Reduce your production's environmental impact , one supplier at a time
Find vetted suppliers committed to sustainability on the BAFTA alber t Suppliers Directory
As President of BAFTA, I am delighted to welcome you to the BAFTA Television Craft Awards to celebrate the incredible variety of programmes and breadth of talent that mark an exceptional year in the industry. Occasions like tonight are a wonderful opportunity to shine a spotlight on the amazing creative skills that are the powerhouse of the British and global industry.
I am so proud of BAFTA’s ongoing commitment to nurturing the talent of tomorrow in the screen arts. Today, Britain is home to some of TV’s most exciting productions and when the sky’s the limit, it is vital that our creatives and skilled practitioners at every level are supported to develop their careers. From the Young BAFTA programme to bursaries offering thousands of pounds in immediate financial support for junior creatives, the charity’s programmes are continuously opening doors to talented individuals of all backgrounds, and at every stage of their career.
I know many here tonight have contributed to this important work in a number of ways, whether it’s financially, through mentoring, or volunteering time and expertise. As a charity, BAFTA remains hugely grateful for your support and I couldn’t be prouder to see what has been achieved this year.
Congratulations to all the nominees who are being celebrated at tonight’s ceremony and I wish you all a wonderful evening.
HRH The Prince of Wales, k . g . k . t . President of BAFTA
Jane Millichip, CEO Sara Putt, Chair
WELCOME
Welcome to the BAFTA Television Craft Awards 2025.
British craft in television is at an all-time high, as testified by the 134 brilliant programmes nominated by BAFTA members. The power of TV to drive national conversation, to tap into the stories of public interest, and to inspire societal change, is second to none. And to do this through every genre is even more impressive. This year’s nominations celebrate the exceptional creativity and craft of British and international TV, and of the talented people who bring it to life on and off screen. It is wonderful to see strong female representation in the directing categories – particularly as we work as an industry to ensure the work of women directors is seen and considered more widely.
Celebrating creative excellence and inspiring the talent of the future is at the heart of BAFTA’s mission. To celebrate children’s TV, we have introduced three new Children’s categories to bring this incredible and impactful creative community to wider public attention. The children’s screen sector leads the way in diverse and educational storytelling, and it fosters a fantastic talent pipeline.
We would like to extend our sincere thanks to our members, partners, and donors who enable BAFTA to do our work as a charity, an Academy, and an Awards body.
Congratulations to all tonight’s nominees. We hope you have a fantastic night.
Interview: Kara Gillespie
THE HOST STACEY
DOOLEY DOUBLES UP
As a BAFTA Young Presenters competition winner, it is no surprise that Kara Gillespie jumped at the chance to interview Stacey Dooley for tonight’s Show Notes.
As a documentary-maker and TV presenter, Stacey has been on screens for nearly two decades, from Stacey Dooley Sleeps Over to Glow Up: Britain’s Next Make-Up Star. When it comes to our TV Craft Awards, however, this is just her second time as BAFTA’s master of ceremonies. As she told Kara over a Zoom call – with Stacey’s newborn baby bobbing up and down on her lap – hosting tonight’s Awards just means yet “more moments to support industry peers and friends.”
This is your second time hosting, what are you most looking forward to this time?
It’s always amazing to see someone you admire go on stage to accept an award for the amazing work they do. For example, when Jack Rooke won Comedy Writer for Big Boys last year. I’ve been filming documentaries for 18 years, working with so many like-minded people, and it’s such a privilege to support them. While hosting I would always look out for people in the audience that I recognise and be amazed by all the talent in the room. It is such a lovely feeling!
What was a favourite moment from last year?
[Reading] those first few paragraphs just after you walk onto the stage is really special. You get to set the tone for the rest of the evening and make sure everyone is warmed up and welcomed.
What is your favourite category?
I think my favourites are the ones where you can really showcase a craft to the viewer, such as Costume Design, Make Up & Hair Design or Production Design. People watch elaborate sets and costumes and worlds on the telly, and now we get to award those brilliant people for bringing the audience into that world.
MY ADVICE IS TO BE AUTHENTIC...
DON’T SEE WHAT OTHER PEOPLE ARE DOING OR TRY TO COPY THEM TO FIT IN
Stacey Dooley
I know you have been part of a lot of documentaries – which was the most meaningful for you?
Two Daughters had an enormous impact on me. It is a horrifying story of Mina Smallman, whose daughters were murdered in 2020. Mina was approached by quite a few channels to make a documentary about the case, and had told them she would only accept being a part of it if I was involved. It was such a difficult story to tell but Mina was really pleased with how it turned out, and that made me happy – to know that we told the story of her and her daughters in a way that honours them.
Have there been any funny moments during the filming of a show?
Ooh! While I was filming Inside the Convent with a lovely bunch of nuns. One of them, Sister Grace, was telling me they each have only £70 a year to spend freely. While filming I needed a new hairdryer so ordered myself a fancy high-end one, worth a lot more than £70. But when it arrived the sisters had to deliver it to me. I was so embarrassed!
I would really like to make my own documentary. What advice would you give me?
