CONTENTS 2-3 WELCOME LETTERS 4-9 THE HOST: STACEY DOOLEY 10-15 THE SPECIAL AWARD: MAMA YOUTH PROJECT 16-24 THE BREAKTHROUGHS: FUNMI OLUTOYE, PETER JACKSON, CYNTHIA DE LA ROSA 26-57 THE NOMINATIONS 58-59 HOW TO GET INVOLVED 60-74 MEET THE SPONSORS & ACKNOWLEDGEMENTS #BAFTACraftAwards BAFTA.ORG 1
As President of BAFTA, I am delighted to welcome you to the 2024 BAFTA Television Craft Awards, bringing us together to celebrate the many extraordinary television shows made over the last year and the people who bring them to life. Occasions like tonight are wonderful showcases for the creative skill that powers the British and global screen arts, as well as providing a list of fantastic titles for television lovers around the world to enjoy. The screen arts are such an important part of the fabric of our nation. Our films, games and television shows are some of our best exports on the global stage, thanks to the skill, innovation and cultural dynamism of our country’s creative minds. But the industry relies on us to nurture the talent of tomorrow, so that everyone – no matter their background – has a real opportunity to bring their stories to life.
I know many in the room tonight have contributed to this important work in some way, whether through mentoring, offering your time to an initiative, or financial support. As a charity, BAFTA is hugely grateful to all those who support these endeavours. I am very proud to be involved with an organisation that is dedicated to breaking down barriers for the storytellers of the future. I warmly congratulate all the television talent whose work features in this year’s longlists and nominations, and I wish you all a wonderful evening.
HRH The Prince of Wales, k . g . k . t . President of BAFTA
WELCOME
It is a pleasure to welcome you to the BAFTA Television Craft Awards. As a showcase for our industry’s off-screen talent, this is one of our favourite evenings in the BAFTA calendar.
British television is world-renowned for its innovation and inventiveness, a reputation earned thanks in no small part to the high quality craft and skills of the practitioners, technicians and creatives we are here to celebrate tonight. British-made TV continues to be best in class: inspiring, entertaining and informing audiences at home and internationally.
At a challenging time when budgets are tight and creative risk-taking can feel ever riskier, our Awards celebrate the incredible resourcefulness and skill of those in our industry today, and remind us of the importance of nurturing talent, championing new ideas and supporting each other to ensure the good health of the sector.
Celebrating creative excellence and inspiring talent of the future is at the heart of BAFTA’s mission. Sincere thanks to our members, partners, and donors - all of whom enable BAFTA to do this important work year-round, including the staging of tonight’s Awards.
Congratulations to all tonight’s nominees. We hope you have a fantastic night.
Jane Millichip Sara Putt CEO, BAFTA BAFTA Chair
THE HOST
Stacey Dooley
Masters Her Craft
It’s hard to remember a time when Stacey Dooley wasn’t one of our most familiar on-screen presences.
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“ WHAT TELEVISION NEEDS IS PASSIONATE CONTRIBUTORS WHO FEEL COMFORTABLE ENOUGH, AND SUPPORTED ENOUGH, THAT THEY CAN TELL US WHAT LIFE TRULY LOOKS AND FEELS LIKE THROUGH THEIR EYES ”
– Stacey Dooley
8
Travelling the world as a documentary-maker, her commitment to cracking open stereotypes has resulted in explorations of legal sex work, polygamy, under-taking, and what it’s like to be a young Ukrainean fighting a war –and all of this was just in the past year alone. Beloved for her emotive and connective approach to human stories, Dooley’s passion for the power of broadcasting makes her the ideal host for tonight’s BAFTA Television Craft Awards. As she puts it, “we are simply there to cheer on and support all the incredibly talented individuals in the room… I’d love everyone to have an ace evening.”
what kind of vibe will you be planning to bring to the occasion as host ?
This is probably a very generic and predictable response, but I’d just love everyone to have a relaxed and joyous time where we can celebrate every person in the room. That is to say, to not have to endure a stuffy, drawn-out and lofty “ceremony” – we’ve all been to those!
what is some of the best writing for television that you ’ ve seen recently ?
I mean, there are so many incredible writers that come to mind. It would be tricky to name check only one. At a push – and this isn’t necessarily very original of me – I found One Day to be truly so precious. The dialogue was relatable and rich without being too earnest or angsty. I loved it.
9
“ I WAS INTO THE TRAITORS BEFORE EVERYONE ELSE! ”
is there one show that you have personally become obsessed with ?
The Traitors, duh! Yes – I’m that really dull woman that has to tell everyone she meets that she was into it before everyone else. But I was.
can you describe one of your most memorable filming experiences of the past year ?
I love filming for my sleepover series (Stacey Dooley Sleeps Over). It’s such a fun gig. Like the time I was horse riding through South Dakota with two of Jeff’s wives who were talking me through his decision to find another wife, while simultaneously trying to convince my own horse not to leap off the side of a very steep hill. Also: breastfeeding
and filming in both a Nevada brothel and a Nottingham funeral home was new territory, to say the least.
bafta ’ s mission recognises exceptional storytelling . what constitutes amazing storytelling in tv , for you ?
For me, exceptional storytelling has always been incredibly straightforward. Yet, somehow, we sometimes feel the need to overcomplicate it. When television works best is when passionate contributors, with something to say, feel comfortable and supported enough to tell us what life truly looks and feels like through their eyes. Thoughtful, intelligent storytelling can really change perceptions and landscapes. It’s amazing, really.
