BAFTA Television Craft Awards in 2023 programme

As President of BAFTA, I’d like to welcome you to this evening’s Awards, celebrating the best in creative and technical excellence in the screen arts over the past year.

As well as celebrating today’s success, BAFTA is uniquely placed to inspire creativity and provide opportunities for the next generation to tell their own stories, and

I am proud that supporting talented people from all backgrounds to unlock their potential remains central to the organisation’s mission. Whether through its career development initiatives such as BAFTA Elevate, which is currently focussed on discovering and supporting aspiring producers from under-represented backgrounds, or through its ongoing bursary and scholarship programmes, which provide financial support to those starting out on their creative journey.

I share BAFTA’s belief that great storytelling can be lifechanging and I fully support its ongoing commitment to secure a more representative, inclusive and innovative future for the film, games and television industries.

HRH The Prince of Wales, kg kt President of BAFTA

WELCOME

Welcome to BAFTA’ s..

...celebration of an incredible year in television craft, performance and storytelling. This year we received a record number of entries across the Television Craft Awards and Television Awards, demonstrating the tremendous strength and depth of this industry.

The extraordinary breadth of nominated work is evidence of a screen industry in rude health. And our Awards recognise exceptional achievements that we hope will inspire the next generation. Look no further than the BAFTA Elevate and Breakthrough cohorts, some of whom are among the many first-time nominees recognised this evening. We urge you to seek out and enjoy their outstanding work.

Recognising excellence in television is central to BAFTA’s mission as an arts charity. We seek to inspire current and future creatives and ensure they are given every opportunity to thrive in the film, games and television industries, regardless of their background and life experience. In all activity, from the Awards to our year-round talent development programme, and with the support of our members and committees, we strive to level the playing field.

We all believe in the power of film, games and television to entertain, inform, engage and transform. Whether celebrating those at the top of their form or nurturing the talent of the future, BAFTA’s support can make a difference.

Huge congratulations to our brilliant nominees. We hope you all enjoy this night of celebration.

Jane Millichip Krishnendu Majumdar Chief Executive Chair of BAFTA Officer of BAFTA

Mel Giedroyc is a natural entertainer, something she demonstrated with aplomb as host of last year’s BAFTA Television Craft Awards. Given her experience co-hosting the most popular show on British television, perhaps that’s no surprise. Giedroyc is often associated with another host of BAFTA’s Awards, Sue Perkins, who helmed the Television Awards in 2017 and 2018. They first met as members of Cambridge University’s estimable Footlights theatrical group, before taking Mel and Sue to the Edinburgh Fringe, where they won the Daily Express Best Newcomers Award in 1993. They made their small screen debuts soon after, in supporting roles on Fist of Fun (1995) and French & Saunders (1996). They were given their own chance to shine with Light Lunch (1997-1998) and then the more primetime Late Lunch

(1998-1999), a chat show packed with celebrity interviews, a few laughs and some cookery hijinks. It was a formula that would serve the duo well for a new series that would become a global phenomenon: The Great British Bake Off (20102016). Under their stewardship (alongside judges Mary Berry and Paul Hollywood), Bake Off became the highest rated show on UK screens in 2015 and 2016, topping 15.9 million viewers at its peak, and winning four BAFTAs.

Since leaving the show in 2016, Giedroyc has guested on various programmes, including a memorable turn on Taskmaster (2017), and now hosts woodworking competition Good With Wood (2021-). After several years presenting specials around Eurovision, she will be cocommentating the full show for the first time in 2023 with Graham Norton.

Hosting the BAFTA Television Craft Awards last year

LIGHT & Vision

from the footlights of cambridge to the spotlight of eurovision, meet the host of this evening’s ceremony, mel giedroyc.

PORTRAIT: BAFTA/Scott Garfitt;

IMAGE: BAFTA/Guy Levy

THE SPECIAL AWARD : ALISON BARNETT

lBEHIND

THE

App ause

WORDS: Rich Matthews | PORTRAIT: BAFTA/Rachell Smith

IMAGES: Provided by recipient

as head of production at kudos, alison barnett has been an unseen and uncelebrated creative force behind some of the uk’s best television.

Kudos’ website points out that its head of production, Alison Barnett, has worked on more than 400 hours of television.

“Hours? Try years – 40 years!” she merrily asserts, whose four decades of exceptional service to television has earned her one of BAFTA’s highest honours, the Special Award.

Since taking the traditional late-1970s route from theatre to studio floor at the BBC, Alison Barnett climbed the ranks of location scouting, assistant directing, line producing and production management to become one of the UK’s first heads of production in 2005. Along the way, she’s been part of more than 80 BAFTAnominated shows and 14 winning productions. Yet, she’s never won a BAFTA herself –until now.

“[When] I got the letter I thought it was a joke,” she laughs. “I was surprised, both for myself, having worked in the industry for such a long time, but also because the production office team never get recognised... I’m so thrilled that BAFTA has recognised the production office... It will help enormously because it’s difficult to recruit and keep hold of young people in production. The production office can be miles away from set, working

“I was surprised, both for myself and also because the production office team never get recognised.”

independently and way after the set has wrapped. To work in the production office, you really have to love TV. Luckily, we do.”

Her own passion for the artform emerged through an enviable roster of shows:

Doctor Who (1979), Grange Hill (19801981), All Creatures Great and Small (1983, incidentally where she met her husband), Edge of Darkness (1985), Lipstick on Your Collar (1993), The Lakes (1999), Spooks (2003-2011), Bleak House (2005), Hustle (2005-2011) and Life on Mars (2006-2007), to name a few.

More recent Kudos hits have included such popular series as Utopia (2013-2014), Grantchester (2014-2017), Broadchurch (20132017), SAS: Rogue Heroes (2022) and The Rig (2023) and more.

Her passion comes from a fundamental source of joy: “A script landing on your desk is so exciting. You go, ‘How are we going to make it?’ I still get a great kick out of that.”

Her enthusiasm has remained constant even while the work itself has changed dramatically. “The day-to-day paperwork is huge now,” she says. “Production in all its guises is still a huge learning process. You take all the knowledge gained from one show onto the next... You have to wake up in the morning and think, ‘I’m going to work hard but I’m going to enjoy it.’ That’s my life, it’s my makeup and I hope I instil that in others.”