Definitely to be yourself. At the beginning of my career, there could have been temptation to conform but I wanted to do my own thing in my own style. But I was assured by directors and the people I worked with on set that I was chosen because of how I do things. My advice is to be authentic, don’t see what other people are doing or try to copy them to fit in.
Who
inspired
you when you were younger?
My girl crush when I was younger was Lyse Doucet, she is such an impressive journalist. I was very lucky to meet her last year; she was so generous with her time with me and very gracious. I am also a big fan of Orla Guerin, and of course, Louis Theroux!
Do you have any advice for younger people wanting to be a presenter?
Again, be authentic! It is easier now to put yourself out there with social media, and to show yourself to the world. Examples of figures who started online would be someone like Mo Gilligan, who started out on Instagram, or GK Barry, who is so smart and funny. More and more channels are looking online for new talent, so if you want to have a presenting career, get yourself out there online and have fun.
What behind-the-scenes role would you like to do, if not in front of the camera presenting?
I now have my own production company, which I really enjoy –being in control and choosing my projects behind the scenes. However, as a producer you come up with what you think are amazing ideas and then you do get a lot of rejections. It is hard work, a lot more work than presenting.
If you could talk to your younger self, what would you like to let her know?
There is always a seat at the table, and we’ve all got something to say. No matter who you are, where you studied, what your background is, there is always a space for you if you want it. You may feel out of place to start with, but your voice matters and you can achieve amazing things.
There has been a positive change in representation in the industry, and we are heading in the right direction [to bring in] more voices into the conversation. But there is still more room for growth.
Writer: Jennifer Jasmine White
THE SPECIAL AWARD
HOW EASTENDERS BECAME A SOCIAL FORCE BEHIND THE SCREEN
Celebrated this evening for its commitment to nurturing new behind-the-camera talent, EastEnders’ receipt of a BAFTA Special Award recognises the sheer social impact of one of the most-watched genres of the small screen: the continuing drama, or the Great British soap.
Emerging from the same cultural moment as a ‘New Wave’ of British social realism, soap opera has outlived many other dramatic forms and yet still finds itself frequently overlooked. Connecting with the lives of millions of working people week after week, shaping public consensus, and offering audiences a rare chance to see their own lives reflected attentively and complexly, those individuals at the centre of the soap world know the value of what they do. Met with a UK media that often oversimplifies and caricatures their lives, working-class people have long known that value, too.
Much of what should be celebrated about the world of soaps extends far beyond the immediately visible. It is, for instance, one of the few forms that has given voice to the complexities of working-class women’s lives, and, by no coincidence, one of the only ones to prioritise those same women on the other side of the camera. Where this is celebrated, it is often simply as an origin story, but trailblazers such as Kay Mellor and Sally Wainwright
ought not be taken as exceptions, but rather proof of the kinds of talent that abounds on sets such as these. When it comes to the 40-year lifespan of EastEnders, the show has enabled the development of many of the film and TV industry’s top behindthe-camera talents: directors such as Justin Chadwick, Tom Hooper, Rebecca Gatward, Menhaj Huda, Dearbhla Walsh, among others, have all cut their teeth on the show; other names include writers Sarah Phelps and Ashley Pharaoh, costume designer Yves Barre and sound supervisor Tudor Davies.
Such environments need not be thought of as an entry point to surpass, however, but as an unmatched guarantor of quality and experience. Rona McKendrick, senior production manager on EastEnders, sees the show as “the bedrock in the industry of people who have cut their teeth on TV. They’ve started with us, they often come back to us.” Though it might not chime with dominant narratives about taste and mobility in Britain, these programmes hold onto as much talent as they wave farewell to.
In 2015, EastEnders began its participation in the BBC’s Continuing New Directors’ Training Scheme; by 2021, it also demonstrated its commitment to address the chronic underrepresentation of talent from minority groups in the field of directing, by partnering with Directors UK on the Diversity Director Training Scheme. These, among initiatives such as the Multi-Camera Directing Course, Writers’ Studio, and Ascend Workshops (all launched in the past year) are vital for formalising and expanding upon practices long exhibited in the world of continuing drama. More than this, they also hold that world accountable. “We need a whole spectrum of creativity, perspectives and voices to make the show consistently fresh and exciting,” says Kate Oates, head of drama productions at BBC Studios. “It ensures that we are [both] reflective of society and those watching at home.”
The fresh voices that such schemes bring in are also the voices that work to remind us there is still a way to go. They also offer a practical solution to those in the industry wondering how they can do more. Looking towards initiatives such as those celebrated tonight is to see some practical routes to change.
WE NEED A SPECTRUM OF CREATIVITY, PERSPECTIVES AND VOICES TO MAKE THE SHOW CONSISTENTLY FRESH AND EXCITING... IT ENSURES WE ARE REFLECTIVE OF SOCIETY AND THOSE WATCHING AT HOME
Kate Oates
We know the social value of schemes such as these – they are, incontrovertibly, good things, providing access and insight to those whose material circumstance might otherwise exclude them. Yet that social value cannot be separated from an aesthetic one. The championing of diverse voices at every level of production is as much an act of creative need as it is of social good. The recognisability of these much-loved onscreen worlds depends on a tightly focused creative team that, crucially, know exactly the intricacies of the world they’re trying to replicate. This kind of detail matters on every level: from the clothes characters wear to the kind of mugs they have in their kitchen cupboards; the way they speak and how the camera frames them.
