Top Boy is, without a doubt, a world-class drama. 

Over the years, the Netflix (formerly Channel 4) series has garnered overwhelmingly positive reviews from critics for its powerhouse performances, its thought-provoking storylines and its iconic London filming locations. It has launched movie stars, shattered stereotypes and fearlessly tackled the consequences of systemic oppression. And it has had an overwhelming impact on Black British culture.

It makes sense, then, that there are some pretty incredible people working behind the scenes on this series. And, when you consider how vital its female-led storylines are, it makes even more sense that there is a team of outstanding women pouring their hearts and souls into the unforgettable tour de force that is Top Boy.

Here’s what happened when Stylist sat down to chat with them all about the show, its legacy and their plans for the future.

ABI LELAND – MUSIC SUPERVISOR

Music feels like it is becoming a more and more integral part of excellent TV – every award-winning series I can think of has a killer soundtrack. Why do you think this is?

There are more series being created that have the style and the reach to warrant an ambitious music approach. Plus audiences want it; the landscape has completely changed, and film and TV are now a big part of how consumers discover new and catalogue music.

How did you begin work on Top Boy? Were there any key bits of info you needed from the showrunners or directors to get started?

As Top Boy already existed from the Channel 4 series we already had an understanding of the premise and aesthetics. But we knew there were bigger ambitions with the revival so we looked at what we wanted to retain from the original series and what we wanted to look at fresh. With every new series we start by reading the scripts and having broad creative conversations with the execs and the directors – I actually just like to hear their vision for the series and each episode, rather than drilling straight into the music. I can then go away and start to translate this into the music, bringing my vision into theirs. This stage is one of my favourite parts as I allow myself to be really free and just pull different music ideas whilst finding a commonality or a thread that runs through it all. Once we start working to picture then naturally the process becomes more refined and specific but the early part is all about creative exploration.

The Top Boy soundtrack always feels so authentic and brilliant. How do you go about sourcing the music? What are you looking for in a track?

Once I have a good sense of the world I’m in, every piece of music I am selecting can be very different but will feel right for that world. You can have a great track that fits the world but doesn’t lock in with the scene, and visa-versa. Having had 25 years of working with music to picture I have a very intuitive sense of what works.

How do artists react when you reach out to ask them about using their music in this series?

That is one of the special things about Top Boy; so many of the artists we have used are fans and the series means a lot to them. Some have grown up in the area where it is based, some grew up watching the early series. The stories have connected with so many people. I have a lot of respect for this.

Do you ever feel pressure to create a transcendent needle drop (I’m thinking of Kate Bush’s Running Up That Hill in Stranger Things)? Is it ever something you actively strive for?

I am commercially minded, but I’m also a believer that if you try too hard then you can lose something along the way. Any successful artist doesn’t create their music first and foremost for the audience, but naturally, they will want it to connect. I’m the same with my approach to film and TV; first and foremost, it just has to be perfect for the project and then you hope that everyone else gets it too.

Are there ever scenes that are better without music? How do you determine when silence is golden?

I am often the first to say when I don’t think a scene should have music. Sometimes it is good to experiment and try things; it’s important to have an open mind. But you’ve got to know when to give space. Directors tend to have strong feelings about this too, and more often than not we will be aligned.

This is, of course, the final season of Top Boy. How did this impact your musical decisions?

I didn’t want to overthink it. I will always be led by the narrative, the performances and the style and tone. I like using music to tap into the underlying emotions rather than just telling you what you already know. It should feel effortless; I hate music when it is trying too hard.

How do you feel about the series coming to an end?

Gutted. It’s a unique series to work on, so I’ll miss it. But it feels right that it’s drawn to a conclusion – I have respect for that.

What do you hope people will take away from Top Boy? And is there a particular musical moment within the final series that you hope people will sit up and pay attention to?

I love the scene in episode two where a friend does an impromptu performance of a track she’s written with Jamie in mind. The character was played by the artist Cristale. It feels so natural and effortless, which is full credit to the cast’s performance and Myriam’s direction. The way this scene was written in the script allowed it to be open to improvisation. It could have been really clunky and self-conscious but it is magic. I also love the track we used over the opening of the series, Guvna B’s U Get Me. It was selected very early on (shout out to Ricole at Universal for giving me that early listen) so we hadn’t heard the full album at that point. It is out now and it is a brilliant record – very personal and narrative.

And where can we find you working next, if you’re allowed to say?

