Silverpoint: Imagining the impossible

“Imagining the impossible” in a “challenging time” to be making children’s TV is the conundrum Silverpoint series producer Trevor Klein faced during filming for the second series of the BAFTA-nominated CBBC sci-fi series.

Although this season had a bigger budget it also came with bigger expectations due to the success of the first - plus a brief for special effects that included a spaceship that involved installing 50,000 LEDS.

Filmed again in Northern Ireland, one of the biggest changes was a bigger cast but audiences will notice other differences when the new series airs this week on CBBC and BBC iPlayer.

Klein explains: “The cliffhanger ending of series one has group Dragonfly realising they’re not alone - they’re one of four groups of teens, each with their own alien Artefact. So the most obvious change for series two is that our cast is a lot bigger!

“The groups go through a series of elimination challenges inside different virtual worlds, guided by an alien intelligence. Where series one was set largely in the Silverpoint summer camp, we explore a much greater visual variety of locations for series two, from a castle dungeon to outer space. 

“We’re still a mystery adventure, but the sci-fi vibe this series has moved a little less Close Encounters, and a little more Hunger Games.”

Having previously produced several of Banijay-owned Zodiak Kids UK’s shows based in Northern Ireland, “it was an easy decision to go back, not least because it’s a chance to work with an incredibly skilled (and incredibly nice) crew both on-set and throughout post production.” 

The first series was written by Lee Walters especially with the dramatic woodlands of Northern Ireland in mind and this time the production has made even more use of locations, including the windy but stunning Whiterocks beach. 

Northern Ireland Screen also offered its support which Klein said “was essential for us to deliver on our ambition.”

Challenges

The main challenges included working together for months, “in what can sometimes feel like a very high pressured environment, and it’s most important to look after everyone – cast and crew,” said Klein, adding that for many of the young cast it was their first time living away from home.

“On any production that priority has to come from the top, which on Silverpoint series 2 meant the creative and caring executive producers (Cheryl Taylor and Gwen Hughes) and production executive (Bruce Abrahams) from Zodiak Kids UK.

“Lee Walters (lead writer and co-creator along with Steven Andrew) is notorious for his excellent and intricate scripts, and ‘intricate’ always equals ‘takes time to film’. So definitely the ambition to deliver on the vision from the page was always a practical pressure in many ways each day.”

Another challenge was the weather. “It turns out when you film outside in the UK, there is ‘rain’, who knew?”, joked Klein. 

Sci-fi, as Doctor Who proves, is expensive but, following the success of season one, Klein said: “We all wanted to raise the bar, while knowing we’ll be compared to other shows and films with…more resources.

“So it’s a constant challenge to try and play to our strengths and get as much value onto the screen as possible. Our biggest advantage was having a skilled and collaborative team who were all focussed on finding ways to say ‘yes’, and being flexible within our constraints.”

That included the spaceship, which Klein says he loved: “ Over 50,000 LEDs were…installed by gaffer Paul Noble across what was actually a relatively small set (though thanks to line producer Sonia Laughlin it was definitely large enough - I’m not complaining, Sonia!). 

“DoP Ray Carlin made the most of them with multiple lighting modes to give us the right cinematic look for each scene including, of course, sci-fi staple RED ALERT.

“Production designer Garry Brown ensured it had several moveable sections so we could reconfigure corridors and windows quickly. In collaboration with visual effects studio Enter Yes, the team had designated sections where we could add green screens for corridor extensions, or views out of windows into space. 

“Equally, we needed to make every VFX shot really count, so our spaceship set directors Amy Coop and Aidan Largey had to aim for as few VFX shots as possible with camera tricks and thoughtful planning.

“Overall, we learnt a lot of lessons from series one in terms of being mindful of the number of visual effects right from the scripting and planning stages. The work that Enter Yes delivered is truly spectacular and exceeded all expectations,” said Klein, also praising Yellowmoon Post for the role they played. 

All the best sci-fi holds a mirror up to our world agrees Klein and is “just far enough away from real life that it feels completely safe, but it’s also close enough that you can explore tricky, messy and sometimes taboo areas. 

“It also sparks young imaginations in ways that can have very tangible impact. Science fiction is about looking toward the future, and imagining the impossible - something children do every day.”

Future of children’s TV

Klein praised networks ZDF and BBC Children’s for their support, particularly as it is “undoubtedly a challenging time to be making children’s TV at the moment, which casts only a greater spotlight on how vital the BBC is.”

He pointed to the success of the BFI’s Young Audiences Content Fund over its three years as proof that “intervention can make a huge positive impact on the wider children’s TV landscape, and its closure is a great loss.”

Original UK children’s content is important for children and their families Klein said but, “there are fewer shows at the moment telling original adventure stories that, younger and older, everyone can enjoy together, and even fewer that reflect the UK.”

“Shows like Stranger Things and Squid Game are fantastic, but they’re not necessarily something you’d want to watch with your six-year-old. Silverpoint is safe viewing that doesn’t compromise on what makes the best genre dramas gripping. 

“These characters are ordinary UK teens reacting to an extraordinary situation. The twists in the story are hard to predict, and it’s unashamedly complicated – we want to spark imaginations and plot speculation within families. Plus how many shows have a spaceship AND a dragon?”

“Watch it, and don’t be surprised if you start hearing strange noises in the woods…”

*Silverpoint season 2 starts on  @BBCiPlayer and  @CBBC on 17 May