Working-class creatives can do more than soap opera, but soap opera depends on working-class creatives, without whom the storytelling quickly fractures into caricatures and simplified projections. In other words, inclusive hiring practices are central to the aesthetic and political project that is soap. They are central to the meticulous creation of the meaningfully real.
Initiatives such as the behind-the-camera talent schemes of EastEnders are above all a matter of integrity in craft. In celebrating them, we might recognise British soap as the trailblazing site of innovation that it has, in reality, long been. Far from just offering tokenistic representation, it is a form which creatively reflects, archives and transforms British social life.
In Conversation with Shahnaz Luned Daf
THE BREAK THROUGHS
THE CREATOR, DIRECTOR, AND EDITOR ON BAFTA
BREAKTHROUGH AND FINDING YOUR PEOPLE
Text: Alec Holt
Photography: Manuel Vazquez
Daf James (Lost Boys and Fairies), Luned Tonderai (Miriam: Death of a Reality Star) and Shahnaz Dulaimy (Top Boy) are all participants in 2024’s BAFTA Breakthrough UK, supported by Netflix. The programme showcases and supports the next generation of creatives in film, games and TV, helping leverage early success into sustainable careers.
daf james : Being selected for BAFTA Breakthrough is a huge deal for all of us. And when we all came together to meet for the first time, you could tell that everybody was really thrilled. I remember growing up and watching the BAFTAs on the telly, and it felt like such a faraway place.
luned tonderai : When the email came through I was on the escalator heading up to work, and immediately, even before I read it properly, I thought: “Oh, they’re turning me down. It’s fine. I tried.” Then I got to the top of the escalator, and I was like: “No, no, I’ve got it!” I had a little cry. We all work really hard. It’s just so nice when that is recognised in some way.
shahnaz dulaimy : I come from Iraq, so going from Baghdad to BAFTA has been one hell of a ride. It’s given me the confidence to go up to people and ask for tips and see what I can learn from their successes.
dj : What you’re saying there is quite significant for me as well. Because on this programme we’re asked to come up with a list of people that we would like to meet, and I kept telling myself I couldn’t put certain names down as I just felt like I didn’t deserve to have a meeting with those people. And the difference with this, of course, is that it’s encouraged. It allows you to exercise a different type of confidence that I found spilling out into my everyday life and my work.
lt : I’m Welsh, like Daf. And I think it’s a very Welsh thing that you don’t sing your own praises. I can remember distinctly the first email I wrote where I said: “I was selected as one of this year’s BAFTA Breakthroughs for my directing work.” And I was like, ugh, cringing when I was writing it out. You just get to a point where you realise: “What’s wrong with you? You need to embrace this.” So it’s about a mentality shift. And it’s quite nice, because we all have a little bit of insecurity.
dj : It’s about finding the people that empower you and help you to get over those insecurities.
I WAS NOT AFRAID TO GO UP TO THE TEAM AND SAY: ‘DOES THIS FEEL RIGHT FOR THE CHARACTER THAT YOU HAVE BEEN LIVING WITH FOR THE LAST DECADE?’
I’VE LEARNED TO TRUST MY INSTINCTS
Shahnaz
Dulaimy
IT’S ABOUT A MENTALITY SHIFT. AND IT’S QUITE NICE, BECAUSE WE ALL HAVE A LITTLE BIT OF INSECURITY
Luned Tonderai
lt : When I was coming up, there was definitely a bit of a gender [problem] about what women could do and what men would do. And I just came across some females who were in senior positions who didn’t see that, and they were very equal. That was great, because they also shifted my mindset and made me think: “Oh, I can do that if I want to.”
dj : There are lots of people that I’ve come across in this industry who’ve made me feel small, who’ve made me feel that I’m not capable, who’ve traumatised me. But it’s the good people – they’re the ones you have to find. And when you find them, gosh, I hold on to them for dear life.
sd : The world has just been so cruel to Iraqis every single day of our lives. And entering the industry [here] has just been like a very warm, welcoming hug. I feel like I’ve found my family. And yes, obviously, everywhere you go there will be some bad people, but on the whole, everyone wants to produce the best type of work possible.
dj : Yes, I definitely think there’s room to be hopeful. I felt like it was a minor miracle that Lost Boys was commissioned in the first place, because it was the first bilingual Welsh-English drama on network [TV], and it was a queer adoption story on prime-time BBC One. And that’s progress, on many political levels. And I feel incredibly lucky that I happened to be alive in the time where those opportunities were arising, and I got to tell that story.
lt : When I was coming up through TV, if I had an idea that was anything to do with Wales or the Welsh language, I was always told: “Nobody’s going to be interested in that, other than S4C or BBC Wales.” And that’s not true. I was a big fan of Lost Boys and Fairies, because I just thought: “This is really authentic. This reflects what I know.”