I’ll have to be fairly cryptic… I currently have the pleasure of working on another Ronan Bennett drama series. And I’ve been working on a big biopic documentary series which is very hush-hush but will be out next year. We also do a lot of projects with brands so our work with the likes of Nike and Samsung is often on TV and online. 

TINA PAWLIK – PRODUCER

Tell us a little about your role on Top Boy.

I’ve been on Top Boy for all three of the Netflix seasons. I began as the show’s line producer and on this latest, final season I was the series producer. My role begins with breaking down the script and budgeting the show as well as contributing thoughts to the storylines. Once the scripts are locked I oversee the process of moving the show into production. Filmmaking is very much a team effort so a big part of my role is building the right team for the job.

There are a LOT of big scenes in the final season – was this one of the hardest to shoot, in your opinion?

There was a lot of anticipation around this being the final season of Top Boy and we knew that we owed it to the fans and ourselves to deliver something big and memorable. It was very hard but we planned a lot around what we wanted to do and what we could do on the budget. It was definitely a challenge that led to a few sleepless nights.

How did you and the locations team first come across the Samuda Estate for the main location, Summerhouse? What was it like working there the majority of the time?

The Samuda Estate first appeared in Netflix’s first season of the show and was the result of a lot of groundwork and scouting of estates by our then locations team, Ben O’Farrell (supervising location manager) and Chloe Misson (location manager). The Film Office, who manage locations in the east London area offered up some location suggestions. It’s been amazing working with Sharon Clachar, from One Housing, who looks after the estate. Sharon and the residents have been very giving with their time and patient with our film requests. Having a film crew on your doorstep can sometimes be a disruption but they were hugely accommodating throughout some quite big shooting days.

What challenges come hand-in-hand with filming on a real-life housing estate? How did you work with the locations manager and directors to overcome these challenges?

The final two episodes of Top Boy were a real challenge as we knew we were asking a lot of any location. We had hoped that we would shoot all the riot scenes and night scenes on an empty estate but unfortunately this didn’t materialise so we worked with Sharon at One Housing to film a lot of these scenes on Samuda. There was a lot of meticulous planning between Will, the director; Dave our first AD; and all the other departments to make sure we could deliver everything we needed to achieve in the time available. We had a great crew and there was a lot of team worked required. In the end, we shot those final scenes across three locations: predominantly the Samuda Estate but also Oaklands Estate in Clapham and even the grounds of a Leisure Centre in south-west London.

How did you feel when you first learned how the story would come to an end?

Genuinely, I felt really sad about it, because not only have I loved being part of making the show but I’ve also loved being a viewer and seeing how Dushane and Sully’s stories have developed over the past decade and how the canvas on east London has changed throughout this time. However, everything has to come to an end eventually and it’s better to burn out than fade away, so it’s time to say goodbye.

Have you been following reactions to the season on social media? 

Yes, and it’s great to see how involved the viewers have got. I’ve enjoyed reading all the theories about what happened at the end and who was involved and why. It’s also good to read what didn’t resonate with viewers and what they liked and didn’t like about this season. It’s important to hear all the angles. I’m really happy that this season has become such a talking point. Even my sister has been trying to tease out from me what happened but I’m keeping it zipped.

How would you respond to those viewers who have said the show leaves loose ends?

This season of Top Boy is about the relationship between Dushane and Sully and, in my opinion, there are definitely no loose ends there. As for the rest of the characters, who knows where their lives might go? Questions and loose ends are two different things.

What moment do you feel best sums up this season as a whole? 

Hmm, there are so many because so much happens across the six episodes, but for me some of the moments that really stood out include the community coming out in support of Kieron and against the redevelopment of the estate; when Jaq puts her hand over her heart; the relationship between Jaq and Lauren and everything they’ve been through; Stef and Erin and the hope and innocence of this burgeoning new relationship; and Mandy taking on the world and trying to right some wrongs and be a better person. But ultimately, I think the scene of the season is between Dushane and Sully when they’re both on different sides of the gate. It’s really emotional and I remember when they did the first take of it on set, I cried.

Was there any worry about spoilers leaking around the ending? How did you and the team work to prevent this?

There’s always the risk of spoilers, but as we sat on the fact that Jamie got killed at the end of season two for about a year, I knew that we’d be able to keep the series finale a secret. We didn’t issue the final pages of the script to many people; it was very much on a ‘need to know’ basis and we didn’t read the last 15 pages of the script at the read-through either. All the cast and crew were very invested in not giving the ending away.

