BAFTA Television Craft Awards 2024 Show Notes

CONTENTS 2-3 WELCOME LET TERS 4-9 THE HOST: STACEY DOOLEY 10-15 THE SPECIAL AWARD: MAMA YOUTH PROJECT 16-24 THE BREAK THROUGHS: 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

W E LC O M E 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 CEO, BAFTA

Sara Putt 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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“ W H AT T E L E V I S I O N

N E E D S I S PA S S I O N AT E C O N T R I B U TO R S W H O F E E L C O M F O R TA B L E ENOUGH, AND SUPPORTED ENOUGH, T H AT T H E Y CA N T E L L U S W H AT L I F E T R U LY LO O KS A N D F E E LS L I K E THROUGH THEIR EYES” – Stacey Dooley

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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!

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 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.

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“ I WA S I N TO T H E

T R A I TO R S B E F O R E E V E R YO N E E LS E ! ” 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.

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?

can you describe one of your most memorable For me, exceptional storytelling has always been filming experiences of the past year? incredibly straightforward.

I love filming for my sleepover Yet, somehow, we sometimes feel the need to overcomplicate series (Stacey Dooley Sleeps it. When television works best Over). It’s such a fun gig. is when passionate contributors, Like the time I was horse riding through South Dakota with something to say, feel comfortable and supported with two of Jeff’s wives who enough to tell us what life were talking me through his decision to find another wife, truly looks and feels like while simultaneously trying to through their eyes. Thoughtful, intelligent storytelling can convince my own horse not really change perceptions and to leap off the side of a very steep hill. Also: breastfeeding landscapes. It’s amazing, really.

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Bob Clarke

THE SPECIAL AWA R D Mama Youth Project’s message for the media as told to : cl aire marie healy

It began, in a way, in a room full of VHS Tapes.

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“ W H E N I G OT

MY FIRST JOB, I J U S T STA R T E D R U N N I N G. A S I R A N , I WA S S E E I N G A L L T H E N E GAT I V E T H I N G S T H AT H A D H A P P E N E D TO M E , A N D A L L T H E V I O L E N C E . I K N OW N OW T H AT I WA S WA S H I N G AWAY T H E PA S T, B E CAU S E I WA S R U N N I N G I N TO A NEW FUTURE” – Bob Clarke, Mama Youth Project

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At least, that’s where Bob and produced too. In 2005, Clarke – a British army soldier somebody said to me, there’s turned employee for a video not enough Black people in duplication warehouse – this industry. And I had heard first got the notion of being that before during my career a VT operator. Fast forward – in that moment, it put me to tonight, and the television back 20 years earlier. So, editor’s charity, Mama Youth I went home, and I got angry Project, is being awarded at myself. Because, what had BAFTA’s Special Award.

I done to help? I thought it Through its training projects, was high time I threw my own the organisation recruits, trains little pebble into the water. and nurtures young people “I’m from a generation of from under-represented groups the first Black-British born in or with limited educational this country en masse. In my or employment opportunities, background there was anything with a primary focus on those from the open racism we had between 18 and 25 years to go through, to teachers of age. Ahead of tonight’s saying we were not going to awards, Clarke explains how make anything with our lives. his own experiences informed And then the violence on the his passion for getting young street, just between boys. We people into employment, and didn’t call them gangs – that for bringing more diversity feels more like the Kray twins into the media industry. and Al Capone on the TV.

...

These were just boys that didn’t like each other. And "I've been in broadcasting the only retaliation back that for 37 years now. Most of my anyone could do to get any career has been as an editor kind of respect would be to but in recent years I’ve directed either kill or do life-changing

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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.

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I said: ‘Can I work in here?’ end? It had to have a tangible I mean, I didn’t even know outcome and that outcome what they did. I didn’t have was employment. We do any qualifications to work full inclusion. If you’ve found in a place like that. They said a challenge in your life, and no. Eventually – it was a Friday you haven’t got contacts, then afternoon at 4pm – they said you can apply to us to see if okay. At 5pm, I ran out of the we can help you and change building. And while I was your life. That’s also why running, I was seeing all I was really glad that disability the negative things that had was mentioned in (tonight’s) happened to me, and all the citation. We’ve been above violence I had seen. I know the national average for years. now I was washing away the “We’ve changed the lives past because I knew I was of over 900 people now. running into a new future.

I remember what every “That is the essence of Mama single person was like at the Youth Project: because every beginning, and they are one of them gets a job. That a different person by the

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 of the training. We help them prepare for the tough environment of this industry: they are ready, and they are assets.”

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In-conversation

FUNMI O L U T OY E PETER JAC KS O N CY N T H I A 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.