dj : It was my first drama. And James Kent, the director, said from the beginning: “Daf, this is your story, and you have to be on set with me every day.” I was the guardian of the story,
making sure that every moment was captured emotionally. Now going forward, it’s [about] choosing collaborators well so that you can have those relationships that feel fruitful.
lt : On Miriam, I was really lucky because I was working with an executive producer, Colin Barr, who gave me a lot of creative freedom. It wasn’t about tearing my ideas down or trying to put his view on it; it was very much about creatively making things better together. I’ll take on a lot, but I want to feel like people trust in me. And I had that.
sd : What makes Top Boy special is its authentic storytelling. It represents the characters’ struggles and choices with nuance, and it shows the human side of situations that are often sensationalised in mainstream media. What I’ve learned is to find all of these nuances of the performances. I was not afraid to go up to the team and say: “Does this feel right for the character that you have been living with for the last decade?” I’ve learned to trust my instincts.
lt : That is probably the biggest thing that I felt too. It was like, yes, I’m trusting my instincts and those instincts are good.
sd : When it comes to production, there’s a lot that goes on in the background. And I think that’s the importance of the TV Craft Awards and recognising everyone who is slaving away trying to get everything right, from lighting to costume to the makeup – every little detail matters.
dj : I think that’s absolutely true, because the Lost Boys set was an incredibly happy one, and that was down to the way Adam Knopf, our producer, brought that team together – a lot of them came from local queer communities. There was a real sense of local ownership of the work. I think it’s something you might be able to feel through watching the show.
sd : It comes through.
BAFTA Breakthrough UK is supported by Netflix
IS PROUD TO SUPPORT
BAFTA BREAKTHROUGH UK
AND CONGRATULATES OUR NOMINEES AT THE
2025 BAFTA TELEVISION CRAFT AWARDS
Jessica Jones
Otto Burnham
ORIGINAL MUSIC: FACTUAL
EDITING: FACTUAL
SOUND: FACTUAL
Paul Darling, Greg Gettens, Glen Gathard, Rebecca Heathcote
DIRECTOR: FICTION
Weronika Tofilska
COSTUME DESIGN
Ian Fulcher
EDITING: FICTION
Peter Oliver, Benjamin Gerstein
SOUND: FICTION
MAKE UP & HAIR DESIGN
Erika Ökvist
COSTUME DESIGN
Suzanne Cave
PHOTOGRAPHY & LIGHTING: FICTION
Benedict Spence
Matthew Skelding, Tom Jenkins, Milos Stojanovic, James Ridgway, Jake Whitelee
WRITER: DRAMA
Richard Gadd
DIRECTOR: FICTION
Molly Manners
WRITER: DRAMA
Nicole Taylor
SCRIPTED CASTING
Isabella Odoffin
THE NOMINATIONS
Children’s Craft Team
BOOSNOO!
Simon Partington
Alex Copley
Andy Farago
Sandy Nuttgens
Simon Couzens
Visionality, Mackinnon & Saunders / Sky Kids
HEY DUGGEE
Grant Orchard
Sander Jones
Ross Phillips
Phillip Warner
Malcolm Mole
Tin Sounds
Studio AKA / CBeebies
HORRIBLE HISTORIES
Paul Taylor
Jeremy Hewson
Richie Webb
Lisa Halstead
Jemima Cotter
David Bryan
Lion Television / CBBC
THE VELVETEEN RABBIT
Tom Bidwell
Jennifer Perrott
Rick Thiele
Sarah Brewerton
Anna Rackard
James Mather
Magic Light Pictures / Apple TV+
THE NOMINATIONS
Costume Design
BLACK DOVES
Ian Fulcher
SISTER, Noisy Bear / Netflix
ERIC
Suzanne Cave
SISTER, Little Chick / Netflix
MARY & GEORGE
Annie Symons
Jason Airey
Hera Pictures, Sky Studios / Sky Atlantic
THE TATTOOIST OF AUSCHWITZ
Ján Kocman
Synchronicity Films, Sky Studios,
All3Media International / Sky Atlantic
THE NOMINATIONS
Director: Factual
BILLY & MOLLY: AN OTTER LOVE STORY
Charlie Hamilton James
Silverback Films / National Geographic
LIFE AND DEATH IN GAZA (STORYVILLE)
Natasha Cox
BBC World Service, BBC Eye / BBC Two
LUCAN
Colette Camden
Five Mile Films / BBC Two
ME AND THE VOICE IN MY HEAD
Tom Green
Tommy Forbes
Hungry Bear Media / Channel 4