11
Bob Clarke
THE SPECIAL AWARD
Mama Youth Project’s message for the media
as told to : claire marie healy
It began, in a way, in a room full of VHS Tapes.
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“ WHEN I GOT MY FIRST JOB, I JUST STARTED RUNNING. AS I RAN, I WAS SEEING ALL THE NEGATIVE THINGS THAT HAD HAPPENED TO ME, AND ALL THE VIOLENCE. I KNOW NOW THAT I WAS WASHING AWAY THE PAST, BECAUSE I WAS RUNNING INTO A NEW FUTURE ”
– Bob Clarke, Mama Youth Project
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At least, that’s where Bob Clarke – a British army soldier turned employee for a video duplication warehouse –first got the notion of being a VT operator. Fast forward to tonight, and the television editor’s charity, Mama Youth Project, is being awarded BAFTA’s Special Award. Through its training projects, the organisation recruits, trains and nurtures young people from under-represented groups or with limited educational or employment opportunities, with a primary focus on those between 18 and 25 years of age. Ahead of tonight’s awards, Clarke explains how his own experiences informed his passion for getting young people into employment, and for bringing more diversity into the media industry.
and produced too. In 2005, somebody said to me, there’s not enough Black people in this industry. And I had heard that before during my career – in that moment, it put me back 20 years earlier. So, I went home, and I got angry at myself. Because, what had I done to help? I thought it was high time I threw my own little pebble into the water.
"I've been in broadcasting for 37 years now. Most of my career has been as an editor but in recent years I’ve directed
“I’m from a generation of the first Black-British born in this country en masse. In my background there was anything from the open racism we had to go through, to teachers saying we were not going to make anything with our lives. And then the violence on the street, just between boys. We didn’t call them gangs – that feels more like the Kray twins and Al Capone on the TV. These were just boys that didn’t like each other. And the only retaliation back that anyone could do to get any kind of respect would be to either kill or do life-changing
15
...
harm. My friend said, ‘we need to get out of here.’ In 1978 I joined the British Army to get out of danger. Six months later we were in Northern Ireland. The logic of a 17-year-old...
“14 years on, when I was looking for a civilian job, I had no qualifications. And I went immediately back to when I was leaving school.
My aspirations went to zero again, and I just took on warehouse work. One day the boss of this video duplication company gave me a parcel to take to an area that I had never been to before – it was a technical area. I walked into the room and it was filled with big reel-to-reel machines, and monitors with coloured flashing lights. It was like Christmas.
16
I said: ‘Can I work in here?’
I mean, I didn’t even know what they did. I didn’t have any qualifications to work in a place like that. They said no. Eventually – it was a Friday afternoon at 4pm – they said okay. At 5pm, I ran out of the building. And while I was running, I was seeing all the negative things that had happened to me, and all the violence I had seen. I know now I was washing away the past because I knew I was running into a new future.
“That is the essence of Mama Youth Project: because every one of them gets a job. That moment is life-changing for someone from a challenging background. Of course, there were always good-hearted people who wanted to help Black boys like me when I was young. They take you somewhere nice, then they ask if you had a nice time. And that’s it. When it came to my own youth training scheme, I thought: what happens at the
end? It had to have a tangible outcome and that outcome was employment. We do full inclusion. If you’ve found a challenge in your life, and you haven’t got contacts, then you can apply to us to see if we can help you and change your life. That’s also why I was really glad that disability was mentioned in (tonight’s) citation. We’ve been above the national average for years.
“We’ve changed the lives of over 900 people now.
I remember what every single person was like at the beginning, and they are a different person by the end of the training. We help them prepare for the tough environment of this industry: they are ready, and they are assets.”
17
In-conversation FUNMI OLUTOYE PETER JACKSON CYNTHIA DE LA ROSA
THE BREAK THROUGHS
The producer & video journalist, writer and hair & make up designer on what makes the television industry exciting – and how being part of BAFTA Breakthrough will impact them
photography : vivek vadoliya
Peter Jackson (Somewhere Boy), Funmi Olutoye (Good Morning Britain) and Cynthia De La Rosa (Everyone Else Burns) are all participants in the current BAFTA Breakthrough UK, supported by Netflix. From daytime to dramas, the flagship talent initiative showcases and supports creatives to achieve lifelong screen arts careers.
19
Funmi Olutoye
peter jackson :
One thing being part of BAFTA Breakthrough made me realise is that there’s been no reason for anyone to take a photograph of me in about 15 years. And I actually look half decent (laughs). More seriously, to be part of a group where people are creating such wonderful, challenging, fresh work is a privilege. Especially given how isolated a profession writing is.
funmi olutoye : I’m still in a little bit of shock – I just never thought I would ever get on to a scheme like this for myriad reasons. I’m really looking forward to networking horizontally, and getting to know the craft of others in the industry and what they do. It’s amazing to pick others’ brains about the future of the industry, because I primarily work in news, daytime, unscripted. Actually, I only found out on the day of the photoshoot, when someone said it in passing, that I’m the first person
from that space to be part of BAFTA Breakthrough –but hopefully not the last.
cynthia de la rosa : Similarly, only one other hair and make up designer has been part of Breakthrough in the past. So this is huge: for myself and also for Kat (Morgan). There’s no film set or television set that exists without a hair and make up department. We’re the first people that touch a cast member in the morning, and the last people to touch them before they perform. What I’m hoping to get out of the programme is primarily visibility. I started off in theatre and then moved into film and television – right before COVID, I started designing. So being able to speak to people that are making and working on productions right now is such a big deal.