How did you celebrate/mourn after the final scenes had been shot?

From memory, I don’t think the final scene was the last thing we actually shot, but when we did shoot that scene I remember it being a really hectic day as we were being told that certain things we had planned to do we weren’t allowed to do so it was actually a pretty stressful day! It wasn’t until I watched the ending in the edit that I thought this is going to be amazing!

How do you feel now that the show is ending? And what do you believe Top Boy’s legacy will be?

I feel sad the show has ended, but it’s the right time. Top Boy is such a unique show and I don’t think anything really compares to it. I think it’s really earned its place as an iconic British TV show.

Do you think the story might ever be resurrected in a film or spinoff series?

I’m not sure the show could or should be resurrected, especially as it ended in such a perfect way. As far as spin-offs, maybe? I guess there are a few people left but I think it would have to be set somewhere other than Summerhouse. I would love to see an origin story about Dushane and Sully as kids. I think it would be amazing to see who could play them.

What’s your next big project?

I’m currently working on an eight-part show for Apple, and after that I have a couple of shows I’m developing, and have a couple of books I’d like to option.

MYRIAM RAJA – DIRECTOR

How did you first become involved with Top Boy?

I was still at film school and part of a mentee scheme, which let me shadow the director on the show’s first season. But then I badgered the producers to let me come and do some more, and after a lot of badgering, they did, and we kind of kept in touch and developed a relationship from there. When season two was about to happen, they called me and offered me one episode in the middle block, which I guess was their way of testing the waters with me. And that went really well. And I came back for the final season to do more episodes.

If there was ever a good case for badgering, I’d say that was it!

If you don’t ask, you don’t get. That’s what I always tell people.

What did the series mean to you in the beginning, and how has that evolved over time?

I remember it coming out on Channel Four, and everyone at school talking about it. I remember the impact it had back then, and it’s not lost that impact. It hasn’t lost that importance.

How has your perception of directing changed between the first season and now?

When I first stepped on set, I was a student who’d only ever made short films. I remember there being a feeling of intimidation by the scale of this Netflix show. And especially, you know, of being on a show where all the actors have gelled and bonded and been on it for years. I felt like such a small fish. But I think… I guess it’s the confidence that I’ve gained, and I’ve realised that I’m an important cog in a machine, just like everyone else involved. We have to work together in order for it to drive forward.

Did you find that people treated you any differently come the final season?

It felt like coming back to a family; the crew of Top Boy is incredibly diverse, and there’s a lot of youthful energy. You can tell everyone deeply cares about it and is really deeply passionate. Like, people actually bother reading the script and you’re talking about the story as you’re shooting it. And some of the people that were in junior roles when I was a mentee on the first season had progressed as well. So it felt like people were happy for me when I stepped back on set with more responsibility on my shoulders. I felt like they had confidence in me, which really helped, too.

The show is called Top Boy, but it is obviously ruled by brilliant women in front of and behind the camera…

Remember that first iconic shot of the pregnant woman running the weed farm? It’s actually the women around the two main characters who really ground and humanise the world. Deep down, Top Boy is about community, and its women offer us more emotionally driven stories – they are the heart of the show, and they become the pillars around which everything else gets built. They’re really important.

Was there more pressure filming the final season?

Yes, but not just in terms of the scale; while we were shooting the first block, the script for episode four hadn’t been written yet. The final two episodes had not been written, so neither I nor the actors had any idea where their storylines were heading. But in a way, I guess it meant that each scene was shot and performed very individually, like an in-the-moment kind of scene.

And were you caught off-guard by the ending?

I was definitely surprised by the ending. And I guess, looking back, I would have probably made different decisions in certain scenes had I known that this was where things were headed. But we’ve lived with Sully for all these seasons, and he’s been walking around like he knows there’s a bullet with his name on it. And even Dushane, who started off the season in this really nice restaurant, having a nice dinner, ends it by running – literally just running – with drugs out of desperation, and he dies in an alleyway alone.

It feels like a full stop; like there’s no significance to the lives they’ve led, despite all the adrenaline that they’ve constantly experienced. And I think that’s a really scary, strange feeling. It’s like, well, ‘You’re such a big man and drug dealer, then boom. Full stop. Nothing.’

And of course, there’s another character we need to talk about: London. And not Love Actually-London, either, but the actual London we know and love.

