Craft masters

Craft masters

Michael Pickard
By Michael Pickard
April 23, 2018

Editor's note

For one night a year, the cream of the behind-the-scenes talent working in the British television industry is recognised at a star-studded celebration. DQ hears from the winners at the Bafta Television Craft Awards 2018.

The courtyard of central London’s The Brewery is abuzz with guests donned in black ties and ballgowns. Episodes and Green Wing star Stephen Mangan stands at the entrance, greeting new arrivals as guests pose for photos beside a giant golden mask.

The mask, of course, is the instantly recognisable symbol of the British Academy of Film and Television Arts – better known as Bafta – and Mangan, soon to appear in BBC1 drama The Split, is working the door in his role as the host of the 2018 Television Craft Awards, where 20 golden mask trophies will be given out to those who work behind the scenes on scripted and factual productions.

Prizes are handed out for costume design, directing, editing, make-up and hair design, sound, writing, photography and music, with nominees in the fiction categories coming from series such as Peaky Blinders, The Crown, Taboo, Game of Thrones, Three Girls (pictured above), Line of Duty, The Miniaturist, Black Mirror and more.

After a champagne reception, the nominees, award presenters and other guests file into the ceremony room to take their seats at the dozens of tables set out in front of the grand stage.

Then, as the awards get underway – after a VT introduction introducing Mangan in Handmaid’s Tale cloak and bonnet – DQ speaks to the winners in the scripted categories about their work and the shows that earned them a prized Bafta award.

Charlie Cooper and Daisy May Cooper collect their award

Breakthrough Talent: Daisy May Cooper and Charlie Cooper, writers, This Country (BBC Studios, BBC3)
Charlie Cooper: It’s been six years since we first started writing something and it’s been a long journey with a lot of ups and downs. We did a pilot a few years ago for ITV, which went disastrously wrong. Shane [Allen, BBC controller of comedy commissioning] had seen our stuff a few years ago and just commissioned a series straightaway, which is unbelievable.
Daisy May Cooper: I ended up emailing Shane and said, ‘I didn’t know who to go to. I will literally stand outside your office dressed as the Karate Kid, because you’re my Mr Miyagi, until you come down and talk to me.’ He said don’t do that, just come in for a meeting. We went in and he just said everything was going to be alright. He is absolutely the most amazing man to young fresh talent. He’s like God to us. When you’ve got people like Shane backing you, you just feel so looked-after. The BBC, I have to say, have been absolutely amazing and there are so many amazing comedies coming through the BBC and they’re discovering fresh young writers. The BBC is the place to be and they’re the ones to watch when it comes to breakthrough talent.

Úna Ní Dhonghaíle on stage

Editing: Fiction: Úna Ní Dhonghaíle, Three Girls (BBC Studios Drama, Studio Lambert, BBC1)
I was actually very lucky because I have historically done feature documentaries and Phillipa [Lowthorpe, director] wanted to shoot this show in that type of manner with the roving camera, not using the normal establishing shots. So I embraced it and she shot it so beautifully that it was a joy to edit. We had challenges in trying to keep the veracity and integrity of the girls’ story [with the show being based on a true case of widespread sexual abuse in the UK town of Rochdale] and we couldn’t manipulate the truth, but that was a good challenge because it makes sure you do the right thing. These people live and exist in the world today and they were going to watch it and make sure they were happy with it, so it was a good challenge.
Whenever they were shooting the series, I was editing and assembling from home so I didn’t see anyone during that period, which is a grace period for editors because then we can get to know the material and try things out. Once the final cut began, I was with Philippa in Film@59 in Bristol and after about three weeks, Nicole [Taylor, writer] started to come in, so it was very collaborative. All of us wanted to tell this story in the best way we could for an audience at home to understand on-street grooming and how those girls found themselves in that situation. That was our guide. The real people came to meet us, so that also helped us keep our finger on the pulse of the truth.

Titles & Graphic Identity: William Bartlett, SS-GB (Sid Gentle Films, BBC1)
I’d read the book before and then I read the scripts, and I liked the idea of the main character, Archer, not knowing who was on his side and the shadowy nature of it. The visual aesthetic, I’d had ages ago. I’ve got a number of ideas for title sequences in the back of my mind, and I thought I had a seed of a visual idea that was right for this. So I did a few tests and it fit with the narrative of the book and the ideas within the programme. It evolved out of the story.
I love title sequences for a couple of reasons. From a creative point of view, it’s an area that has really limitless possibility. You can come up with something that’s unique and interesting and you’ve got real scope to do what you want. I think of them like an overture from an opera where you’re trying to set the scene and plant little ideas and visual references of what’s going to come later. Because of that, it’s interesting how it’s constrained by the narrative, the story and the drama, but it’s really free as well. It’s unique in terms of what you have to do visually. Title sequences, generally, are going through a real heyday at the moment. There are tonnes of really great title sequences being done all over the world. With more TV being done, title sequences have come into their own as well. People are prepared to invest in them a little bit.

Maxine Peake in Black Mirror’s Metalhead episode

Special Visual & Graphic Effects: DNEG TV, Jean-Clement Soret, Russell McLean, Joel Collins for Black Mirror episode Metalhead (House of Tomorrow, Netflix)
Michael Bell, visual effects supervisor: Filming the episode in black and white was the idea of David Slade, the director. It was strange for us because you don’t see much VFX in black and white. Ultimately, it made it unique, made it really stand out and we’re really proud of the finished thing.
It took months and months just for the modelling of the creature itself [a relentless robotic killing machine], the inner workings and all the details. There were basically two characters in this episode – Maxine Peake’s character and this creature – so you had to see how it was thinking; it had to be believable and it was quite a difficult challenge. Sometimes it could be comical but it had to be scary and I think we pulled it off.