She is quick to point out that while many aspects have become more intense, this is balanced

“A script landing on your desk is exciting. You go, ‘How are we going to make it?’ I still get a kick out of that.”

With the Spooks cast and crew in 2002

out by improved employee support, especially for women.

“When I had my first child, there was no real maternity care and you were still frowned on if you had to pick them up from nursery,” she says. “There is better awareness now for work-life balance, but still a lot needs to be done. It isn’t a 9-to-5 job, which is why you have to have a laugh... What we create is magic. Enjoy it!”

So, can the industry and the avid television hungry public look forward to another decade of magic from her? “I’m so lucky to have had a wonderful career, and half of it at Kudos. However, I’m looking forward to my retirement in the future,” she laughs. “I have a granddaughter and I think about my poor husband, who I hardly ever see.”

Fortunately, before that landmark event happens, there’s still many more hours of television in the pipeline to add to that groundbreaking 400 statistic on the Kudos website – all from the back office that is, thanks to Alison Barnett, getting its moment in the spotlight.

Read the full version of this feature: bafta.org/about/awards-brochures

Top: On location in Yorkshire for All Creatures Great and Small (1983)

Above: Unit still on the set of The Cazalets in 2001

“It isn’t a 9-to-5 job, which is why you have to have a laugh. What we create is magic. Enjoy it!”

COVER STORY: EVERY ONE IS

Unique

this awards programme is a one of a kind. here’s why...

You may not have realised it but this programme is unique. No two covers are the same. Created by an innovative new software called HP Spark, it features elements randomly selected from our Awards key artwork to create something new. The artwork (above) captures the array of crafts recognised at these Awards, as well as the iconic architecture of the ceremony venue, London’s The Brewery.

The singular elements of the cover combine to form the full artwork, which represents the originality and creativity of individuals combining to invigorate the wider industry. With a more diverse pool of talent, the more varied, provocative and engaging that creativity will be, cultivating greater representation and inspiring more unheard voices to make great works.

Improving inclusivity and diversity is a priority for BAFTA and we can help level the playing field for talented people to succeed in the screen industries, regardless of their background. As an arts academy representing film, games and television, we are also in a unique position to share resources and learnings across sectors and positively impact the future of our industries. As our Awards illustrate each year, the landscape is

ever-evolving, and BAFTA’s work must be too, taking stock of the progress we’ve made and where we need to do more.

Film, games and television expand our understanding of the world, while sharing stories, making connections and learning from others is a fundamental part of the human equation.

Tonight is about recognising the great storytellers of our time and inspiring the voices of the future. Let’s celebrate them all.

Art by Abigail Bills

FOR

CLIMATE Change

when it comes to the environment, we all have a part to play, bafta included.

We are in the midst of an environmental crisis, and we all have a responsibility to act fast to prevent the worst impacts of climate change.

The innovators and creative pathfinders BAFTA celebrates tonight are on the cutting edge of creating a new and better way of making and distributing big and small screen content. Sustainability isn’t just about change, it’s about improvement – it’s about excellence.

BAFTA’s Awards ceremonies are also striving to match this standard of excellence. From food to branding materials, we want to ensure all our ceremonies are as sustainable as possible. Not only does the new venue, The Royal Festival Hall,

Sustainability isn’t just about change, it’s about improvementit’s about excellence.

PHOTOS: BAFTA/Carlo Paloni; BAFTA/Scott Garfitt

allow us to hold both ceremony and dinner in one place, it also means we can reuse a lot of the unseen (but essential) materials that support the stage, sets and other event areas.

We have also committed to: reusing the set at future Awards; using greener Stage V generators to reduce air pollution; investing in local suppliers and crew to limit emissions from travel; switching to LED lighting; and crafting the dinner from seasonal and locally-sourced produce, with any food waste re-used in agriculture.

There’s a long way to go, but standing still isn’t an option.

The BAFTA albert consortium was created to help the film and TV industry lead the way in tackling the most important issue of our time. Launched as a carbon calculator in 2011, albert has become a hub for the screen industries worldwide to make their content pipelines sustainable and to inspire and educate audiences. Together, with albert, we can create a better industry and build a brighter future.

Find out how to play your part at: wearealbert.org

who ’ s albert ? we are

MEMORIES Crafting

a mix of images from last year’s bafta television craft awards, from the red carpet to behind the scenes.

– Melissa

co-founder of TripleC, which received a Special Award

“What would next year’s BAFTAs look like if every single person in this room tonight made a pledge to put disability centre stage?”

Johns,

Main image: Triple-C received the Special Award, pictured are Steph Lacey, Bekie Boyd, Samie Boyd, Katy Boulton, Natalie Amber, Melissa Johns, Monique Jarrett, Charlie Swinbourne and Laurence Clark; Below: Dadi Einarsson, Gavin Round, Aleksandar Pejic, Oliver Cubbage, Stefano Pepin and Jet Omoshebi win Special, Visual & Graphic Effects for The Witcher (‘Episode 1’)

PHOTOS: BAFTA/Guy Levy; BAFTA/Scott Garfitt; BAFTA/Jonny Birch; David Fisher/BAFTA/Shutterstock

From top: BAFTA winners Aisha Bywaters (Scripted Casting, for We Are Lady Parts), Kayleigh Llewellyn

(Writer: Drama, In My Skin) and PC Williams (Costume Design, We Are Lady Parts); Citation reader Olivia Colman with Nida Manzoor, winner of Writer: Comedy for We Are Lady Parts; the assembled crowd

Above: Cristina Casali, Fabrice

Spelta (and Robert WischhusenHayes in absentia) win Production Design for Landscapers; Right: Sarah Brewerton takes the Editing: Fiction award for It’s A Sin; Bottom

right: Paul Dugdale wins Director: Multi-camera for Glastonbury

Festival: Live at Worthy Farm; Below: Adjani Salmon wins Emerging Talent: Fiction for Dreaming Whilst Black

Role LEADING l

in october 2022, bafta welcomed its first new ceo in more than 20 years. jane millichip reflects on the past, the present and the promise for the uk’s world-renowned academy and arts charity.

PORTRAITS: BAFTA/Sophia Spring; IMAGES: BAFTA/Carlo Paloni; Kate Green/BAFTA/Getty Images for BAFTA; BAFTA/Scott Garfitt; Lia Toby/BAFTA/Getty Images for BAFTA

“If we can use the oxygen of awards publicity to encourage the public to go to the cinema, engage in gaming or watch TV, that’s a job well done.”

