorough coverage. It was mostly Foley and effects. You know, one of the things we knew from the start was how much panning we wanted to do to give it that kind of immersive, first-person feel. To be able to achieve that, the dialogue has to be really clean, and we wanted Foley to be able to follow that pan as well. Not only did they cover it very well, they needed to edit it so that we knew that a character was on a specific track—and still have the delivery checkerboarded as well. So, if we wanted to pan someone off shot, their Foley would as well. Almost none of the human sounds you hear are from the sync recordings. James: And if you think about it, whenever the camera moves, there are at least four other people who have to move with it from point A to point B. There is a lot of sound there that needs to be removed! We tried at one point to use what James Drake and Jules Woods CAS The ADR crew (L-R): Mike Tehrani, Romi Martinez (ADR assistant), and Simon Diggins