pj : I only entered the industry at 30 years old. To be recognised by BAFTA was beyond my wildest dreams,
21
“ IF STORIES AREN'T BEING TOLD BY THE PEOPLE WHO LIVE THOSE STORIES, THEN WE AS A CULTURE ARE POORER FOR IT ”
– Peter Jackson
but more than that to realise that it offers so much support, and a network, is really thrilling. Between COVID, and the (US) writers’ strike, an industry that was already so unpredictable has become infinitely more unpredictable. You have to be enormously wealthy to afford to just have a go, and take these punts. But most of us take so many personal risks, career risks and financial risks to do so. The fact that it’s got riskier still, I think, is only bad news for working class writers who can’t afford not to work.
fo : In daytime, you could argue we’re one of the most comfortable in the industry right now – these are full time jobs, that are salaried, which isn’t the experience of most people in the industry. But the fears that people have is honestly just the future of daytime and where it’s going. That audience is dwindling. So we’re always having to have our finger on the pulse as to what people are talking about. We try to be the show or genre that gets people talking, and to set the tone for the day. Hopefully,
23
“
IT’S TIME FOR THE KINDS OF MASSIVE INDUSTRY CHANGES THAT ARE SUSTAINABLE ”
– Cynthia De La Rosa
whatever we put on the show before 9am is what people are still talking about come 6pm in the evening.
cr : For me, as a woman of colour, the streamers coming in have definitely meant more opportunities: there are more productions, there’s more content being created, which means that there are more opportunities for people such as myself to move to being heads of department within high-end television. And post-COVID and the Black Lives Matter movement, we’ve seen a higher rating in casting of actors from the global majority, which has meant
that there’s a need for people that have experience with textured hair and are able to do make up for multi-ethnic skin. The BBC actually used to have this wonderful program where you were trained from the ground up, but sadly that got cut.
pj : I only speak from my own experience, but you do need to instill this sense that something is achievable, and not just for the privileged – which is what happens when there is no money in something at the ground level. I look at young writers now coming up and can see how hard it is.
25
fo : Exactly. I think it’s really important that companies or broadcasters take responsibility for this, because it actually is an investment into the future. In the cohort of the traineeship that I did with ITV News, there’s two of us who still work in TV. That’s a very small investment for ITV that actually has blossomed into something that is benefiting them a lot now. Production companies and broadcasters need to not be afraid of that. It enriches the production in the newsroom because you also have access to different communities, which means access to different stories – all of which ultimately makes for a better programme.
cr : Also, it can’t just be that they have the schemes - they also need to advertise the schemes. Schools need to know from a high school level that these jobs exist,
and that the information is there for young people to access and metabolize.
pj : If stories aren’t being told by the people who live those stories, then we as a culture are poorer for it.
cr : It’s like reaping the fruit without actually sowing the seed. It’s time for the kinds of massive industry changes that are really sustainable.
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NETFLIX IS PROUD TO SPONSOR BAFTA BREAKTHROUGH AND CONGRATULATES OUR NOMINEES AT THE 2024 BAFTA TELEVISION CRAFT AWARDS
EDITING: FACTUAL
Michael Harte
DEMON 79
COSTUME DESIGN
Matthew Price
PHOTOGRAPHY & LIGHTING: FICTION
Stephan Pehrsson
PRODUCTION DESIGN
Udo Kramer
SCRIPTED CASTING
Jina Jay
WRITER: DRAMA
Charlie Brooker, Bisha K Ali
EMERGING TALENT: FICTION
Haolu Wang (Director)
SOUND: FICTION
Chris Ashworth, Lee Walpole, Stuart Hilliker, Martin Jensen, Saoirse Christopherson, Iain Eyre
SPECIAL, VISUAL & GRAPHIC EFFECTS
Ben Turner, Reece Ewing, Framestore, Rumble VFX, Asa Shoul, Chris Reynolds
COSTUME DESIGN
Amy Roberts
MAKE UP & HAIR DESIGN
Cate Hall, Emilie Yong-Mills, Fiona Rogers
EDITING: FACTUAL Editing Team
SOUND: FACTUAL
Sound Team
ORIGINAL MUSIC: FICTION
Adiescar Chase
TITLES & GRAPHIC IDENTITY
Manddy Wyckens, Studio AKA
ENTERTAINMENT CRAFT TEAM
Diccon
Diccon Ramsay, Paddy Fletcher, Rikki Finlay, James Tinsley, Mathieu Weekes, Ben Norman
DIRECTOR: FICTION
William Stefan Smith
WRITER: COMEDY
Jamie Demetriou
SOUND: FICTION
Matthew Collinge, James Bain, Robert Farr, Tom Melling, Matt Davies, Alyn Sclosa
SPECIAL, VISUAL & GRAPHIC EFFECTS
Tim Crosbie, Caimin Bourne, Jet Omoshebi, Dan Weir, Cinesite, David Stephens
pg . 29 Costume Design pg . 31 Director: Factual pg . 33 Director: Fiction 34 Director: Multi-Camera pg . 35 Editing: Factual pg . 36 Editing: Fiction pg . 37 Emerging Talent: Factual pg . 39 Emerging Talent: Fiction pg . 41 Entertainment Craft Team pg . 43 Make Up & Hair Design pg . 44 Original Music: Factual Fiction Photography: pg . 46 Factual Photography pg . 47 & Lighting: Fiction Production Design pg . 49 Scripted Casting pg . 51 Sound: Factual pg . 52 Sound: Fiction pg . 53 Special, Visual pg . 54 & Graphic Effects Titles & Graphic Identity pg Writer: Comedy pg . 56 Writer: Drama pg . 57 29
THE NOMINATIONS
Making a mark Congratulations to all nominees Official Scrutineers and Partner to BAFTA for over 25 years.