Over its 76 year history, BAFTA has grown from a bespoke arts organisation to a world-leading academy and awards body, a charity with a remit to support, develop and promote the screen arts, and a membership organisation for practitioners in film, games and television. It also has sustainability, technology and hospitality businesses under its roof.

This is a legacy that new CEO, Jane Millichip, holds in high regard: “I am keenly aware that I stand on the shoulders of the brilliant staff and non-exec advisers, past and present, who have poured their hearts and souls into BAFTA. And it’s a real honour to lead BAFTA on this next stage of the journey.”

Millichip started her career in magazine journalism, and, after writing about everything from

cars to football to media, she transitioned into television in the late 90s. Since then she has worked in production, distribution and commissioning, in the UK and New Zealand, and last year exited Sky after nine years, during which she built Sky’s production company portfolio and distribution business, later becoming chief content officer for Sky Studios. “Ultimately, storytelling is the thread that weaves through my career, as a journalist, producer and here at BAFTA,” says Millichip. “We all hope to eke out the truth about the human condition whether through news or narrative form.”

Acknowledging great storytellers through the peer recognition of the BAFTA awards system is key to its mission. “Acknowledgment of excellence

Enjoying the BAFTA Scotland Awards 2022

is a significant part of our purpose, and our awards also serve to inspire future filmmakers, game designers and TV creators,” says Millichip. “And if we can also use the oxygen of publicity from our awards to encourage the public to go to the cinema, engage in a progressive gaming community or watch watercooler, game-changing TV, that’s a job well done.”

Connecting the Awards to BAFTA’s charitable remit is vital for Millichip. “Core to our work as a charity is that we create programmes that provide access, development, connections, mentoring and funding for those in society who might otherwise face barriers to entry and progression, either through systemic biases or socioeconomic challenges.”

She continues: “It’s important that this work feeds into our awards system, which, following a significant review in 2020, aims to level the playing

“It’s essential we remain relevant and representative for all.”

field for all films and creators, regardless of marketing budget, background or life experience. It’s essential we remain relevant and representative for all.”

As for the future of BAFTA, can Millichip offer any thoughts on what awaits on the horizon?

“Where to begin? There’s so much to do. We will continue to rally, advocate and cheerlead for our creative community in film, games and television, both within the industry and with the wider public. We will continue to provide opportunity for the underrepresented, to provide guidance on best practice in our industries and to acknowledge great work through our Awards. We will push for carbon reduction through our sustainability arm, albert, with a progressive carbon calculation and certification programme. Oh yes, and we are working on our editorial greening initiative, Planet Placement, to encourage storytellers to adopt environmentally positive narratives.

“As I said, there’s a lot to do.”

Opposite from top: With Baz

Luhrmann for his A Life In Pictures; Introducing the BAFTA Academy Circle with Joanna Scanlan; With BAFTA Young

Presenter Maryam Drammeh at the BAFTA Children & Young People Awards

Over the past few years, BAFTA has been re-evaluating and rationalising its children’s activity. We know from their participation in our existing programme – which includes Young Game Designers (YGD), Young Presenters and our UK-wide schools and festival roadshows – that there is an incredible appetite for the screen arts among children and young people. Learning about the crafts that go into making their favourite films, games and TV can be inspiring, and we hope will eventually translate into future industry careers.

Helping young people develop the life skills they might need for any career is crucial for their

own personal growth, which will also benefit society.

“We want to open their eyes to opportunity and potential,” says Lisa Prime, BAFTA’s head of children and young people. “Although we can’t expect every child to want to work in the screen industries, those who do will be at a significant disadvantage without a strong foundation in creativity. It’s an important skill: it’s good for developing transferable skills and thought processes, mental wellbeing and self-expression. Inspiring future career opportunities in the screen industries is at the heart of what we do, but we’d be failing a lot of children if it wasn’t about more than that.”

bafta’s children & young people programme is about more than inspiring the talent of the future...

IMAGES: BAFTA/Scott Garfitt; BAFTA/Amy Muir; BAFTA/Trevaughn Omari; BAFTA/Quetzal Maucci

BAFTA has now split its YGD and Young Presenters competitions into two age groups, allowing older teens a better opportunity to ask the experts for advice. We’ve introduced a full weekend of activities around YGD and the Children & Young People’s Awards, providing unique opportunities to interact with BAFTAnominated talent. Our regional school visits have involved local screen talent, demonstrating that you don’t have to live in London

to work in film, games or television. We’re also developing a new initiative for the 10-18 age group called Young Creators. “There was a gap in our programme for teens,” states Prime, “so we’ve tried to be better at joining up the dots... Being imaginative, telling our own stories, that’s all part of being human, isn’t it? Giving children and young people the tools to do that is a big part of what we do now.”

Clockwise from top left: Young Presenter Samaira Iqbal with Ben Shires at the Young Creators Day; Forth Valley College students take part in a BAFTA Scotland Key Skills Session; The YGD Showcase; The Children & Young People Festival; Opposite: Young Presenters 2022

THE BREAKTHROUGH CLUB

this year marks the 10th anniversary of one of bafta’s leading initiatives, breakthrough, supporting emerging talent to take the next rung up the ladder.

Above: The current 2022 UK cohort; Below: the original 2013 cohort

Creating something original that resonates with others is hard enough. But doing that again and again is even harder. It was to help overcome barriers that impact progression that BAFTA’s Breakthrough initiative was launched.

Over the course of a year, successful applicants receive bespoke support and advice, as well as mentorship and BAFTA membership, with all the unique perks that this provides. The initiative covers all three screen arts (film, games and television)

“They are all creatively talented people who deserve further attention.”

PHOTOS: BAFTA/Sophia Spring; BAFTA/Jessie Craig; BAFTA/Jessica Chou; BAFTA/Ian Derry; BAFTA

and actively encourages applications from talented practitioners from different backgrounds and experience. This year Breakthrough celebrates 10 years of activity, having supported more than 240 incredibly talented individuals over the course of the past decade.

