BRINGING YOU THE BEST IN BACKGROUND CASTING LONDON | CARDIFF | GLASGOW | MANCHESTER 0207 269 7910 info@maddog2020casting.com AN OFFICIAL TV CRAFT PARTNER TO THE BAFTA TELEVISION CRAFT AWARDS 2023
1 CONTENTS 2 WELCOME MESSAGES 4 MEET THE HOST 6 THE SPECIAL AWARD 10 INSIDE THE AWARDS 18 BAFTA’S NEW CEO 22 BEYOND THE AWARDS 35 THE NOMINATIONS IN FULL 66 THE JURIES 70 MEET THE SPONSORS 74 ACKNOWLEDGEMENTS & THANKS #BAFTACraftAwards | Follow BAFTA BAFTA.ORG
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.
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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
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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.
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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
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“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
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“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.
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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.
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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,
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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
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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
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“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’)
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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
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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
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“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
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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.”
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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.”
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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
bafta.org/children-and-young-people
Find out more:
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.”
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bafta breakthrough is supported by netflix
Find out more: bafta.org/supporting-talent/breakthrough
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
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“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
OFFICIAL CHAMPAGNE TO BAFTA
35 Costume Design 37 Director: Factual 39 Director: Fiction 41 Director: Multi-camera 42 Editing: Factual 43 Editing: Fiction 44 Emerging Talent: Factual 45 Emerging Talent: Fiction 47 Entertainment Craft Team 49 Make Up & Hair Design 50 Original Music: Factual 51 Original Music: Fiction 52 Photography: Factual 53 Photography & Lighting: Fiction 55 Production Design 57 Scripted Casting 59 Sound: Factual 60 Sound: Fiction 61 Special, Visual & Graphic Effects 62 Titles & Graphic Identity 63 Writer: Comedy 64 Writer: Drama 65
THE NOMINATIONS
You can’t make great television without investing in the people ScreenSkills: supporting growth and recovery UK-wide Read the stories of the people we support at screenskills.com
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
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sponsored by
Congratulations to all nominees and winners from Deloitte Together with BAFTA, recognising talent, achievement and impact deloitte.co.uk/TMT © 2023 Deloitte LLP. All rights reserved.
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
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@3MillsStudios
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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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 |
@seacontainersldn
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:
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FICTION
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
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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
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SCRIPTED CASTING
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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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spotlight category sponsor for scripted casting
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
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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
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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
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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.
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The carbon impact of this paper has been measured and balanced through the World Land Trust, an ecological charity.
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