Impact that matters for over 150 years.
deloitte.co.uk/TMT
© 2024 Deloitte LLP. All rights reserved.
COSTUME DESIGN
matthew price
Demon 79 (Black Mirror)
Broke & Bones/Netflix
sharon long
The Great Civic Center Media, MRC/Lionsgate+
amy roberts
The Crown (Episode 8)
Left Bank Pictures/Netflix
charlotte morris Silo
AMC Studios/Apple TV+
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PROUD TO BE OFFICIAL WINE PARTNER SINCE 2009. Live in the Delicious ENJOY RESPONSIBLY
DIRECTOR: FACTUAL
gesbeen mohammad
Inside Iran: The Fight for Freedom (Exposure)
Hardcash Productions/ITV1
john dower
Lockerbie Mindhouse Films/ Sky Documentaries james bluemel
peter beard bruce fletcher
Otto Baxter: Not a F***ing Horror Story
Story Films, Archface Films/ Sky Documentaries
Once Upon a Time in Northern Ireland
KEO Films, Walk On Air Films, The Open University/BBC Two
33
peter hoar
The Last of Us
DIRECTOR: FICTION
Sony Pictures Television Studios, PlayStation Productions, Naughty Dog, Word Games, The Mighty Mint, HBO/Sky Atlantic sponsored by
william stefan smith
Top Boy (Episode 6)
Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/Netflix
joseph bullman Partygate
Halcyons Heart Films/ Channel 4
lewis arnold
The Long Shadow (Episode 6)
New Pictures/ITV1
35
DIRECTOR: MULTI-CAMERA
julia knowles
An Audience with Kylie Lifted Entertainment, BMG/ITV1
julia knowles
The Coronation Concert
BBC Studios/BBC One
nikki parsons
ollie bartlett
richard valentine
Eurovision Song Contest 2023
BBC Studios/BBC One
paul m c namara
FA Cup Final
ITV Sport/ITV1
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EDITING: FACTUAL
charlie hawryliw
Lockerbie
Mindhouse Films/ Sky Documentaries
editing team
Formula 1: Drive To Survive
Box to Box Films/Netflix editing team Once Upon a Time in Northern Ireland
KEO Films, Walk On Air Films, The Open University/BBC Two
michael harte
Beckham Studio 99, Ventureland/Netflix
EDITING: FICTION
alex mackie
Time
BBC Studios/BBC One
joe carey
Happy Valley (Episode 6)
Lookout Point, AMC/ BBC One
sam williams
Slow Horses (Episode 1)
See-Saw Films/ Apple TV+
zs Ó fia t Á las
Slow Horses (Episode 6)
See-Saw Films/ Apple TV+
EMERGING TALENT: FACTUAL
ben cheetham ( director )
Pete Doherty, Who Killed My Son?
Five Mile Films/Channel 4
fred scott ( director )
London Bridge: Facing Terror
Raw TV/Channel 4
ted evans ( director )
Rose Ayling-Ellis: Signs for Change
Rogan Productions/BBC One
fola evans - akingbola
jordan pitt ( director )
Untold Stories: Hair on Set
Good Girl Productions, One Umbrella Productions, Doc Hearts/Sky Documentaries
EMERGING TALENT: FICTION
andrew bogle ( writer )
Kirkmoore
Fudge Park Productions/ BBC Three
kat sadler ( writer )
Such Brave Girls
Various Artists Limited/ BBC Three
mawaan rizwan ( writer )
Juice
Various Artists Limited/ BBC Three
haolu wang ( director )
Bodies
Moonage Pictures/Netflix
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Camera Equipment RentalLighting RentalOB & EngineeringAudio SolutionsProject ManagementLogistics
to all the nominees and winners 020 8742 1888 projects@hotcam.tv
Congratulations
You can’t depend on the weather, but you can depend on our service
ENTERTAINMENT CRAFT TEAM
sponsored by
julio himede , tim routledge , kojo samuel , michael sharp , dan shipton
Eurovision Song Contest 2023
BBC Studios/BBC One
nigel catmur , tom bairstow , kevin duff , steve nolan , steve sidwell , simon haw
The Coronation Concert
BBC Studios/BBC One
diccon ramsay , paddy
fletcher , rikki finlay , james tinsley , mathieu weekes , ben norman
Squid Game: The Challenge
Studio Lambert, The Garden/Netflix
jamie heath
nick harvey
greg menzel
Banged Up
Shine TV/Channel 4
43
www.screenskills.com/hetv @uk_screenskills
Meet the make up and hair department leaders of tomorrow
The High-end TV Skills Fund’s Leaders of Tomorrow inclusion programme is focused on helping talented individuals develop their careers towards senior roles in production.
A Leader of Tomorrow has earned their place on the training through their outstanding achievements and future potential. Visit screenskills.com/hetv to discover more.