“Breakthrough has always been about recognising that people sometimes struggle to translate their breakthrough moment into a long career,” says Tim Hunter, BAFTA’s executive director of learning, inclusion policy and membership. “It can be tricky – you get all this attention around being a new voice, but then how do you translate that into other opportunities? We wanted to support those people to do that, as well as make sure they are diverse and from different backgrounds... They are all creatively talented people who deserve further attention.”

The initiative has evolved over the years, and having originally launched in the UK in 2013 is now active in the US and India, too. The crafts represented have also expanded. In the early years, applications were dominated by performers and producers, perhaps because they are more experienced at pitching their abilities to others.

As the initiative has grown within the screen industries’ consciousness, so too have the recommendations, with represented crafts now including editors, writers, quality analysts, cinematographers, hair and make-up artists, programmers, technical artists and more.

“Breakthrough was more about making introductions at the start,” explains Hunter. “Now we offer more pastoral care, with support for such things as networking skills, resilience,

confidence building. We realised not everybody is as equally able to take the opportunities that Breakthrough presents. They may have imposter syndrome or be a naturally shy person who finds networking difficult.

“Our offer is very bespoke: we sit down with each of them individually at the beginning and ask them what their particular

barriers to progression are. It’s about more than just being in the right room with the right people. We want them to think of BAFTA as their mentor, who can offer a supportive hand as well as open our contacts book to help propel their careers to the next level.”

bafta breakthrough is supported by netflix

Top: Four of the stars from 2015; Above: The 2022 India cohort; Opposite: The 2022 US cohort

TO Ready

Above: BAFTA’s chair of the Learning, Inclusion and Talent Committee, Ade Rawcliffe, helps launch the 2022-2024 initiative; Below: The current BAFTA Elevate cohort: producers

IMAGES: BAFTA/Oliver Mayhall

bafta elevate is not about hitting targets or silencing critics. it’s about giving some incredibly talented and experienced creatives a platform to secure gainful employment.

There’s nothing quite like BAFTA Elevate, an industrylevel professional development and leadership programme created to help support individuals from underrepresented backgrounds. Since its launch five years ago, the initiative has spotlighted 17 women directors, 18 writers, 21 actors and, most recently, 20 producers. It’s an extraordinary array of talent, who have between five and 20 years of craft experience each, but have faced barriers to progression.

“Elevate is the only programme of its kind that supports people at that level,” explains Mariayah Kaderbhai, BAFTA’s head of programmes. It gives them real tangible skills, as well as career and personal development. It’s also an invaluable peer-to-peer network for participants.”

The area of focus chosen for support is decided after extensive research, including conversations with industry experts, organisations, production companies, broadcasters and others, who pinpoint various

factors that need addressing, as well as pulling from the rich data BAFTA gathers from the BFI Diversity Standards’ inclusion in our Awards eligibility. We look at everything from what barriers exist and what stage of career is impacted to areas of representation that are in greater need of attention and support. Elevate also involves key consultants, advocates and mentors who help shape the programme for the cohort.

The ultimate aim is to get all of the Elevate participants, past and present, more opportunities for work. Kaderbhai sums it up best: “Look at the current cohort. Look at the previous cohort. Look at their work. Employ them. Interview them. Pay it forward. They are a ready-to-hire group, who have a level of experience that should mean they are in consistent work. Give them the opportunity. It only makes for a far more inclusive, interesting and imaginative workforce.”

For more: bafta.org/supporting-talent/bafta-elevate

“Elevate is unique in terms of anything else that’s out there.”

NOT JUST

Awards!

bafta’s all-year round work goes far beyond its globally recognised awards. here is just a small snapshot of the incredible events and vital initiatives we ran in 2022, supporting film, games and television.

IMAGES: BAFTA/Christina Ebenezer; BAFTA/Rachell Smith; BAFTA/Alecsandra Dragoi; BAFTA/Scott Garfitt; BAFTA/Sophia Spring; BAFTA/Vivek Vadoliya; BAFTA/Gabi Torres; BAFTA/Gabriel Bush; BAFTA/Hannah Taylor; Emma McIntyre/Getty Images for BAFTA; BAFTA/Jordan Anderson; BAFTA/Tim Anderson, 2022

Writer-director Ryan Coogler strikes a pose before his David Lean Lecture

Kate Hudson portrait at her A Life in Pictures event

Actors David Proud and Julia Fernandez discuss Accessible Productions at Guru Live

Margot Robbie portrait for her A Life in Pictures

Max Harwood performs at the BAFTA Fundraising Gala

Big Zuu at the Big Zuu’s Big Eats television masterclass

Lena Dunham portrait for this year’s Screenwriters Lecture Series

Above: The Production Lifecycle panel at albert’s Production Summit; Middle: Jess Mabel Jones and 2022 Breakthrough Leon Harrop on stage at the BAFTA Masterclass: Inclusive Storytelling and Production; Inset: Actor Martin Freeman discusses his career at an Academy Circle event; Bottom left: Networking opportunities at the BAFTA North America Garden Party; Bottom right: A costume design masterclass with PC Williams

Top: Star Trek Prodigy’s Angus Imrie (actor), Dan and Kevin Hageman (executive producers), Kate Mulgrew, Ella Purnell (actors) and Ben Hibon (director) for a BAFTA Kids Preview; Left: Production manager Emily Mann talks Personal Pressures and the Production Boom at the BAFTA Connect Forum; Below: Emerging talents Adam Brown, Poppy Begum, Nida Manzoor, Nathan Byron, Adjani Salmon, Sophie Cunningham and Hugh Davies showcased at a BAFTA Television Session, with host Sara Putt

BRUT RÉSERVE

SOPHISTICATION AND BALANCE

amy roberts

The Crown Left Bank Pictures, Sony Pictures Television/ Netflix

becky sloan , joe pelling

Don’t Hug Me I’m Scared Blink Industries/All 4

jane petrie

The Essex Serpent

See-Saw Films/Apple TV+

phoebe de gaye

The English Drama Republic, Eight Rooks/BBC Two

COSTUME DESIGN

sponsored by

emma cooper

The Mystery of Marilyn

Monroe: The Unheard Tapes

Empress Films, Library Films/Netflix

felicity morris

The Tinder Swindler

Raw TV, Gaspin Media, AGC Studios/Netflix

james jones

Chernobyl: The Lost Tapes

Top Hat/Sky Documentaries

sophie robinson

My Dead Body

141 Productions/Channel 4

DIRECTOR: FACTUAL

dearbhla walsh

Bad Sisters

Merman, ABC Signature/ Apple TV+

hugo blick

The English Drama Republic, Eight Rooks/ BBC Two

lucy forbes

This Is Going to Hurt

SISTER, Terrible Productions/ BBC One

william stefan smith

Top Boy Cowboy Films, Easter Partisan Films, DreamCrew, SpringHill Entertainment/Netflix