THE NOMINATIONS
Director: Fiction
Sponsored by 3 Mills Studios
BABY REINDEER
Weronika Tofilska Clerkenwell Films / Netflix
ONE DAY
Molly Manners
Drama Republic, Universal International Studios, Focus Features / Netflix
WE ARE LADY PARTS
Nida Manzoor
Working Title Television / Channel 4
WOLF HALL: THE MIRROR AND THE LIGHT
Peter Kosminsky
Playground Entertainment, Company Pictures / BBC One
THE NOMINATIONS
Director: Multi-Camera
BBC GENERAL ELECTION 2024
Chris Cook
BBC News / BBC One
D-DAY 80: TRIBUTE TO THE FALLEN
Directing Team
BBC Studios / BBC One
GLASTONBURY 2024
Janet Fraser Crook
BBC Studios Music Productions / BBC One
STRICTLY COME DANCING
Nikki Parsons
BBC Studios / BBC One
THE NOMINATIONS
Editing: Factual
APOLLO 13: SURVIVAL
Otto Burnham
Insight Film, Fee Fie Foe Films / Netflix
LIFE AND DEATH IN GAZA (STORYVILLE)
Sarah Keeling
BBC World Service, BBC Eye / BBC Two
MINERS’ STRIKE 1984: THE BATTLE FOR BRITAIN
Sean Mackenzie
Chris Nicholls
Swan Films / Channel 4
UKRAINE: ENEMY IN THE WOODS
Kate Spankie
HOYO Films / BBC Two
THE NOMINATIONS
Editing: Fiction
BABY REINDEER
Peter Oliver
Benjamin Gerstein
Clerkenwell Films / Netflix
MR BATES VS THE POST OFFICE
Mike Jones
ITV Studios, Little Gem / ITV 1
SLOW HORSES (EPISODE 1)
Robert Frost
See-Saw Films / Apple TV+
THE DAY OF THE JACKAL
Luke Dunkley
Carnival Films / Sky Atlantic
THE NOMINATIONS
Emerging Talent: Factual
LUCY WELLS (SHOOTING DIRECTOR)
24 Hours in Police Custody: Murder on Prescription
The Garden / Channel 4
JABER BADWAN (DIRECTOR OF PHOTOGRAPHY)
Kill Zone: Inside Gaza
Basement Films / Channel 4
ANNA JOHNSTON (DIRECTOR)
Parole RAW / BBC Two
THE NOMINATIONS
Emerging Talent: Fiction
Sponsored by Sara Putt Associates
MITCH KALISA (DIRECTOR)
Letting Go (On the Edge)
BlackLight Television / Channel 4
PHIL DUNNING (WRITER)
Smoggie Queens
Hat Trick Productions / BBC Three
LUCIA KESKIN (WRITER)
Things You Should Have Done
Roughcut Television / BBC Three
KYLA HARRIS
LEE GETTY (WRITERS)
We Might Regret This
Roughcut Television, Village Roadshow / BBC Two
THE NOMINATIONS
Entertainment Craft Team
Sponsored by Hotcam
MIRACLES
Jon Richards
Robert Pound
Tom Elderfield
Darren Sarsby
Peter Turner
Adam Hutchings
Expectation, Seventeen / Sky Max
STRICTLY COME
DANCING
David Bishop
Joe Phillips
Catherine Land
Jen Townsend
David Arch
Ian Masterson
BBC Studios / BBC One
TASKMASTER
Andy Devonshire
Rebbeca Bowker
James Dillon
Dru Masters
Avalon UK / Channel 4
THE TRAITORS
Ben Archard
James Tinsley
Siggi Rosen-Rawlings
Mathieu Weekes
Martin Adams
Jimmy Barnett
Studio Lambert / BBC One
THE NOMINATIONS
Make Up & Hair Design
BRIDGERTON
Erika Ökvist
Jessie Deol
Farida Ghwedar
Shondaland / Netflix
JOAN
Nic Collins
Snowed-In Productions / ITV 1
MARY & GEORGE
Paul Gooch
Adam James Phillips
Julia Vernon
Debbi Salmon
Morag Ross
Kerry Warn
Hera Pictures, Sky Studios / Sky Atlantic
RIVALS
Jill Sweeney
Abi Brotherton
Nathalie Allan
Tiffany Pierre
Franziska Roesslhuber
Martine Watkins
Happy Prince, ITV Studios / Disney+
THE NOMINATIONS
Original Music: Factual
AMERICAN NIGHTMARE
Jessica Jones
RAW / Netflix
ISRAEL AND GAZA: INTO THE ABYSS (EXPOSURE)
Tandis Jenhudson
Top Hat Productions / ITV 1
RAGE AGAINST THE REGIME: IRAN
Noor Khaleghi
BBC Current Affairs / BBC Two
TIGER
Nitin Sawhney
Wildstar Films / Disney+
THE NOMINATIONS
Original Music: Fiction
BAD SISTERS
Tim Phillips
PJ Harvey
Merman, ABC Signature / Apple TV+
RIVALS
Natalie Holt
Jack Halama
Happy Prince, ITV Studios / Disney+
SLOW HORSES
Daniel Pemberton
Toydrum
See-Saw Films / Apple TV+
UNTIL I KILL YOU
Carly Paradis
World Productions / ITV 1
THE NOMINATIONS
Photography: Factual
BILLY & MOLLY: AN OTTER LOVE STORY
Charlie Hamilton James
Johnny Rolt
Bertie Gregory
Silverback Films / National Geographic
LIFE AND DEATH IN GAZA (STORYVILLE)
Camera Team
BBC World Service, BBC Eye / BBC Two
SILVERBACK
Miles Blayden-Ryall
Vianet Djenguet
Sam Dawe