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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.

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, funmi olutoye : I’m still in a little bit of shock and the last people to touch – I just never thought I would them before they perform.

What I’m hoping to get out ever get on to a scheme like of the programme is primarily this for myriad reasons. I’m visibility. I started off in theatre really looking forward to networking horizontally, and and then moved into film and television – right before getting to know the craft of COVID, I started designing. others in the industry and what they do. It’s amazing to So being able to speak to people that are making and pick others’ brains about the future of the industry, because working on productions right now is such a big deal.

I primarily work in news, daytime, unscripted. Actually, pj : I only entered the I only found out on the day industry at 30 years old. To of the photoshoot, when be recognised by BAFTA was someone said it in passing, beyond my wildest dreams, that I’m the first person 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,

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“ I T ’S T I M E F O R T H E

KINDS OF MASSIVE INDUSTRY CHANGES T H AT A R E S U STA I N A B L E ” – Cynthia De La Rosa

whatever we put on the show that there’s a need for people before 9am is what people that have experience with are still talking about come textured hair and are able to 6pm in the evening. do make up for multi-ethnic skin. The BBC actually cr : For me, as a woman of used to have this wonderful colour, the streamers coming program where you were in have definitely meant more trained from the ground up, opportunities: there are more but sadly that got cut. productions, there’s more content being created, which pj : I only speak from my means that there are more own experience, but you do opportunities for people such need to instill this sense that as myself to move to being something is achievable, and heads of department within not just for the privileged high-end television. And – which is what happens post-COVID and the Black when there is no money in Lives Matter movement, we’ve something at the ground level. seen a higher rating in casting I look at young writers now of actors from the global coming up and can see how majority, which has meant hard it is.

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and that the information is there for young people to important that companies or broadcasters take responsibility access and metabolize. for this, because it actually pj : If stories aren’t being told is an investment into the by the people who live those future. In the cohort of the stories, then we as a culture traineeship that I did with ITV are poorer for it.

News, there’s two of us who still work in TV. That’s a very cr : It’s like reaping the fruit small investment for ITV that without actually sowing the seed. It’s time for the kinds of actually has blossomed into massive industry changes that something that is benefiting are really sustainable. 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. fo : Exactly. I think it’s really

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,

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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

ORIGINAL MUSIC: FICTION Adiescar Chase

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

TITLES & GRAPHIC IDENTITY Manddy Wyckens, Studio AKA

ENTERTAINMENT CRAFT TEAM Diccon Ramsay, Paddy Fletcher, Rikki Finlay, James Tinsley, Mathieu Weekes, Ben Norman

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

DIRECTOR: FICTION William Stefan Smith

WRITER: COMEDY Jamie Demetriou

COSTUME DESIGN Amy Roberts

MAKE UP & HAIR DESIGN Cate Hall, Emilie Yong-Mills, Fiona Rogers

EDITING: FACTUAL Editing Team SOUND: FACTUAL Sound Team

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

THE N O M I N AT I O N S pg . 29 Costume Design pg . 31 Director: Factual pg . 33 Director: Fiction pg . 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 Original Music: pg . 45 pg . 43 Make Up Fiction & Hair Design Photography: pg . 46 pg . 44 Original Music: Factual 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 . 55 Writer: Comedy pg . 56 Writer: Drama pg . 57 29

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

amy roberts

The Crown (Episode 8) Left Bank Pictures/Netflix

mat thew price

charlot te morris

Demon 79 (Black Mirror) Broke & Bones/Netflix

Silo AMC Studios/Apple TV+

sharon long

The Great Civic Center Media, MRC/Lionsgate+

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ENJOY RESPONSIBLY

Live in the Delicious PROUD TO BE OFFICIAL WINE PARTNER SINCE 2009.

DIRECTOR: FACTUAL

gesbeen mohammad

Inside Iran: The Fight for Freedom (Exposure) Hardcash Productions/ITV1

john dower

james bluemel

Lockerbie Mindhouse Films/ Sky Documentaries

Once Upon a Time in Northern Ireland KEO Films, Walk On Air Films, The Open University/BBC Two

peter beard bruce fletcher

Otto Baxter: Not a F***ing Horror Story Story Films, Archface Films/ Sky Documentaries

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Congratulations and good luck to all the nominees

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DIRECTOR: FICTION sponsored by