DIRECTOR: FICTION

sponsored by

directing team

The State Funeral of HM Queen Elizabeth II

BBC Studios/BBC One

janet fraser crook

Glastonbury 2022

BBC Studios/BBC Two

julia knowles

Platinum Jubilee: Party at the Palace

BBC Studios/BBC One

nikki parsons

Strictly Come Dancing

BBC Studios/BBC One

DIRECTOR: MULTI-CAMERA

ben brown Jimmy Savile: A British Horror Story

72 Films/Netflix

mark

summers

Afghanistan - No Country for Women (Exposure)

Quicksilver Media/ITV1

doug bryson

Mortimer & Whitehouse: Gone Fishing

Owl Power/BBC Two

rupert houseman

Chernobyl: The Lost Tapes Top Hat/Sky Documentaries

EDITING: FACTUAL

celia haining

The Crown Left Bank Pictures, Sony Pictures Television/ Netflix

frances parker

Andor (Episode 7)

Lucasfilm/Disney+

katie weiland

Slow Horses (Series 1, Episode 1)

See-Saw Films/Apple TV+

selina macarthur

This Is Going to Hurt SISTER, Terrible Productions/ BBC One

EDITING: FICTION

charlie melville ( producer / director )

John & Joe Bishop: Life After Deaf South Shore Productions, Lola/ITV1

helen hobin ( photography )

Frozen Planet II

BBC Studios Natural History Unit, BBC America, France Télévisions, ZDF, The Open University/ BBC One

jason osborne ( director )

Our Jubilee MultiStory Media/ITV1

joy ash ( series producer )

Super Surgeons: A Chance at Life

Wonderhood Studios/Channel 4

EMERGING TALENT: FACTUAL

jack rooke ( writer )

Big Boys

Roughcut TV/Channel 4

lynette linton ( director )

My Name is Leon

Douglas Road Productions, Tiger Aspect, Ringside Studios, Vicarious Productions/ BBC Two

nic Ô le lecky ( writer )

Mood

Bonafide Films/BBC Three

pete jackson ( writer )

Somewhere Boy

Clerkenwell Films/Channel 4

EMERGING TALENT: FICTION

sponsored by

andy devonshire , james dillon , dru masters , rebecca bowker

Taskmaster

Avalon/Channel 4

catherine land , david bishop , patrick doherty , richard sillitto , david newton , joe phillips

Strictly Come Dancing

BBC Studios/BBC One

jen bollom , gareth iles , tim routledge , steve sidwell , richard valentine , chris vaughan

Concert for Ukraine

Livewire Pictures/ITV1

tom bairstow , nigel catmur , andy deacon , kevin duff , simon haw , steve sidwell

Platinum Jubilee: Party at the Palace

BBC Studios/BBC One

sponsored by

ENTERTAINMENT CRAFT TEAM

amanda knight , barrie gower , rosalia culora

House of the Dragon

HBO, 1:26 Pictures, Bastard Sword, GRRM Productions/Sky Atlantic

daniel parker , deborah kenton , claudia stolze , jovana jovanovic , wayne fitzsimmons , jana radilov Á

Dangerous Liaisons

Playground, Flame Ventures, Lionsgate Television/Lionsgate+

helen speyer

Gangs of London Pulse Films, SISTER/ Sky Atlantic

tara mcdonald

Wednesday MGM Television/Netflix

MAKE UP & HAIR DESIGN

andrew phillips

House of Maxwell

Expectation/BBC Two

jessica jones

Jimmy Savile: A British Horror Story 72 Films/Netflix

jessica jones

The Tinder Swindler

Raw TV, Gaspin Media, AGC Studios/Netflix

max de wardener

The Elon Musk Show 72 Films/BBC Two

ORIGINAL MUSIC: FACTUAL

daniel pemberton , mick jagger

Slow Horses

See-Saw Films/Apple TV+

federico jusid

The English Drama Republic, Eight Rooks/BBC Two

matthew herbert

The Responder

Dancing Ledge/BBC One

nic Ô le lecky , bryan senti , kwame ‘ kz ’

kwei - armah jr

Mood

Bonafide Films/BBC Three

ORIGINAL MUSIC: FICTION

marcel mettelsiefen , jordan bryon

Children of the Taliban Moondogs Films/Channel 4

steve jamison , jean - charles granjon

Hold Your Breath: The Ice Dive Archer’s Mark/Netflix

sue gibson , robin cox , florian schulz , will nicholls

Predators

True to Nature/Sky Nature

tim shepherd , oliver mueller , todd kewley , jessica mitchell , sam lewis

The Green Planet (Tropical Worlds)

BBC Studios Natural History Unit, PBS, Bilibili, ZDF, China Media Group CCTV-9, France Télévisions, The Open University/BBC One

PHOTOGRAPHY: FACTUAL

Sea Containers London wish all nominees the best of luck.

We are a proud partner of the BAFTA Television Craft Awards. Quote BAFTA when booking and receive 20% off our best available rate for stays until 30 December.

www.seacontainerslondon.com |

anthony dod mantle

Pistol FX, wiip/Disney+

ben wheeler

The Tourist

Two Brothers Pictures, HBO Max/BBC One

chas appeti

Jungle

Nothing Lost/ Amazon Prime Video

rachel clark

I Am Ruth

Me+You Productions, Juggle Productions/Channel 4

PHOTOGRAPHY & LIGHTING:

Microsoft is proud to be the Official Category Sponsor of the Production Design award.