I wasn’t born in the UK. I came to the UK at the age of 11. But I had seen Notting Hill and Mr Bean, and I thought, ‘Oh, that’s what London is like, cool’. But I think with Top Boy, it was really important that we never once used the word ‘gritty’, because for characters like Dushane and Sully, Summerhouse is really their kingdom. And there is vibrancy and there is community. And actually, what was incredible with this season is that we shot in summer. And so you see the sunlight, and you see colour, and you still see beauty, but there’s a ruggedness and there’s a realness to that part of London. Because London is madly diverse, and it’s a shame not to capitalise on that.

What have you got lined up next?

I am currently focusing on my debut feature.

And what lessons are you taking away from Top Boy to apply to your work going forward?

You know what, I think Top Boy is incredible. It’s a show made with love, through the collaboration of many people, and I think I learned that sometimes you do need to stand up for what you believe in. To fight some battles. And, this time, some battles were won, and I’m proud of the on-screen result. 

What advice do you have for anyone who’s hoping to make it as a director someday?

Find people who want to tell similar stories to you. Collaborate. And keep them close. Because it’s not a job you can do alone. So that would be one of my biggest pieces of advice, as well as to watch lots of films!

NATALIE HUMPHRIES – COSTUME DESIGNER

Where did you start with designing for these characters? What were some of your inspirations?

As a new designer for the final season I was highly sensitive to the cast’s handle on their characters and their wardrobe. With key cast having inhabited these roles for just over ten years I wanted to work very collaboratively with them to realise the looks for the final season. I revisited past seasons and studied their story arc and how that was reflected in their clothes. The brief was for the final season to return to its Summer house roots. I wanted to bring a strong sense of the Hackney I live in to the screen.

How did you begin the research process? 

The work began with rewatching all seasons to date. I then looked at local photography; the work of photographers Donna Travis and Wayne R Crichlow’s was a huge inspiration along with other photgraphers working with the Future Hackney project. Future Hackney works alongside the community in a participatory way to document their social and cultural history. The result is a joyous evolving collection of photographs of the African and Carribean community that give life to Ridley Road market and Gillett square in Dalston; two featured locations in Top Boy. 

I wanted to bring the vibrancy, pattern and idiosyncrasy of the clothes in those photographs to the community in Summerhouse who unite to prevent the forcible eviction of one of their own by Border Police. I spent a lot of time watching new and emerging artists on the drill scene’s videos on YouTube; a great reference for what was current with regards to clothes, preferred street labels and accessories.

How do you ensure the clothes felt authentic and real, as opposed to costumes?

Much of the clothing needs to be new as we’re an action heavy show and often need repeat garments; I try where possible to use worn and second hand clothing. We always give new items several spins in the washing machine before establishing on screen and in some cases we use watercolour break down paints which we apply with a brush to work into the clothes where they would tend to show wear.

What labels have been included in the final season? Why?

There’s a huge amount of brands in the mix, from the high street sport brands we’re all familiar with, to smaller London labels like King, Tax 3, Unknown and Fully Paid. Within those brands we also mixed in lots of non logo’d hight street items like H&M and Uniqlo in order that we weren’t too distractingly heavy with brand logos on screen. With Dushane, Ashley and also in this season Jaq there’s scope to play with more luxury street brands, such as Kith, Adsum and C.P Company and Stone Island. Whilst there is a uniformity to the Roadman look in terms of the garments; rank and status within the gang is subtly expressed though the clothing and footwear.

How do you use a character’s costume to reflect their emotional state/personal journey? 

Lauryn’s story arc in this season was very much reflected in the clothes. The first time we see her she’s in bed, slightly dishevelled from tending to the baby through the night where in contrast Jaq and Becks sit on the bed clearly showered and dressed to head out; Lauryn looks defeated by the day that lies ahead before it’s begun.

Stefan’s clothes evolve significantly through the series. He starts out in the same tired clothes from the past season in sheltered accommodation. No Jamie around to buy new clothes for him. As he starts to spend more time in the company of the fields gang you start to see new items appear – AF1’s followed by a Nike Tech fleece. We chose to use blue on Stefan as a homage and nod to Jamie’s iconic North Face jacket.

Do the cast work with you to dress their characters? 

I always work collaboratively with the cast and directors; it only improves the work and is one of the most rewarding aspects of my job – building tangible characters. All work is script and character-driven. I started with long phone calls with each cast member prior to the fitting. We’d often WhatsApp ideas over to one another ahead of the fitting and we’d discuss the items/ colours and brands they felt were key to their character.