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Partygate Halcyons Heart Films/ Channel 4

peter hoar

The Last of Us Sony Pictures Television Studios, PlayStation Productions, Naughty Dog, Word Games, The Mighty Mint, HBO/Sky Atlantic

lewis arnold

The Long Shadow (Episode 6) New Pictures/ITV1

william stefan smith

Top Boy (Episode 6) Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/Netflix

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DIRECTOR: M U LT I - C A M E R A

julia knowles

An Audience with Kylie Lifted Entertainment, BMG/ITV1

nikki parsons ollie bartlet t richard valentine

julia knowles

The Coronation Concert BBC Studios/BBC One

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

editing team

Formula 1: Drive To Survive Box to Box Films/Netflix

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

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EDITING: FICTION

alex mackie

Time BBC Studios/BBC One

sam williams

joe carey

Slow Horses (Episode 1) See-Saw Films/ Apple TV+

Happy Valley (Episode 6) Lookout Point, AMC/ BBC One

zs Ó fia t Á las

Slow Horses (Episode 6) See-Saw Films/ Apple TV+

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E M E R G I N G TA L E N T: FACTUAL

ben cheetham ( director )

Pete Doherty, Who Killed My Son? Five Mile Films/Channel 4

fola evans - akingbola jordan pit t ( director )

fred scot t ( director )

London Bridge: Facing Terror Raw TV/Channel 4

Untold Stories: Hair on Set Good Girl Productions, One Umbrella Productions, Doc Hearts/Sky Documentaries

ted evans ( director )

Rose Ayling-Ellis: Signs for Change Rogan Productions/BBC One

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E M E R G I N G TA L E N T: FICTION

andrew bogle ( writer )

Kirkmoore Fudge Park Productions/ BBC Three

kat sadler ( writer )

haolu wang ( director )

Such Brave Girls Various Artists Limited/ BBC Three

Bodies Moonage Pictures/Netflix

mawaan rizwan ( writer )

Juice Various Artists Limited/ BBC Three

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Congratulations to all the nominees and winners

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E N T E R TA I N M E N T CRAFT TEAM sponsored by

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Squid Game: The Challenge Studio Lambert, The Garden/Netflix julio himede , tim routledge , kojo samuel , michael sharp , dan shipton

jamie heath nick harvey greg menzel

Banged Up Shine TV/Channel 4

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

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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

cate hall emilie yong - mills fiona rogers

The Crown (Episode 8) Left Bank Pictures/Netflix

lucy sibbick

lisa parkinson

Slow Horses See-Saw Films/ Apple TV+

The Long Shadow (Episode 6) New Pictures/ITV1

sharon miller kym menzies - foster kelly taylor

Three Little Birds Tiger Aspect Productions, Douglas Road Productions/ ITVX

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ORIGINAL MUSIC: FACTUAL

ed harcourt

Otto Baxter: Not a F***ing Horror Story Story Films, Archface Films/ Sky Documentaries

george fenton

simon rogers

Wild Isles Silverback Films, The Open University/ BBC One

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

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ORIGINAL MUSIC: FICTION

adiescar chase

Heartstopper See-Saw Films/Netflix

atli Ö rvarsson

blair mowat

Nolly Quay Street Productions/ ITVX

Silo AMC Studios/Apple TV+

natalie holt

Loki Marvel Studios/Disney+

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P H OTO G R A P H Y: FACTUAL

benedict sanderson

The Detectives: Taking Down an OCG Minnow Films/BBC Two

jean - louis schuller

bertie gregory , will west , tom walker , anna dimitriadis

The Man Who Played With Fire Raw TV/ Sky Documentaries

Animals Up Close with Bertie Gregory Wildstar/Disney+

narayan van maele patrick smith

Dublin Narcos Blast! Films/ Sky Documentaries

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PHOTOGRAPHY & LIGHTING: FICTION

eben bolter

The Last of Us Sony Pictures Television Studios, PlayStation Productions, Naughty Dog, Word Games, The Mighty Mint, HBO/Sky Atlantic rik zang ed rutherford

The Sixth Commandment Wild Mercury Productions, True Vision/BBC One

The Long Shadow New Pictures/ITV1

stephan pehrsson

Demon 79 (Black Mirror) Broke & Bones/Netflix

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PRODUCTION DESIGN sponsored by

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The Long Shadow New Pictures/ITV1

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Demon 79 (Black Mirror) Broke & Bones/Netflix

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SCRIPTED CASTING

aisha bywaters

Three Little Birds Tiger Aspect Productions, Douglas Road Productions/ ITVX

amy hubbard shannon dowling - m c nult y

amy hubbard

Time BBC Studios/BBC One

Smothered Roughcut Television/ Sky Max jina jay

Demon 79 (Black Mirror) Broke & Bones/Netflix

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SOUND: FACTUAL

george foulgham , philip moroz , alex gibson , tom verstappen , adam prescod

If These Walls Could Sing Ventureland, Mercury Studios/ Disney+ sound team

nick ryan , ben baird , kirstie howell , jack wensley , jamie m c phee , alexej mungersdorff