Off the Fence Productions, France Télévisions / BBC Two
Paramount Television International Studios, Lionsgate Television / Paramount+
LUDWIG
Paul McDonnell
Hugo Moss
Ben Hanbury
Tamsin McGee
Big Talk Studios, That Mitchell & Webb Company / BBC One
PARIS 2024 OLYMPICS
FX Goby
Paul Bailey
Russell Hendrie
Nina Beyers
Tom Espezel
BBC Sport, Nexus Studios / BBC One
SWEETPEA
Peter Anderson Studio
See-Saw Films, fanboy / Sky Atlantic
THE NOMINATIONS
Writer: Comedy
INSIDE NO. 9
Reece Shearsmith
Steve Pemberton
BBC Studios Comedy Productions / BBC Two
SHRINKING
Brett Goldstein
Warner Bros. Television / Apple TV+
SMOGGIE QUEENS
Phil Dunning
Hat Trick Productions / BBC Three
WE ARE LADY PARTS
Nida Manzoor
Working Title Television / Channel 4
THE NOMINATIONS
Writer: Drama
BABY REINDEER
Richard Gadd
Clerkenwell Films / Netflix
INDUSTRY
Mickey Down
Konrad Kay
Bad Wolf, HBO / BBC One
MR BATES VS THE POST OFFICE
Gwyneth Hughes
ITV Studios, Little Gem / ITV 1
ONE DAY
Nicole Taylor
Drama Republic, Universal International Studios,
Focus Features / Netflix
JURIES AND CHAPTERS
Juries
CHILDREN’S CRAFT TEAM
Beryl Richards (Chair)
Steven Andrew
Sunny Bahia
Bonnie Dempsey
Tony Gardner
Jonathan Gershfield
Giles Lamb
Grainne McGuinness
Emma Reeves
COSTUME DESIGN
Katie Player (Chair)
Matthew Button
Greg Duffield
Linda Haysman
Justine Luxton
Claire Lynch
Guy Speranza
Sekou Traore
Lupt Utama
Selina Wong
DIRECTOR: FACTUAL
Adeel Amini (Chair)
Hugo Berkeley
Anna Dimitriadis
Chloe Fairweather
Phil Grabsky
Tara Jang
Gesbeen Mohammad
Dorsa Nam
James W. Newton
Charlie Russell
Jasleen Sethi
DIRECTOR: FICTION
Furquan Akhtar (Chair)
Alex Browning
Joseph Bullman
Alesya Capelle
Alison Carpenter
Martin Carr
Kate Cheeseman
Amy Neil
Tom Shankland
Sarah Stack
Yero Timi-Biu
Stuart Urban
DIRECTOR: MULTI-CAMERA
Christine Healy (Chair)
Edie Amos
Dave Donald
Naomi Dulake
Matthew Harrisson
Helen Kuttner
Lisa Mail
Grainne O’Carroll
Jason Osborne
Luke Seraphin
Richard Valentine
Barbara Wiltshire
EMERGING TALENT: FACTUAL
Emma Butt (Chair)
Sonny Hanley
Hind Hassan
Eddie Hutton-Mills
Amanda Lyon
Ferg McGrath
Elizabeth McIntyre
Rochelle Newman
Amy Newstead
Manori Ravindran
Max de Wardener
EMERGING TALENT: FICTION
Claire Zolkwer (Chair)
Michael Bhim
Adiescar Chase
Nerys Evans
Annie Harrison-Baxter
Victor Jenkins
Clelia Mountford
Jack Rooke
Holly Walsh
ENTERTAINMENT
CRAFT TEAM
Carl Callam (Chair)
Abi Adetoye
Lucy Cartledge
Amy Dallmeyer
Erika Ehler
Paddy Fletcher
Gayle Hall
Mohammed Rashid
Tom Rogers
Jon Rowlands
Kojo Samuel
Stephanie Symington-Kurth
MAKE UP & HAIR DESIGN
Ade Rawcliffe (Chair)
Lisa Armstrong
Akua Gyamfi
Cate Hall
Denise Kum
Love Larson
Annie Little
Tom McInerney
Sharon Miller
Lisa Parkinson
James Spinks
ORIGINAL MUSIC: FACTUAL
Caroline Levy (Chair)
Sola Akingbola
Nik Ammar
Melanie Fall
Natalie Hewit
Sofia Hultquist
CJ Mirra
Melissa Parmenter
Chris Roe
Pete Saville
Marli Wren
ORIGINAL MUSIC: FICTION
Nicky Sargent (Chair)
Nigel Albermaniche
Benjamin Bartlett
Adele Fletcher
Kim Halliday
Candida Julian-Jones
Jo Karelis
Dru Masters
Chad Orororo
Sacha Puttnam
Sian Rogers
Christopher White
Bree Winwood
PHOTOGRAPHY & LIGHTING: FICTION
Hayley Reynolds (Chair)
Chas Appeti
Emily Almond Barr
Ashley Barron
Edgar Dubrovskiy
Christiana Ebohon-Green
Paul Harrison
Morgan Matthews
Nic Morris
Sherree Philips
Nathalie Pitters
Kat Westergaard
Rik Zang
PHOTOGRAPHY: FACTUAL
Alison Barnett (Chair)
Rick Aplin
Poppy Begum
Mark Casebow
Helen Hobin
Gail Jenkinson
Anna Macdonald
Funmi Olutoye
Will Pugh
Fred Scott
Simon Surtees
PRODUCTION DESIGN
Marc Samuelson (Chair)
Simon Bowles
Susie Cullen
Harriet Dale
Sarah Finlay
Matt Gant
Luke Hull
Miranda Jones
Sally Lock
Phoebe Platman
Edward Rastelli-Lewis
Simon Welton
SCRIPTED CASTING
Denise Seneviratne (Chair)
Ash Atalla
Dermot Boyd
Sally Broome
Gary Davy
Emily Jacobs
Sam Jones
Selma Nicholls
Susie Parriss
Jesse Quinones
TITLES & GRAPHIC IDENTITY
Sue Vertue (Chair)