Charlotte Ambrose
Key Hair and Make Up Artist
South East
Insomnia (Left Bank Pictures)
Trigger Point Series 2 (HTM Productions)
You and Me (Happy Prince / ITV)
Melanie
Doyle
Hair and Make Up Supervisor/Designer
West Midlands
Missing You (Quay Street Productions)
Say Nothing (Minim Productions / FX Productions)
Gobstopper (Jo Lane Productions)
Kim Brown
Make Up Artist
North East
Missing You (Quay Street Productions)
The Red King (Quay Street Productions)
Domino Day (Dancing Ledge)
Annie Little
Hair and Make Up Artist London
Queen Charlotte: A Bridgerton Story (Red Ribbon Productions / Netflix)
Legacy (Hello Sunshine / Apple TV)
TWIG (Blue Ink Films / Janey Pictures)
Queen Charlotte: A Bridgerton Story © 2023 Netflix Inc
Vicky Nugent
Hair and Make Up Artist/Supervisor Wales
The White Lotus (HBO)
Wolf Hall: The Mirror and the Light (Playground Television)
Boarders (Studio Lambert)
MAKE UP & HAIR DESIGN
sponsored by
lucy sibbick
Slow Horses
See-Saw Films/ Apple TV+
sharon miller kym menzies - foster kelly taylor
Three Little Birds
Tiger Aspect Productions, Douglas Road Productions/ ITVX
cate hall
emilie yong - mills fiona rogers
The Crown (Episode 8)
Left Bank Pictures/Netflix
lisa parkinson
The Long Shadow (Episode 6)
New Pictures/ITV1
ORIGINAL MUSIC: FACTUAL
ed harcourt
Otto Baxter:
Not a F***ing Horror Story Story Films, Archface Films/ Sky Documentaries
george fenton
Wild Isles
Silverback Films, The Open University/ BBC One
simon rogers
A Time to Die True Vision/ITV1
simon russell
Once Upon a Time in Northern Ireland
KEO Films, Walk On Air Films, The Open University/BBC Two
46
ORIGINAL MUSIC: FICTION
adiescar chase
Heartstopper
See-Saw Films/Netflix
blair mowat
Nolly
Quay Street Productions/ ITVX atli Ö rvarsson Silo
natalie holt
Loki
Marvel Studios/Disney+
AMC Studios/Apple TV+
47
PHOTOGRAPHY: FACTUAL
benedict sanderson
The Detectives:
Taking Down an OCG
Minnow Films/BBC Two
bertie gregory , will west , tom walker , anna dimitriadis
Animals Up Close with Bertie Gregory Wildstar/Disney+
jean - louis schuller
The Man Who Played With Fire
Raw TV/ Sky Documentaries
narayan van maele patrick smith
Dublin Narcos Blast! Films/ Sky Documentaries
48
PHOTOGRAPHY & LIGHTING: FICTION
rik zang
The Sixth Commandment
Wild Mercury Productions, True Vision/BBC One
stephan pehrsson
Demon 79 (Black Mirror)
Broke & Bones/Netflix
eben bolter
The Last of Us
Sony Pictures Television Studios, PlayStation Productions, Naughty Dog, Word Games, The Mighty Mint, HBO/Sky Atlantic
ed rutherford
The Long Shadow New Pictures/ITV1
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Proud to be the Official Category Sponsor of the Production Design Award
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PRODUCTION DESIGN
sponsored by
anna higginson
The Long Shadow
New Pictures/ITV1
gavin bocquet
amanda bernstein
Silo
udo kramer
mike britton
Demon 79 (Black Mirror)
Broke & Bones/Netflix
Nolly
Quay Street Productions/ ITVX
AMC Studios/Apple TV+ ben smith
51
HOST YOUR NEXT EVENT AT THE SPECTACULAR BAFTA 195 PICCADILLY, THE PRESTIGIOUS HEADQUARTERS OF BAFTA
Housed in a historic Grade II Listed building in the heart of London’s West End, BAFTA 195 Piccadilly is a world-class venue, providing five floors of innovative stateof-the-art facilities for special events.
