To bring "puberty" to life, the producers of the Smash Netflix TV series had to find a way to get the camera flying and shoot fire drills to keep the show's single-photographic format intact.

Stephen Graham and Jack Thorne are co-creators and executive producers of four episodes of British drama thrillers that have become one of Netflix's most popular series, providing details about it at its annual conference hosted by the American Producers Association on Saturday.

Graham, a co-star of “Adolescent,” said one key to the tricky production process is working with school leaders who are most of the series.

“We empowered the local community and brought them into the journey,” Graham told the crowd, gathering at the event all day. "In our industry, there is a very layered structure. In this way, we tore the rulebook and threw it into the fuck window."

The work paid off when they realized the script required a fire drill with hundreds of actual students - only a small window was right.

"This lunatic decided to write a fire alarm in one episode of 300 of them," Graham told his regular collaborator Thorne. ("A cute guy, and my best companion," Graham said enthusiastically.) The principal investing in knowing the school helped them browse the scene and other high-line elements.

Graham stressed that from his experience, he was an actor who was lower on the call sheet and felt insignificant, and he proposed a sure everyone in the cast and the crew invested in the show.

"All the actors became crew members and all the staff became actors," Graham told host Rebecca Sun, a veteran entertainment journalist and cultural critic.

The two detailed the complexity of drawing the story, including the moments of the character driving in the car. Coordinated shooting without any edits is a feat. "We can't turn off traffic lights," Graham noted.

Drones prove a solution that allows characters to move in physical space without destroying the strength of a piece of effect format.

"Once the camera is separated from the character, it loses its power," Thorne said. "If the camera flies, it's not a computer game. It's something else."

Graham and Thorne explained that they shot many versions of each episode while perfecting the single shot template, but they only had time to shoot the second shot every day. Except for the first episode, the use of the rest of the plot is always the last episode.

For episode 1, the filming was broadcast for the second time. As Graham recalls, Episode 2 was named 16 in Take 16. The devastating final period is 14.

The two stressed that the success of “puberty” is more evidence that audiences around the world are open to various storytelling. In the past, Graham and Thorne were told that, as Graham recalls, some of their shopping items were too thick. This is not the case with Netflix and "puberty".

"It shows a specific fun. We're a very special show," Thorne said.

Graham and Thorne shouted about the hard work of producers Jo Johnson and Hannah Walters, along with photographer Matthew Lewis and director Philip Barantini.

"I don't think we're going to describe ourselves as showrunners," Thorne said. "It's a group of people working together."

Johnson “is an album of weights that lifted the show on his shoulders,” Thorne added.

The two pointed out that "puberty" has many first-time department heads in key downline areas. The success of the show helped the turbocharger career.

"We did it with love. We did it with caution, and we respect our theme very much," Graham said. "We would never have that last photo without the puzzle of every puzzle."

The conference also spoke with creator/executive producer/performer and director Huang Dong Hyuk. Sun asked director Hwang about having years of whip to study the concept of Season 1, but only six months to write Season 2 and Season 3.

"It's like never-ending work. I lost my teeth again," director Hwang said, nodding, agreeing with the legend, who lost more than one tooth in the production of season 1 due to sheer pressure. Season 1 bows in September 2021. It swept the world - becoming Netflix's most watched script series.

However, after finishing the filming, Superintendent Hwang considered it an independent single-season series. He didn't save any sets, which meant that they had to be recreated in three years.

Director Hwang pointed out that he has a bigger budget in seasons 2 and 3. But he remembers how the limitations of his Season 1 budget pushed the adjustment to become an iconic element of the thriller.

Director Huang said: “The budget for the first quarter is in our favor in some ways.”

"I was originally my plan for the dormitory where players sleep, unlike other activities, separate from the diet hall, and they participated in the ballot location," he explained through the translator Haley Jung. "My co-producer came to me and said 'We don't have money.' That's what we thought of, all the beds between each other."

The director transferred Jung's translation between English and Korean speeches. He pointed out another big difference between the nine episodes of Season 1 and the subsequent episodes, laughing from the numerous industry professionals. In Season 1, half of the characters participating in the Deadly Game were killed in Episode 1. He admitted that the reason was simple.

“More extra costs mean more money,” he said with a smile.

(The highest picture: "Adolescent" co-creators Jack Thorne and Stephen Graham and host Rebecca Sun)