David Arnold
James Gold
Shaun James Grant
Louise Hooper
Danny Kleinman
Margherita Premuroso
Mona Qureshi
Isabelle Sieb
Kate Vaisey
Howard Watkins
Morenike Williams
WRITER: COMEDY
Hilary Rosen (Chair)
Peter Bowker
Bridget Christie
Dana Fainaru
Lindsay Jex
Harpa Manku
Kevin Muyolo
Kiri Pritchard-McLean
Tim Reid
Kaamil Shah
Pete Thornton
WRITER: DRAMA
Hannah Wyatt (Chair)
J Blakeson
Daragh Carville
Amanda Duke
Neil Forsyth
Jenny Frayn
Lee Getty
Stephen McAteer
Tom Mullens
Fergus O’Brien
Kam Odedra Chapters
CRAFT CHAPTERS
Editing: Factual
Editing: Fiction
Sound: Factual
Sound: Fiction
Special, Visual and Graphic Effects
Craft chapters consist of Academy members with specialist experience in the relative field.
MEET THE SPONSORS
With thanks to…
ECOTRICITY AN OFFICIAL TV CRAFT PARTNER
At Ecotricity, our mission is to end fossil fuels across all industries – and the world of film and TV production is no different. That is why we have industry initiatives like our Creative Energy Scheme in collaboration with BAFTA albert, which gives those working in the creative industries access to renewable electricity at an affordable rate.
From keeping the lights on in the studio, to making sure the kettle works in the post-production house: energy is the lifeblood of every production. So, as Britain’s greenest energy company, it’s a pleasure to be going “back of house” with BAFTA by supporting the TV Craft Awards.
Simply being nominated for any of these prestigious awards is in itself a huge achievement. We look forward to celebrating that achievement with you all at the ceremony.
3
MILLS STUDIOS
CATEGORY SPONSOR FOR DIRECTOR: FICTION
3 Mills Studios is London’s Island of Creativity - an iconic production hub in East London, just 30 minutes from the city centre. As your “Partners in Production”, we offer filmmakers, television creators and theatre professionals with a home, and dynamic spaces to bring their visions to life. We’re proud to continue our support of the BAFTA TV Craft Awards and the Director: Fiction category, honouring the vision, creativity and dedication that goes into storytelling. As a home for film and TV makers, this partnership reflects our ongoing commitment to championing directors and the wider creative community, offering the space and resources to transform imagination into reality.
Congratulations to the nominees on your well-deserved recognition for the incredible work you’ve done in bringing UK stories to life. Your dedication, creativity, and vision are not only inspiring but also shaping the future of UK television. We wish you the best of luck at the Awards and look forward to seeing more of the magic you’ve crafted in your nominated shows.
HOTCAM CATEGORY SPONSOR
FOR ENTERTAINMENT CRAFT TEAM
For 25 years, Hotcam has provided the non-scripted and entertainment production communities with equipment rental, full-service engineering, and crewing solutions. Whether it’s complex PSC multi-cam abroad or an 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 factual entertainment 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 BAFTA TV Craft Awards and show our appreciation to a sector we love working in – and most importantly to be able to recognise the people that make the shows we are so proud to be involved with.
MICROSOFT
CATEGORY
SPONSOR FOR PRODUCTION DESIGN
Microsoft is honoured to support the BAFTA TV Craft Awards for the 10th year running, celebrating unsung creative heroes within the Production Design category.
These Awards celebrate the incredible talent behind the scenes of our most beloved TV programmes and raise awareness for the sheer amount of hard work and dedication it takes to bring them to fruition. In what has been another fantastic year for British TV, the nominated designers in this category have amazed us by creating awe-inspiring worlds, allowing us to truly lose ourselves in a character’s journey.