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BAFTA 195 Piccadilly, London W1J 9LN
SCRIPTED CASTING
aisha bywaters
Three Little Birds
Tiger Aspect Productions, Douglas Road Productions/ ITVX
amy hubbard
shannon dowling - m c nulty
Smothered
Roughcut Television/ Sky Max
jina jay
Demon 79 (Black Mirror)
Broke & Bones/Netflix
amy hubbard Time
BBC Studios/BBC One
53
george foulgham , philip moroz , alex gibson , tom verstappen , adam prescod
If These Walls Could Sing Ventureland, Mercury Studios/ Disney+
nick ryan , ben baird , kirstie howell , jack wensley , jamie m c phee , alexej mungersdorff
The Enfield Poltergeist MetFilm, Concordia Studio/ Apple TV+
sound team
The Coronation of TM The King and Queen Camilla BBC Studios/BBC One
sound team
Formula 1: Drive To Survive
Box to Box Films/Netflix
54
FACTUAL
SOUND:
SOUND: FICTION
matthew collinge , james bain , robert farr , tom melling , matt davies , alyn sclosa
The Witcher
Netflix Original Series/ Netflix
chris ashworth , lee walpole , stuart hilliker , martin jensen , saoirse christopherson , iain eyre
The Crown
Left Bank Pictures/Netflix
jules woods , james drake , oscar bloomfield - crowe , paddy m c guirk
Boiling Point
Ascendant Fox, Matriarch Productions, It’s All Made Up Productions/BBC One sound team
Slow Horses
See-Saw Films/Apple TV+
SPECIAL, VISUAL & GRAPHIC EFFECTS
andy scrase , patricia llaguno , beau garcia , oliver winwood , huw evans , jodie davidson
The Wheel of Time
Little Island Productions/ Prime Video
ben turner , reece ewing , framestore , rumble vfx , asa shoul , chris reynolds
The Crown Left Bank Pictures/Netflix
daniel rauchwerger , stefano pepin , richard stanbury , raphael hamm , ian fellows
Silo
AMC Studios/Apple TV+
tim crosbie , caimin bourne , jet omoshebi , dan weir , cinesite , david stephens
The Witcher Netflix Original Series/Netflix
56
TITLES & GRAPHIC IDENTITY
manddy wyckens , studio aka
Queen Charlotte
shondalandmedia/Netflix
tamsin m c gee , ben hanbury , hugo moss , paul m c donnell
Wilderness
Firebird Pictures, Amazon Studios UK, Nomadic Pictures/Prime Video
dan may , james coore , painting practice , realtime visualisation Doctor Who (Wild Blue Yonder)
Bad Wolf, BBC Studios Productions – BBC One
peter anderson studio
Good Omens
BBC Studios Comedy Productions, Narrativia, The Blank Corporation/ Prime Video
WRITER: COMEDY
jack rooke
Big Boys
Roughcut Television/Channel 4
jamie demetriou
A Whole Lifetime with Jamie Demetriou
BBC Studios Comedy Productions, Guilty Party Pictures/Netflix
kat sadler Such Brave Girls
Various Artists Limited/ BBC Three
mawaan rizwan Juice
Various Artists Limited/ BBC Three
58
WRITER: DRAMA
charlie brooker
bisha k ali
Demon 79 (Black Mirror)
Broke & Bones/Netflix
sally wainwright
Happy Valley
Lookout Point, AMC/BBC One jesse armstrong Succession
Project Zeus, Hyperobject Industries, Gary Sanchez Productions, Hot Seat Productions, HBO/Sky Atlantic
sarah phelps
The Sixth Commandment
Wild Mercury Productions, True Vision/BBC One
All nominations correct at time of press
HOW TO GET INVOLVED
We are an industry of storytellers. Stories change lives –they influence how we think, how we behave and they inspire us. It is crucial that the stories that are being told, and the storytellers, truly reflect the society we live in.
To ensure this the screen industries must be open to talented people from all backgrounds.
We work year-round to identify and tackle barriers to opportunity, ensuring that the next generation of filmmakers, game designers, and screen arts creatives are supported to fulfil their creative potential.
BAFTA is an independent arts charity and we need to raise all our own income. To support our work we rely on income from individual donations, trusts, foundations, corporate partnerships and membership subscriptions.
To find out more, and to explore ways you could support, contact: fundraising@BAFTA.org
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THE JURIES
costume design
Carl Callam (chair)
Bobby Soutar
Dulcie Scott
Gabriella Slade
Grant Montgomery
Harriet Kendall
Mark Ferguson
Mekel Bailey
PC Williams
Tom Mullens
Tracey Ewen Powell
director : factual
Daniel Maynard (Chair)
Arthur Cary
Ashni Lakhani
Eilidh Munro
Jon Cahn
Laura Warner
Leila Monks
Mark Summers
Mary McCartney
Moss Barclay
Sam Blair
director : fiction
Krishnendu Majumdar (Chair)
James Strong
Justin Chadwick
Kate Ogborn
Lorenzo De Maio
Paul McGuigan
Simon Smith
Terri White
Tina Gharavi
Win Mensah-Larbie
director : multi - camera
Adeel Amini (Chair)
Abigail Dankwa
Caryl Owen
Hannah Duncombe
Ish Kalia
Julie Heathcote
Julie Kelling
Nelson Adeosun
Richie West
Rob Levi
Steve Smith
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emerging talent : fiction
Ade Rawcliffe (Chair)
Clare Kerr
Dan Grabiner
David P. Davis
Jermain Julien
Kate Rhodes-James
Lola Oliyide
Nick Foster
Omar Khan
Phillippa Giles
Sophie Gardiner
Tsedenia Skitch entertainment craft team
Pete Andrews (Chair)
Anouk Fontaine
Barbara Wiltshire
Ben Turley
David Tench
Deborah Cantor
Graham Stack
Joff Hatfield-Powell
Leah Caffrey
Matt Baker
Michael Mannes
Sally Lock
Trent Williams-Jones
make up & hair design
Denise Seneviratne (Chair)
Alexis Arenas
Andy Savage
Brian Kinney
Fiona Lobo-Cranston
Graham Johnston
Helen Speyer
Joy Adenuga
Lisa Cavalli-Green
Loz Schiavo
Paul Gooch
Richard Muller
Tristan Versluis original music : factual
Emma Butt (Chair)
Aisling Brouwer
Andrew Phillips
Arthur Sharpe
Deborah Mollison
Joaquin Garcia
Lindsay Wright
Louise Burton
Nigel Bunyan
Riccardo Servini
Stephanie Taylor
Vik Sharma
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original music : fiction
