The Special Award: Emma Thomas

The role of script supervisor is an integral part of any television or film production, but it's also a craft that is seldom recognised with awards. Emma Thomas is widely regarded as one of the best in her field and has made an incredible impact on British television and film across her 30-plus years in the business, not least for her mentoring of other women in the industry. This evening, both her work and her craft are recognised with a Special Award, one of BAFTA's highest honours. Words by Rachel Ward

It was in the studio audience of Terence Frisby’s 1976 sitcom Lucky Feller where a young Emma Thomas would get her first taste of the television industry. Regarded as a dry run for Only Fools and Horses, the early David Jason comedy about two brothers in south-east London, piqued an interest and perseverance that would serve her well for a career spanning more than 30 years. “I just knew I had to find a way to get into all this using what skills I had,” says Thomas, recalling her wide-eyed excitement at experiencing the intricacies of making a television show.

Inspired further by her sister who was “having more fun” at drama school, she applied to college four times, eventually training at Central TV in Nottingham on its Script Supervisor course, specialising in drama production. One of her first jobs was at Elstree Studios on Jim Henson’s The Muppet Show, where she would meet Hollywood stars including James Coburn and Gene Kelly. “I thought I’d died and gone to heaven… although I was essentially working for a bunch of puppets!” says Thomas, with a giggle.

BAFTA’s recognition of Thomas with the Special Award not only celebrates her tremendous career but also spotlights her craft, one that is seldom honoured. The importance of the role of a script supervisor cannot be understated. Among their duties are checking the script for inconsistencies; keeping abreast of the shooting schedule, particularly ensuring there’s enough time to shoot the necessary coverage; and recording detailed notes and log sheets on dialogue, action, costume, props, camera details and so on for continuity, ensuring the captured scenes are ready for the edit and post-production stages. Thomas notes that one of the key components of her work is “neat handwriting”.

Thomas fluctuates between television and film and has worked on more than 50 productions to date. “I’m still pinching myself,” she says. “People keep ringing me up and I keep saying, ‘Yes!’”

Her credits include Goodnight Sweetheart, Birds of a Feather, My Hero, Luther, Bad Education, two of The Canterbury Tales modern adaptations (‘The Knight’s Tale’ and ‘The Man of Law’s Tale’), Benidorm and Tyrant, among others (see box out). Already this year she has added Soon Gone: A Windrush Chronicle and the new Four Weddings and a Funeral series to her

expansive teleography. Thomas also spent 10 years working intermittently on The Bill, where she first met director Sam Miller (This Life, Luther) who helped to propel her career. Stints on films such as Star Wars: Episode VII – The Force Awakens followed, where she served as “second-second-second” supervisor and responsible for Chewbacca’s left ear, which any Wookie fan worth their salt will know is no mean feat under all that fur.

Indeed, continuity can be a tricky beast. Thomas recalls having to recreate bloody handprints in a makeshift tunnel when cleaners in Moscow were a little eager to sanitise the set. Meanwhile, the length of cigarettes has perhaps been one of her biggest challenges. “The props department would cut them at all different lengths,” she explains.

Thomas is the first script supervisor to receive such an award from BAFTA, and is cited as being one of the very best in her field, actively mentoring other women in the industry. She is a volunteer board member for Women in Film and Television and is passionate about spreading the word of female achievements in the industry. “It’s wonderful to be on set now and see female camera operators and lighting technicians – there’s no department that doesn’t have a female presence,” she says. “I’m so proud to receive this award. This is going to be amazing for all the script supervisors out there.”