We would like to congratulate the winner and all the nominees.

alice normington , lucy eyre

The Essex Serpent See-Saw Productions/ Apple TV+

becky sloan , joe pelling

Don’t Hug Me I’m Scared Blink Industries/All 4

chris roope

The English Drama Republic, Eight Rooks/BBC Two

kave quinn , tim blake , stella fox , penny crawford , emily norris Pistol FX, wiip/Disney+

sponsored by

PRODUCTION DESIGN

Spotlight is delighted to join BAFTA in celebrating excellence in casting and to be sponsoring the 2023 Scripted Casting Award at the BAFTA Television Craft Awards

Congratulations to all the nominees:

Des Hamilton, Elan Jones – Top Boy

Julie Harkin – Am I Being Unreasonable?

Nina Gold, Lucy Amos – Bad Sisters

Nina Gold, Martin Ware – This is Going to Hurt

des hamilton , elan jones

Top Boy

Cowboy Films, Easter Partisan Films, DreamCrew, SpringHill Entertainment/Netflix

julie harkin

Am I Being Unreasonable?

Boffola Pictures, Lookout Point/BBC One

nina gold , lucy amos

Bad Sisters

Merman, ABC Signature/ Apple TV+

nina gold , martin ware

This Is Going to Hurt SISTER, Terrible Productions/ BBC One

sponsored by

doug dreger , andrew yarme , nick fry , steve speed , james evans , hugh dwan

Formula 1: Drive to Survive Box To Box Films/Netflix

kate hopkins , tim owens , graham wild

Frozen Planet II (Frozen Worlds)

BBC Studios Natural History Unit, BBC America, France Télévisions, ZDF, The Open University/ BBC One

peter bridges , matthew charles , conrad fletcher , julian gough , andy james , andy payne

The State Funeral of HM Queen Elizabeth II

BBC Studios/BBC One

tudor davies

Later... with Jools Holland

BBC Studios/BBC Two

SOUND: FACTUAL

alastair sirkett , doug cooper , martin seeley , paula fairfield , tim hands , adele fletcher

House of the Dragon HBO, 1:26 Pictures, Bastard Sword, GRRM Productions/Sky Atlantic

martin jensen , joe beal , duncan price , craig butters , sarah elias , andrew sissons

Slow Horses

See-Saw Films/Apple TV+

judi lee headman , nigel squibbs , tony gibson , darren mcquade , lewis todd

SAS Rogue Heroes

Kudos, Nebulastar/BBC One

sound team

The Crown

Left Bank Pictures, Sony Pictures Television/Netflix

SOUND: FICTION

angus bickerton , nikeah forde , asa shoul , mike dawson , mpc , pixomondo

House of the Dragon

HBO, 1:26 Pictures, Bastard Sword, GRRM

Productions/Sky Atlantic

mohen leo , tj falls , richard van den bergh , jean - clem É nt soret , industrial light & magic

Andor

Lucasfilm/Disney+

industrial light & magic

The Sandman*

Netflix Original Series, Warner Bros. Television/Netflix

*VFX only

russell dodgson , damien stumpf , painting practice , bryony duncan , sam chynoweth , real sfx

His Dark Materials

Bad Wolf/BBC One

SPECIAL, VISUAL & GRAPHIC EFFECTS

bal Á zs simon , bbc creative , gas music

Beijing 2022 Winter Olympics

BBC Sport, Blinkink, GAS Music/BBC Two

peter anderson studio

Bad Sisters Merman, ABC Signature/ Apple TV+

hingston studio

Life After Life

House Productions/BBC One

yu + co

The Essex Serpent See-Saw Productions/ Apple TV+

TITLES & GRAPHIC IDENTITY

jack rooke

Big Boys

Roughcut TV/Channel 4

lisa mcgee

Derry Girls

Hat Trick Productions/Channel 4

nancy harris

The Dry Element Pictures/BritBox

sharon horgan , barunka o ’shaughnessy , helen serafinowicz , holly walsh

Motherland

Merman, Twofour/BBC One

WRITER: COMEDY

adam kay

This Is Going to Hurt

SISTER, Terrible Productions/ BBC One

alice oseman

Heartstopper

See-Saw Films/Netflix

pete jackson

Somewhere Boy

Clerkenwell Films/Channel 4

tony schumacher

The Responder

Dancing Ledge/BBC One

All nominations correct at time of press.

WRITER: DRAMA

THE JURIES

costume design

Katie Player (Chair)

Yves Barre

Jemima Cotter

Libby da Costa

Patrick Grant

Ruka Johnson

Roberto Surace

Lupt Utama

Cobbie Yates

director: fiction

Beryl Richards (Chair)

Nadira Amrani

Mary Finlay

Michael Keillor

Karen Kelly

Sashi Kissoon

Christine Lalla

Jessica Magaye

Andrew Newman

Ben Taylor

Lee Thomas

director: multi-camera

Paul Gilbert (Chair)

Shireen Abbott

John Adams

Tamsin Curry

Stuart Earl

Riffi Khan

director: factual

Denise Seneviratne (Chair)

Daniel Barry

Paul Blake

Bridget Boseley

Adam Bullmore

Katharine English

Chloe Fairweather

Eve Kay

Kate Misrahi

James Newton

Ashok Prasad

Tamanna Rahman

Jonathan Stiasny

Kate McKeag

Jack Rampling

Emma Reynolds

Matt Roberts

Michael Toppin

Nick Wickham

emerging talent: factual

Becky Cadman (Chair)

Nigel Austin

Yinka Bokinni

Zuelika Brown

Dhivya Kate Chetty

Dov Freedman

Aled Jenkins

Remel London

Ed Perkins

John Rosser

Rosie Turner

Cheryl Woodcock

emerging talent: fiction

Nicky Sargent (Chair)

Madonna Baptiste

Lindsay Bonaccorsi

Greg Brenman

Aidan Farrell

Selina MacArthur

Caroline Pope

John Rogerson

Zam Salim

Ludo Smolski

Julia Stannard

Cat Taylor

Paula Turnbull

entertainment craft team

Dan Maynard (Chair)

Katrina Bell

Sean Doyle

Francesca Green

Frank MacDonald

Kate Norley

Roger Russell

Jo Sargeant

Radek Sienski

Martyn Smith

make up & hair design

Hilary Rosen (Chair)

Faye Aydin

Allison Edwards

Donald McInnes

Anne Oldham

Famida Pathan

Chris Rigby

Catherine Scoble

Dominic Skinner

original music: factual

Emily Stillman (Chair)