Hayley Reynolds (Chair)
Adem Ilhan
Bankey Ojo
Cora Miron
Eleni Hassabis
Ilan Eshkeri
Lisa Osborne
Sarah Playford
Simon Changer
Tim Atack photography : factual
Sue Vertue (Chair)
Ahmet Husseyin
Emma Dalesman
Jake Auerbach
Leo Burley
Olivia Smart
Patrick Aryee
Petra Loetkker
Robert Hollingworth
Sam Jordan-Richardson
Wendy Darke
photography &
lighting : fiction
Beryl Richards (Chair)
Akhilesh Patel
Ben Wheeler
Caroline Bridges
Debs Paterson
Emma Edwards
Kate Wilson
Martyna Knitter
Nanu Segal
Selina MacArthur
production design
Katie Player (Chair)
Alex Eales
Dominic Tolfts
Isona Rigau
Kristian Milsted
Lucienne Suren
Megan Bosaw
Noam Piper
Pat Campbell
Qingling Zhang
Rajha Shakiry
Sion Clarke
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scripted casting
Furquan Akhtar (Chair)
Ed Bye
Henry Swindell
Jemima McWilliams
Laura Conway
Nicola Reynolds
Olissa Rogers
Patrick Schweitzer
Rob Kelly
Shobna Gulati
Tom Payne
Vicki Thomson
titles & graphic identity
Nicky Sargent (Chair)
Alex Maclean
Bimpe Alliu
David Newton
Eri Adachi
Gemma Roberts
Harriet Gillian
Kath Smith
Klaudija Cermak
Nic Benns
Paul Dosaj
Prateek Mathur
writer : comedy
Claire Zolkwer (Chair)
Abigail Wilson
Alex Grasham
Camilla Whitehill
Emma Dennis-Edwards
Helen Serafinowicz
James Wood
Javone Prince
Jenny Frayn
Nosa Eke
Stu Richards
writer : drama
Sara Putt (Chair)
Ann Harrison-Baxter
David Allison
Ian Kershaw
Jeff Povey
Philip Lawrence
Rita Osei
Simon Blackwell
Suhayla El-Bushra
Sunetra Sarker
Tinge Krishnan
William Mager
For details of the voting process, including any key changes made for 2024, 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 board of trustees
sara putt Chair of BAFTA
julie la ’ bassiere
siobhan reddy Deputy Chairs of BAFTA
anna higgs Chair, Film Committee
ade rawcliffe Chair, Learning, Inclusion and Talent Committee
hilary rosen Chair, Television Committee
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
Patrick Keegan
Elliot Knight
Andrew Miller mbe honorary advisors
Medwyn Jones
Marc Samuelson
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Anthony Andrews
Geraldine Atlee
Nainita Desai
Alexa Jago
Julie La’Bassiere
David Proud
Jason Solomons
Clare Stewart elected members of the games committee
Tara Saunders Chair
Des Gayle Deputy Chair
Katherine Bidwell
Nick Button-Brown*
James Brooksby
Anisa Sanusi
Del Walker
Furquan Akhtar
Emma Butt
Rajiv Nathwani
Ade Rawcliffe
Beryl Richards*
Sue Vertue
Claire Zolkwer
* Children’s Representatives
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MEET THE SPONSORS
ecotricity
an official television craft partner
We’re Ecotricity, Britain’s greenest energy company. Founded in 1995 by Dale Vince OBE, our mission is to replace fossil fuels with green energy across Britain.
“Every production that’s powered by our green energy is a step towards a greener Britain. Your energy bills will be put to good use because all the profit we make is reinvested into new forms of green energy – we call it bills into mills. TV and film can help fight the climate crisis by educating and informing audiences, or by showing the simple things that everyone can do, like changing where your energy comes from. So, a massive thanks to BAFTA albert for inviting Ecotricity to become a partner and thanks to everyone who decides to join us. See you at the awards.” – Dale Vince, OBE, Founder of Ecotricity.
Easy access to a deep green energy supply is one of the simplest and most effective things you can do towards achieving net zero. That’s why we are now an Official Partner to the BAFTA albert Creative Energy Scheme, working together to make 100% renewable energy accessible to creative industries across the UK.
Finally, a huge congratulations to all of the nominees, it’s been an amazing year with some really strong categories. wearealbert.org/energy ecotricity.co.uk/baftacraft-mts
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the partnership group an official television craft partner
At The Partnership Group we have come together as a group of talent, literary and below the line agencies to maximise opportunity for our clients.
Together we represent prominent and award winning actors, writers, directors, heads of department and crew and look after premium IP and underlying rights. We are committed to nurturing talent – both established and emerging – and to driving success for all our clients. We champion diversity, equity, and inclusion within our industry and through our own in-house Training Scheme and Foundation we seek to create pathways into and through our industry and to support sustainable careers for all our clients regardless of background and life experience. We cultivate an environment where talent thrives, visions are realised and stories are brought to life.
We believe that BAFTA’s culture and ethos echoes our own, and we are delighted to be supporting the BAFTA Television Craft Awards this year.
BAFTA works to create an industry that is truly inclusive and one which creates opportunities for everyone in front of and behind the camera to tell their stories. We are proud to partner with BAFTA in this work.
thepartnershipgroup.com
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3 mills studios category sponsor for director : fiction
ben labs category sponsor for production design
3 Mills Studios is proud to continue its support of the Director: Fiction category at the BAFTA Television Craft Awards for the ninth 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 over 30 years, 3 Mills Studios has provided a stage for world-class film and TV, 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 them bring their stories to life.