The Coronation of TM The King and Queen Camilla BBC Studios/BBC One

The Enfield Poltergeist MetFilm, Concordia Studio/ Apple TV+

sound team

Formula 1: Drive To Survive Box to Box Films/Netflix

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SOUND: FICTION

chris ashworth , lee walpole , stuart hilliker , martin jensen , saoirse christopherson , iain eyre

The Crown Left Bank Pictures/Netflix matthew collinge , james bain , robert farr , tom melling , matt davies , alyn sclosa

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

The Witcher Netflix Original Series/ Netflix sound team

Slow Horses See-Saw Films/Apple TV+

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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 daniel rauchwerger, stefano pepin , richard stanbury , raphael hamm , ian fellows

ben turner , reece ewing , framestore , rumble vfx , asa shoul , chris reynolds

The Crown Left Bank Pictures/Netflix

Silo AMC Studios/Apple TV+ tim crosbie , caimin bourne, jet omoshebi, dan weir , cinesite , david stephens

The Witcher Netflix Original Series/Netflix

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TITLES & GRAPHIC IDENTITY

dan may , james coore , painting practice , realtime visualisation

Doctor Who (Wild Blue Yonder) Bad Wolf, BBC Studios Productions – BBC One manddy wyckens , studio aka

peter anderson studio

Queen Charlotte shondalandmedia/Netflix

Good Omens BBC Studios Comedy Productions, Narrativia, The Blank Corporation/ Prime Video

tamsin m c gee , ben hanbury , hugo moss , paul m c donnell

Wilderness Firebird Pictures, Amazon Studios UK, Nomadic Pictures/Prime Video

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WRITER: COMEDY

jack rooke

Big Boys Roughcut Television/Channel 4

kat sadler

jamie demetriou

Such Brave Girls Various Artists Limited/ BBC Three

A Whole Lifetime with Jamie Demetriou BBC Studios Comedy Productions, Guilty Party Pictures/Netflix

mawaan rizwan

Juice Various Artists Limited/ BBC Three

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WRITER: DRAMA

charlie brooker bisha k ali

Demon 79 (Black Mirror) Broke & Bones/Netflix

sally wainwright

jesse armstrong

Happy Valley Lookout Point, AMC/BBC One

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 59

HOW TO GET I N V O LV E D 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: 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

director: factual

emerging talent: factual

Daniel Maynard (Chair) Arthur Cary Ashni Lakhani Eilidh Munro Jon Cahn Laura Warner Leila Monks Mark Summers Mary McCartney Moss Barclay Sam Blair

Christine Healy (Chair) Anouk Berendsen Bob Clarke Helen Veale Iwan England Jane Kelly Jonathan Hughes Liana Stewart Nick Parnes Nikki Fox Peter Leonard Sarah Joyce Teddy Nygh

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 62

emerging talent: fiction make up & hair design

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

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

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

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 & lighting: fiction

Beryl Richards (Chair) Akhilesh Patel Ben Wheeler Caroline Bridges Debs Paterson Emma Edwards Kate Wilson Martyna Knitter Nanu Segal Selina MacArthur

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

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

writer: comedy

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

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 titles & graphic identity Sara Putt (Chair)

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

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

hilary rosen

Chair, Television Committee

President of BAFTA

tara saunders barbara broccoli cbe

Chair, Games Committee

Vice-President, Film

bal samra david gardner obe

Co-optee and Chair, Commercial Committee and Chair, Governance and Appointments Committee

Vice-President, Games dame pippa harris dbe

Vice-President, Television

paul taiano obe

Co-optee and Chair, Finance, Audit and Risk Committee

board of trustees sara put t

Chair of BAFTA

co - optees

Kathryn Busby Patrick Keegan Elliot Knight Andrew Miller mbe

julie la ’ bassiere siobhan reddy

Deputy Chairs of BAFTA anna higgs

honorary advisors

Chair, Film Committee

Medwyn Jones Marc Samuelson

ade rawcliffe

Chair, Learning, Inclusion and Talent Committee 66

executive jane millichip

Chief Executive Officer committees elected members of the film commit tee

elected members of the television commit tee

Anna Higgs Chair Emily Stillman Deputy Chair Anthony Andrews Geraldine Atlee Nainita Desai Alexa Jago Julie La’Bassiere David Proud Jason Solomons Clare Stewart

