BAFTA Television Craft Awards 2024 Show Notes

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.

“ 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

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.

“ 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.

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.

“ 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

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

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.

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.”

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.

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,

“ 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,

“

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.

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.

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

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+

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

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

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

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

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

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

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+

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

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

Proud to be the Official Category Sponsor of the Production Design Award

TRUSTED PROP PLACEMENT

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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

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.

baftapiccadilly@bafta.org

+44 207 734 0022

@bafta195

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

bafta

195 Piccadilly

London W1J 9LN

Tel: +44 (0)20 7734 0022

reception@bafta.org

bafta.org

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