Which character did you most enjoy dressing this season, and why?

Jasmine Jobson’s fitting was a real highlight. We had a great initial call; Jasmine had such a clear idea of Jaq and her wardrobe. I love the look that had already been created for Jaq in past seasons, and we were keen to explore that further. In season three Jaq has more cash in her pocket, reflecting her elevated status within the gang. Her grounding domestic relationship with Becks is followed by despair and soul-searching after the tragic death of Lauryn. We reflected that in the clothes with a pared-back palette post episode two and less of the sharp layering enjoyed in the first two episodes’ looks. Jasmine was ever mindful of the roadman aesthetic and, while wearing some more expensive pieces, stayed faithful to the established silhouette and gravitated to iconic roadman staples.

In many sitcoms and series, it’s rare to find any characters who ever re-wear or reuse their outfits – but that’s not the case with Top Boy. Why?

For me, Ronan Bennett’s scripts and the social themes the show tackles unflinchingly demand a realism from the clothes. We’d consider the economic reality of all the characters; could they afford those trainers? Would they own more than one pair? Who’s washing their clothes? In our own lives, we tend to wear a selection of clothes on repeat for months at a time. It’s important to build these repeats into Top Boy as part of the immediacy of the show is that it’s shot with very few story days.

What small fashion detail do you hope people will notice this season?

I hope people enjoy some of the female cast’s clothes. I was particularly thrilled to work with Simz; a style icon and exceptional artist. I looked to put more colour and confidence in Shelley’s costumes. I loved her denim jumpsuit look and there’s some great knitwear and high-waisted jean outfits. Through her business she’s empowering herself and other women in her community to be financially independent; we chose to elevate Mandy’s wardrobe also to reflect her job and in

How do you feel now that Top Boy is ending? What will be its legacy?

As a fan of the show, I’m hugely sad that this will be its final chapter. I think the legacy of the show will be the generation of immense new talent that the show has fostered both on and off-camera.

What’s your next big project?

I’m currently shooting Ronan Bennett’s next project, a series remake of Frederick Forsyth’s The Day of The Jackal, with Eddie Redmayne and Lashana Lynch.

SHARON CLACHAR – SERVICES MANAGER FOR ONE HOUSING

Summerhouse is the beating heart of Top Boy. Were you happy to welcome the cast and crew back onto the Samuda Estate one last time?

Top Boy had been filmed on Samuda Estate for the previous two seasons so we were happy to have the cast and crew back this one last time.

What did you need from producers and directors to make this happen? 

In order to be able to make the filming request work, we needed an idea of the filming schedule, what was to be expected, reassurance that there would be as minimal disturbance where possible and risk assessments issued in advance of filming. What was being asked for this season was a lot more than on the previous seasons so we needed peace of mind that all concerns would be addressed.

How did residents learn that their home was going to become an iconic TV location?

The production team notified our resident by letter and door knocking. Residents were advised on a week-to-week basis of the weekly film schedule with regard to timings, blocks that were being used for filming at a particular time and any inconveniences that may be encountered.

What challenges come hand-in-hand with filming on a real-life housing estate?

We have a lot of residents on Samuda Estate and they are our main priority. Sometimes where the production wanted to film wasn’t possible because of vulnerable residents so we did our best to work with the production team to offer up alternative spaces or they worked within our timing parameters.

How did you work alongside the real-life residents – and how were they featured in the show?

A number of the residents’ houses or doors were used. Some people agreed to have orange grills on their flats to make it look like the flat had been boarded up. Where possible, residents were invited to be extras and some of our residents worked as location marshals and runners.

What have residents said about Top Boy’s presence in their home? Do they see it as a positive?

The majority of the residents who shared their views were happy and excited to have the filming on their estate, especially fans of Top Boy. A handful, as you would expect, complained about the inconvenience of the crew being on site. The production team made every effort to counteract any negative feelings by making everyone work around the residents with minimum disturbance, they arranged for residents who were fans to be part of the extras and interested resident filmmakers had the opportunity to view behind the camera. As a thank you, a draw was arranged, which included every resident whose block was used. Prizes included goody bags, Amazon gift cards, cash prizes and boxes of chocolates.

What do you hope the show’s legacy will be for locals?

That their estate was used as part of the production of a very popular Netflix series which is loved worldwide.

Images: Netflix