Zeb Achonu

Justine Barker

Daisy Coole

Alexandra Hamilton-Ayres

Adrian Leung

Laurence Love Greed

Jonathan Olorunfemi

Sarah Warne

Chris Wyatt

Roma Yagnik

photography: factual

Sara Putt (Chair)

Rafael Bettega

Colin Coomber

Ana Naomi de Sousa

Yinka Edward

Vanessa Engle

Sean Francis

Tania Hoser

Margy Kinmonth

Melody Ruiz

photography & lighting: fiction

Liz Trubridge (Chair)

Tasha Back

Eben Bolter

Nigel Catmur

Lisa Clarke

Monika Davies

Nikki Parsons

Gavin Struthers

original music: fiction

Pete Andrews (Chair)

Aisling Brouwer

Jim Copperthwaite

Mark Doggett

Alexandra Harwood

Nina Humphreys

Joanna Karselis

Michelle Mascoll

Simon Russell

Vik Sharma

John Strickland

Sheridan Tongue

Katie Swain

Mark Wolf

production design

Christine Healy (Chair)

Caroline Amies

Ashleigh Ashley

Kaush Bharti

Cristina Casali

Dennis De Groot

Rachel Knight

Adam Marshall

Janeeta Panesar

Tom Sayer

Simon Walker

scripted casting

Ade Rawcliffe (Chair)

Sonia Allam

Jane Anderson

Kwadjo Dajan

David P Davis

Peter Hunt

Melissa Johns

Aysha Rafaele

Nanw Rowlands

titles & graphic identity

Adeel Amini (Chair)

William Bartlett

Clair Carney

Rob Delicata

Jack Grealish

Fenella Greenfield

Piers Helm

Lisa Lavender

Duncan Malcolm

Maryam Mohajer

Juliet Morrish

Victor Opeyokun

Katie-Jane Yates-Smith

writer: comedy

Carl Callam (Chair)

Sam Bain

Naomi de Pear

Joe Hampson

Ella Jones

Nicôle Lecky

Dillon Mapletoft

Racha Sobratee

Iain Stirling

Sophie Willan

Layton Williams

Niki Xenophontos

writer: drama

Claire Zolkwer (Chair)

Danny Brocklehurst

Matt Cain

Tolula Dada

Jim Loach

Roland Moore

Ben Morris

Alice Nutter

Racheal Ofori

Tim Stimpson

Nina Wadia

For details of the voting process, including any key changes made for 2023, please visit: awards.bafta.org/entry

OFFICERS OF THE ACADEMY

officers

hrh the prince of wales kg kt President of BAFTA

barbara broccoli cbe Vice-President, Film

david gardner obe Vice-President, Games

dame pippa harris dbe Vice-President, Television

tara saunders Chair, Games Committee

bal samra

Co-optee and Chair, Commercial Committee and Chair, Governance and Appointments Committee

paul taiano obe

Co-optee and Chair, Finance, Audit and Risk Committee

co - optees

Kathryn Busby

Sir Lloyd Dorfman cbe

Patrick Keegan

board of trustees

krishnendu majumdar Chair of BAFTA

sara putt Deputy Chair of BAFTA and Chair, Television Committee

anna higgs Chair, Film Committee

ade rawcliffe Chair, Learning, Inclusion and Talent Committee

Elliot Knight

Andrew Miller mbe

Siobhan Reddy honorary advisors

Medwyn Jones

Marc Samuelson executive

jane millichip Chief Executive Officer

committees

elected members of the television committee

Sara Putt Chair

Nicky Sargent Deputy Chair

Emma Butt

Becky Cadman

Christine Healy

Dan Isaacs

Ade Rawcliffe

Beryl Richards*

Hilary Rosen

Claire Zolkwer

elected members of the games committee

Tara Saunders Chair

Des Gayle Deputy Chair

Jodie Azhar

Nick Button-Brown*

Elizabeth Mercuri

Anisa Sanusi

Catherine Woolley

elected members of the film committee

Anna Higgs Chair

Alexandra Derbyshire* Deputy Chair

Geraldine Atlee

Nainita Desai

Alexa Jago

Julie La’Bassiere

Jason Solomons

Clare Stewart

Emily Stillman

Yu-Fai Suen

* Children’s Representatives

MEET THE SPONSORS

WITH THANKS TO...

mad dog 2020 casting

an official television craft partner

Mad Dog 2020 Casting is delighted to be an Official Television Craft Partner for the fourth consecutive year. Our support for 2023 enables us to continue to achieve our objectives of promoting the best in talent and the craft of television. We promote the professionalism of the film and television in the UK through both training and encouraging skill and talent. We further support the industry by endeavouring to provide the best in background casting, such that we enable the creativity of our clients to flourish.

The support of BAFTA allows us to raise the profile of probably the last facilities supplier to be appointed in the production process. The provision of background casting is a finely tuned process that we constantly seek to improve. We share this core value with BAFTA and the other industry bodies we support.

Congratulations to all of the nominees for such an amazing achievement and for providing the skill and talent that the industry needs to such a high standard. We support you.

Visit: maddog2020casting.com

3 Mills Studios is proud to continue its support of the Director: Fiction category at the BAFTA Television Craft Awards for the eighth year running. We congratulate this year’s nominees, whose unwavering dedication to their craft has brought an incredible year of powerful and compelling television drama to our screens.

For more than 30 years, 3 Mills Studios has provided a stage for world-class film and television, and by partnering with BAFTA on these Awards we hope to shine a light on the hard work of those behind the camera. The exceptional creative talent in this category will undoubtedly spark inspiration in the current and future directors of British television – and 3 Mills Studios will be here to help those directors bring their stories to life.

Visit: 3mills.com

For more than 20 years, Hotcam has provided the factual and entertainment production space with full service engineering, crewing and rental solutions. Today, our offering is characterised by a friendly, knowledgeable approach and an on-location technical expertise.

Hotcam is one of the few companies that can service major entertainment productions at scale while understanding the requirements, expectations and ethos of the non-scripted production community.

Sponsoring the Entertainment Craft Team category is the perfect way to show our appreciation for a sector of the industry we love working in.

Visit: hotcam.tv

3 mills studios category sponsor for director : fiction

hotcam category sponsor for entertainment craft team

Microsoft is proud to be supporting the Production Design category as it not only highlights the incredible creative talent behind the scenes of our most beloved television programmes, but also it raises awareness of the sheer amount of hard work and dedication it takes to bring them to fruition.