Hilary Rosen Chair Christine Healy Deputy Chair Adeel Amini Furquan Akhtar Emma Butt Rajiv Nathwani Ade Rawcliffe Beryl Richards* Sue Vertue Claire Zolkwer

elected members of the games commit tee

Tara Saunders Chair Des Gayle Deputy Chair Katherine Bidwell Nick Button-Brown* James Brooksby Anisa Sanusi Del Walker

* Children’s Representatives 67

MEET THE SPONSORS ecotricit y a n o f f i c i a l t e l e v i s i o n c r a f t pa r t n e r

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 68

t h e pa r t n e r s h i p g r o u p a n o f f i c i a l t e l e v i s i o n c r a f t pa r t n e r

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 69

3 mills studios c at e g o r y s p o n s o r for director: fiction

b e n la b s c at e g o r y s p o n s o r for production design

3 Mills Studios is proud to BENlabs is honoured to continue its support of the support the Production Director: Fiction category at Design category, celebrating the BAFTA Television Craft the exceptional creative Awards for the ninth year talent and hard work of running. We congratulate this those who bring television year’s nominees, whose unprogrammes to life. Behind wavering dedication to their the scenes, BENlabs assists craft has brought an incredible art departments in the UK year of powerful and compelling by providing and clearing television drama to our screens. branded props, supplying For over 30 years, 3 Mills graphic assets, and creating Studios has provided a stage for custom console gameplay world-class film and TV, and to enhance realism on screen by partnering with BAFTA on and offset production costs. these Awards we hope to shine benlabs.com/bafta 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

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h otcam c at e g o r y s p o n s o r f o r entertainment craf t team

screenskills high-end t v skills fund c at e g o r y s p o n s o r for make up & hair design

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

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 71

ACKNOWLEDGEMENTS b a f ta w i s h e s t o t h a n k ecotricit y

An official Television Craft Partner t h e pa r t n e r s h i p g r o u p

An official Television Craft Partner the television commit tee

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 put t

Chair of BAFTA j u l i e l a ’ b a s s i e r e , s i o b h a n r e d dy

Deputy Chairs of BAFTA

Television voting juries and members All broadcasters and nominees for their invaluable assistance All staff at BAFTA

s ta c e y d o o l e y

Our host

sam fletcher

Scriptwriter

d a n d a lt o n , j a m i e r o w l a n d

Editors

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t o b y b a k e r

mark harrison

j o s h g r a c e

g e m m a o 's u l l i va n

Production Designer

Lighting Designer

p l u s 4a u d i o

c r e at i v e t e c h n o l o gy

Sound

Screens and Projection

jo ket teringham

h otcam

Director Floor Manager

Prompt Technical Facilities m u lt i t u d e m e d i a

peter anderson studio

PR Video Graphics c at e g o r y s p o n s o r s

3 Mills Studios BENlabs Hotcam ScreenSkills High-end Television Skills Fund a c a d e m y pa r t n e r s

Champagne Taittinger Deloitte Hildon Villa Maria Wines

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AT B A F TA e x e c u t i v e d i r e c t o r o f awa r d s & c o n t e n t

Emma Baehr h e a d o f awa r d s

Kelly Smith television craft officer

Nick Boocock awa r d s

Chloe Fraser, Daljit Billen, Deirdre Hopkins, Edward Hubbard, Katie Warren, Lewis Peet, Luke Hebblethwaite, Meghana Krishnamurthy, Natalie Gurney, Siobhan Pridgeon, Tia Wedderburn e x e c u t i v e p r o d u c e r

senior producer

Cassandra Hybel

Victoria Walker

producer

Georgia Maskery productions

Ella Coveney, Harry Balmforth, Ines Yearwood-Sanchez, Joe Okell, Kristen Helmick, Lauren Prince h e a d o f e v e n t s

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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h e a d o f pa r t n e r s h i p s

Kathryn Thomas pa r t n e r s h i p s

Amy Elton, Emma Tarcy, Feranmi Majekodunmi, Ute Müller e x e c u t i v e d i r e c t o r o f p r & c o m m u n i c at i o n s

Donna Mathews p r & c o m m u n i c at i o n s

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 m e m b e r s h i p

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 e d i t o r

d es i g n & c ov e r a rt

Claire Marie Healy

Abigail Bills

photography director

a d s a l e s Emma Tarcy

Claire Rees

j u n i o r p r o d u c e r , p h o t o g r a p h y

Jordan Anderson p h o t o g r a p h y a s s i s ta n t

Ellie Elliot printer

FE Burman Ltd London feburman.co.uk

CBP024259

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.

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. 76

Published by b a f ta

195 Piccadilly London W1J 9LN Tel: +44 (0)20 7734 0022 reception@bafta.org bafta.org ©BAFTA 2024

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