Without them, the story could not be told: production designers inspire us with their creativity and innovation. Over the past year, and many years before that, Microsoft has been hard at work supporting production designers with prop provisions from its range of devices, along with software and gaming clearances that enable them to tell a realistic, true-tolife and compelling visual story.
SARA PUTT ASSOCIATES CATEGORY
SPONSOR FOR EMERGING TALENT: FICTION
Our mission for the last 30 years has been to provide an ongoing source of support and community for our freelance clients, whose roles cover pretty much all areas behind the camera. Within the company, we all feel very strongly about promoting emerging talent and creating lasting and inclusive talent pipelines into and through the industry. This is why for over 10 years we have run our Trainee and Foundation schemes to support freelancers to build successful careers regardless of their age and background. It’s also why we choose to support the Emerging Talent: Fiction award in recognition and support of the amazing work that BAFTA does to support individuals building their careers behind the camera. In supporting this category, we are reinforcing our commitment to recognising and promoting emerging talent.
To all the nominees tonight: big congratulations! Being recognised at this stage of your career is a great achievement and a testament to your talent and dedication. Regardless of whether you win tonight, enjoy the evening as well as the journey ahead of you. It’s a tough industry, but you are doing something that you love. Regardless of the challenges, never lose sight of that.
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
OFFICERS OF THE ACADEMY
HRH The Prince of Wales, KG KT President
Board of Trustees
Sara Putt Chair
Julie La’Bassiere Deputy Chair
Siobhan Reddy Deputy Chair
Anna Higgs Chair, Film Committee
Tara Saunders Chair, Games Committee
Hilary Rosen Chair, TV Committee
Ade Rawcliffe
Chair, Learning, Inclusion and Talent Committee
Bal Samra
Co-optee and Chair, Finance and Commercial Committee and Chair, Governance and Appointments Committee
Paul Taiano OBE
Co-optee and Chair, Audit and Risk Committee
Co-optees
Sally Habbershaw
Patrick Keegan
Ralph Lee
Andrew Miller MBE
Joyce Pierpoline
Honorary Advisors
Medwyn Jones
Marc Samuelson
Executive
Jane Millichip Chief Executive Officer
With Thanks to Barbara Broccoli CBE, David Gardner OBE and Dame Pippa Harris DBE
Members of the Television Committee
Hilary Rosen Chair
Christine Healy Deputy Chair
Furquan Akhtar
Adeel Amini
Pete Andrews
Alison Barnett
Emma Butt
Carl Callam
Caroline Levy
Rajiv Nathwani
Katie Player
Ade Rawcliffe
Hayley Reynolds
Denise Seneviratne
Sue Vertue
Claire Zolkwer
ACKNOWLEDGEMENTS
ECOTRICITY - Official TV Craft Partner
STACEY DOOLEY - Host
GETTY IMAGES - Official Media Partner
MULTITUDE MEDIA - PR
ALL STAFF AT BAFTA
TV COMPANIES AND DISTRIBUTORS FOR THEIR INVALUABLE ASSISTANCE
Blackout
Connection Crew
Creative Event
Support
Creative
Technology
Crew 4
Fulford Flowers
Ginger Owl
Hotcam
Jackshoot
Huge Designs
LED Creative
Manta Ray
Plus 4 Audio
PRG
Republic of Photography
CATEGORY SPONSORS
3 Mills Studios
Hotcam
Microsoft
Sara Putt Associates
Vectar Sets
Toby Baker
Dominic Beresford
Sam Fletcher
Josh Grace
Mark Harrison
Gemma O’Sullivan
James Stickley
Jeff Williams
ACADEMY PARTNERS
bottlegreen
Casillero del Diablo
Champagne Taittinger
Deloitte
Hildon
It’s l e ev g we f wat
CREDITS
EDITOR - Claire Marie Healy
DESIGN & COVER ART - Fever Design Ltd
SUB-EDITOR - Alec Holt
AD SALES - Amy Elton, Mollie Ratcliffe
PHOTOGRAPHY DIRECTOR - Claire Rees
JUNIOR PHOTOGRAPHY PRODUCER - Rebecca Gray
PRINTER - FE Burman Ltd
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.: CBP030435
The papers used for this year’s tickets and programme are Forest Stewardship Council® certified, and are 100% recyclable.
Executive portraits: BAFTA/Scott Garfitt (HRH The Prince of Wales); BAFTA/ companies, Sophia Spring (Jane Millichip), BAFTA/Ellie Smith (Sara Putt).
EastEnders photographs courtesy of the BBC.
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.
+44 (0)20 7734 0022 reception@bafta.org bafta.org
BAFTA 195 Piccadilly’s new breakfast menu - the most delicious way to start your day
Treat yourself and your guests to a range of delightful breakfast classics, healthy options and savoury dishes; each created from seasonal and expertly sourced ingredients by BAFTA’s Executive Chef and impeccably served by the Members Bar and Restaurant team.
Secure your reservation weekdays 8am-10.30am, through OpenTable, (BAFTA:195 Piccadilly), or the member’s area of the BAFTA website, and we look forward to welcoming you soon.