Behind the scenes, Microsoft has been hard at work supporting production designers and their teams with prop provisions from our range of devices, along with software and gaming clearances, to enable them to tell realistic, true-to-life and compelling visual stories.

Visit: microsoft.com or benlabs.com

: fiction

Sara Putt Associates is the leading independent UK agency for behind-the-camera talent. We have been the proud sponsors of Emerging Talent: Fiction since 2010, which celebrates the next generation of incredible industry talent and honours those making a huge impact early in their career.

We are committed to nurturing talent at every stage of a freelancer’s career. Our relationship with BAFTA is a vital one, as through our Foundation and Trainee Scheme we support and celebrate the next generation of talent, creating opportunities for all. We also continue to offer Q&As on CVs, networking, negotiation and career strategy, while also supporting many organisations and initiatives, including Guru Live, BAFTA Connect, the Film Market and Generation Next.

Visit: saraputt.co.uk

sara putt associates category sponsor for emerging talent

microsoft category sponsor for production design

screenskills high - end tv skills fund category sponsor for costume design

ScreenSkills is the industry-led skills body that finds, develops and sustains the skilled and inclusive workforce for the UK’s screen industries. The Highend TV Skills Fund, managed by ScreenSkills, is delighted to be sponsoring the Costume Design category this year. The High-end TV Skills Fund supports career development opportunities for talent working at every level of high-end television. Over the last decade, the Fund has invested more than £33m of UK production contributions, meeting the skills and training needs of the behind-the-camera talent who make the outstanding content being celebrated by BAFTA and enjoyed globally.

We congratulate all the nominees and thank all the nominated productions who contribute to The High-end TV Skills Fund.

Visit: screenskills.com

We’re honoured to be sponsoring Scripted Casting for a fourth year, and look forward to continuing this support in the future. Spotlight would like to thank BAFTA for recognising the craft of casting and to the casting directors themselves who have, over the years, cast thousands of professional roles using the Spotlight platform. Spotlight has been connecting performers with roles in television, film and theatre since 1927. It’s our role to keep stages and screens filled with talented performers, so we can continue to watch our favourite characters come to life. With studios in London’s West End and a team of people across the world as part of the Talent Systems group, Spotlight is truly at the heart of the industry.

Visit: spotlight.com

Mel Giedroyc

Host

Sam Fletcher

Scriptwriter

Jamie Rowland Editor

Peter Anderson Studios

Video Graphics

Osi Anyanwu Floor Manager

Josh Grace

Production Designer

Gemma O’Sullivan

Lighting Designer

Plus4Audio

Sound

Creative Technology

Screens and Projection

Jo Ketteringham

Prompt

Hotcam

Technical Facilities

Multitude Media PR

Sea Containers London Official Hotel Partner

Krishnendu Majumdar

Chair of BAFTA

Sara Putt

Deputy Chair of BAFTA

Television voting juries and members

All broadcasters and nominees for their invaluable assistance

All staff at BAFTA

ACKNOWLEDGEMENTS

bafta wishes to thank ...

an official television craft partner

Mad Dog 2020 Casting category sponsors

3 Mills Studios Hotcam

Microsoft

Sara Putt Associates

ScreenSkills High-end Television Skills Fund

Spotlight

academy partners

Acqua Panna

Champagne Taittinger

Deloitte

S.Pellegrino

Villa Maria

the television committee

Sara Putt (Chair)

Nicky Sargent (Deputy Chair)

Adeel Amini

Pete Andrews

Emma Butt

Becky Cadman

Carl Callam

Paul Gilbert

Christine Healy

Dan Isaacs

Dan Maynard

Rajiv Nathwani

Katie Player

Ade Rawcliffe

Beryl Richards

Hilary Rosen

Denise Seneviratne

Claire Zolkwer

AT BAFTA

executive director of awards & content

Emma Baehr

head of awards

Kelly Smith

television craft officer

Nick Boocock

television officer

Natalie Gurney

executive producer

Cassandra Hybel

senior producer

Victoria Walker

assistant producer

Ella Coveney

head of events

Lucy Waller

event producer

Olivia Comer

awards

Daljit Billen, Chloe Fraser, Deirdre Hopkins, Luke Hebblethwaite

Edward Hubbard, Lewis Peet, Katie Warren, Tia Wedderburn

productions

Harry Balmforth, Hattie Barker,

Daniel Dalton, Kristen Helmick, Tayjib Kerstan, Rachel Lucas, Georgia Maskery, Joe Okell

events

Penney Chu, Sophie Griffiths, Phil Harrison, Holly Haycock, Elena Shortland, Natalie Stone

executive director of partnerships & fundraising

Louise Robertson

head of partnerships

Natalie Moss partnerships

Amy Elton, Emma Tarcy, Olivia Young, Shaya Kathirgamanathan

executive director of pr

& communications

Donna Mathews

pr & communications

Mya Bailey, David Dougherty, Caoimhe Foran, Lorna Gibson, Dingile Kasote, Luka Kenyon, Paul MacMahon, Daisy Margolis, Natalie Paszkowski, Catie Poust, Lisa Wehrstedt, Nick Williams

accounts

Louis Lyle

PROGRAMME CREDITS

editor

Toby Weidmann

design & cover art

Abigail Bills

photography director

Claire Rees

junior producer , photography

Jordan Anderson photography coordinator

Jeska Hayter

cover design

Created by Oswin Tickler

Generated by HP Spark oswintickler.com

Executive portraits: BAFTA/ Scott Garfitt (HRH The Prince of Wales); BAFTA/Sophia Spring (Jane Millichip), Harry Richards Photography (Krishnendu Majumdar)

Although every effort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions. No part of this publication may be reproduced without the written permission of BAFTA.

printer

FE Burman Ltd London

feburman.co.uk

BAFTA chooses Arena Smooth by Fedrigoni Paper, supporting excellence in print. Printed on Arena Smooth Extra White 350gsm (cover) and Arena Smooth Extra White 140gsm (text). Supplied by FE Burman Ltd.

The carbon impact of this paper has been measured and balanced through the World Land Trust, an ecological charity.

CBP017993

Certificate no.: CBP017993

The papers used for this year’s tickets and programme are Forest Stewardship Council® certified, and are 100% recyclable.

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