3mills.com
BENlabs is honoured to support the Production Design category, celebrating the exceptional creative talent and hard work of those who bring television programmes to life. Behind the scenes, BENlabs assists art departments in the UK by providing and clearing branded props, supplying graphic assets, and creating custom console gameplay to enhance realism on screen and offset production costs.
benlabs.com/bafta
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hotcam category sponsor for entertainment craft team
For 25 years, Hotcam has provided the factual and entertainment production communities with equipment rental, full-service engineering, and crewing solutions. Whether complex PSC multi-cam abroad or intricate systems rig for studio, our offering is characterised by an open, knowledgeable approach and on-location technical expertise. We are the only rental company dedicated to the non-scripted space and one of the few that can service major productions at scale, operating from bases in both London and Glasgow. It is an honour to sponsor the Entertainment Craft Team Award and show our appreciation for a sector we love working in.
hotcam.tv
screenskills high - end tv skills fund category sponsor for make up & hair design
The High-end Television Skills’ Fund is delighted to sponsor the BAFTA Television Craft Make Up and Hair Design category in 2024. Alongside independent production companies, the five major broadcasters support the Fund along with streamers including Acorn Media, Amazon, Apple, Disney, Netflix, Sony and Warner Media. ScreenSkills is the skills body for the UK screen industries. Industry funded and business-led, it helps to train people at every career stage who make UK content which everyone loves and trusts. ScreenSkills’ funds play a leading role in the creation of high quality, accessible and standardised training and development programmes that actively contribute to the future creativity, health and prosperity of the sector.
screenskills.com/hetv
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ACKNOWLEDGEMENTS
bafta wishes to thank
ecotricity
An official Television Craft Partner
the partnership group
An official Television Craft Partner
the television committee
Hilary Rosen Chair, Christine Healy Deputy Chair, Ade Rawcliffe, Adeel Amini, Beryl Richards, Carl Callam, Claire Zolkwer, Daniel Maynard, Denise Seneviratne, Emma Butt, Furquan Akhtar, Hayley Reynolds, Katie Player, Pete Andrews, Rajiv Nathwani, Sue Vertue
sara putt
Chair of BAFTA
julie la ’ bassiere , siobhan reddy
Deputy Chairs of BAFTA
Television voting juries and members
All broadcasters and nominees for their invaluable assistance
All staff at BAFTA
stacey dooley
Our host
sam fletcher Scriptwriter
dan dalton , jamie rowland Editors
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toby baker
mark harrison Director Floor Manager
josh grace gemma o ' sullivan Production Designer Lighting Designer
plus 4 audio creative technology
Sound Screens and Projection
jo ketteringham hotcam Prompt Technical Facilities
multitude media peter anderson studio
PR Video Graphics
category sponsors
3 Mills Studios
BENlabs
Hotcam
ScreenSkills High-end Television Skills Fund
academy partners
Champagne Taittinger
Deloitte
Hildon
Villa Maria Wines
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AT BAFTA
executive director of awards & content
Emma Baehr
head of awards
Kelly Smith
television craft officer
Nick Boocock
awards
Chloe Fraser, Daljit Billen, Deirdre Hopkins, Edward Hubbard, Katie Warren, Lewis Peet, Luke Hebblethwaite, Meghana Krishnamurthy, Natalie Gurney, Siobhan Pridgeon, Tia Wedderburn
executive producer senior producer
Cassandra Hybel Victoria Walker producer
Georgia Maskery productions
Ella Coveney, Harry Balmforth, Ines Yearwood-Sanchez, Joe Okell, Kristen Helmick, Lauren Prince
head of events event producer
Lucy Waller Carla Dowling events
Chidera Ajuzie, Ewan Pollitt, Natalie Stone, Penney Chu, Phil Harrison, Phoebe Barden, Sophie Griffiths
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head of partnerships
Kathryn Thomas partnerships
Amy Elton, Emma Tarcy, Feranmi Majekodunmi, Ute Müller
executive director of pr & communications
Donna Mathews
pr & communications
Augustin Wecxsteen, Benn Bennett, Caoimhe Foran, Catie Poust, David Dougherty, Elizabeth Garshasbi, Lisa Wehrstedt, Lorna Gibson, Luka Kenyon, Natalie Paszkowski, Nayumi Suyama, Nick Williams, Paul MacMahon, Reon McLeod
membership
Conor O’Hart, Courteney Mclune-Calvin, Erin Howard, Jackie du Bled, Timothy Hughes finance
Aleksandra Zdziebko, Dillon Silva, Louis Lyle, Michelle Diep, Paige Jackson
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CREDITS
editor design & cover art
Claire Marie Healy Abigail Bills
photography director ad sales
Claire Rees Emma Tarcy
junior producer , photography
Jordan Anderson
photography assistant
Ellie Elliot 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.
Certificate no.: CBP024259.
The papers used for this year’s tickets and programme are Forest Stewardship Council® certified, and are 100% recyclable. Published by
Executive portraits: BAFTA/Scott Garfitt (HRH The Prince of Wales); BAFTA/ Sophia Spring (Jane Millichip), BAFTA/ Ellie Smith (Sara Putt); p.4 BAFTA/Iona Wolff; p.8 BAFTA/Charlie Clift; p.10, 14 Courtesy of Mama Youth Project.
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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ENERGISING THE CREATIVE INDUSTRY
Congratulations to all nominees and winners from Britain’s greenest energy company.
Find out more about our green energy at ecotricity.co.uk/BAFTACRAFT