Michelle Clapton clasps her trophy

Costume Design: Michelle Clapton, Game of Thrones (HBO, Bighead, Littlehead, Television 360, Startling Television, Sky Atlantic)
My ideas are always informed by the story. We get the outlines two months before we get the scripts, and they usually give me two weeks to think and draw. I speak to David and Dan [Benioff and Weiss, showrunners] so it’s all story-led, which is why it’s so exciting. I work quite closely with them and I’ll develop something to a stage where I think they’ll understand it. Sometimes they don’t like it and say, ‘What we’re trying to say about this character is this…’ So then we’ll have a discussion. Most of the time it’s fine but it’s interesting when it’s not, because you learn something.
It was nice to step out of Game of Thrones and do something like The Crown [in 2016] because in some ways it gave me a break from the show and I could return and feel enthused again about it. Period shows are really interesting but you have a period you’re looking at, so you design within that period but there’s still references. On something like Game of Thrones, you have no references, which is what I find so exciting. It’s been one of a kind and I doubt we’ll see a show like that again to such an extent. It’s been such a huge show and I’ve grown with it.

Claire Foy in The Crown, which was recognised for its photography and lighting

Photography & Lighting: Fiction: Adriano Goldman, The Crown (Left Bank Pictures, Netflix)
I was invited to come on board the first season by [lead director] Stephen Daldry, but the first two episodes we shot, three and five, were not directed by Stephen. So I had a very practical challenge just to get to know this director who I was just being introduced to, Philip Martin. Of course, we got along really well but you have to build the whole thing from scratch with a director who is not a person you can read right away. Prepping was super intense and long. [We spent a lot of time] just reading scripts and going back to locations and trying to envision something that especially the British audience knows so well, the story of the Queen, and wondering what could be fresh about our approach.
The main discussion was the ‘less is more’ philosophy. The classic but also fresh approach was a challenge in itself. How do we deliver a story that everybody more or less knows but with a fresh visual style or rhythm?

Reece Shearsmith and Steve Pemberton in Inside No 9

Writer: Comedy: Steve Pemberton and Reece Shearsmith, Inside No 9 (BBC Studios Comedy, BBC2)
Reece Shearsmith: Comedy’s such a funny thing because it’s all about taste – what you find funny, I might not and vice versa. But comedy drama is a difficult one because there is comedy in the most bleak situations. I’ve had a career mining very dark themes and I think the release of something that’s quite dark is cathartic. With the No 9s, we enjoy telling stories. They’re little black jokes and it’s been lovely to resurrect the anthology series because that’s a great lost genre that you don’t really do anymore. People like the longform, big, strong boxsets but these are one-off little hits that you can watch in any order. There’s appeal for that these days.
Steve and I have a little office and we write there. We talk a lot before we even begin thinking about the writing of a story. We try to get the mechanics of where it’s going. Sometimes we’ll have an idea of where it will go and, during our conversation, we’ll think it’s too obvious and we need to change the ending if we’re thinking of a twist where we want to surprise people. Then we try to tell the story in the most judicious number of scenes possible. Sometimes the story itself never even leaves a room, so it’s even harder to tell the story without ever leaving and time passing. We think about taking the very mundane and taking it to an extraordinary conclusion. It gets harder and harder for us because we’ve done so many different stories and different worlds, and each week you start again. It’s like a pilot each week. That’s the challenge, but that’s the fun thing because you can do extremes, because they’re disposable. Next week you have a completely clean slate. You can kill them all off. You can reach heights you might not be able to if you had to go back to a default position if it was a sitcom. They’re thrilling to write and, as long as we can keep coming up with the ideas, we’ll go on forever.

Nicole Taylor accepts her prize

Writer: Drama: Nicole Taylor, Three Girls (BBC Studios Drama, Studio Lambert, BBC1)
Factual drama is always what I’ve loved watching, and Britain has an amazing tradition of that type of social-realist drama going back to Cathy Come Home and The Spongers. If people are watching it now, it must be because of the fractured moment we’re in, Brexit…  we’re strangers to each other. No wonder we’re trying to watch things about ourselves to understand the state we’re in.
Three Girls was brought to me by Sue Hogg, the executive producer who I worked with on The C Word. I was initially very afraid to take it on and I said no a fair few times. I just think I didn’t have the bottle. Like everyone else, this was a story I didn’t want to be true and it’s a story that everyone wants to look away from. I came up with my own reasons why I was going to turn it down and then I discussed it with my partner, who’s a journalist, who called me out on it and said I was doing what everyone did, turning away. I thought, ‘That’s right. Let’s go.’ It took me years and years to dissolve into it because it was so complex Once I got started, it felt like something was going that spoke to the state we’re in more broadly, and [I wanted] to do the best job I could of getting people who want to turn away to be glued to the story.
Philippa [Lowthorpe, director] did a lot more than just direct this magnificently. First off, she has a documentary background so she did a lot of the research with me. She gave me so much confidence in how you go into people’s homes and have them feel comfortable with you. She’s brilliant on scripts, she’s amazing with writers so I feel so stretched just in pure nerdy craft terms. She was just a joy, such a collaborator and, uniquely, she wanted me on set whenever I wanted to go. I was in rehearsals. That collaboration was so tight and I can’t wait to work with her again. She’s a phenomenal talent and such an inspiration for me as a woman working in this industry.

The Crown also won for its sound

Sounds: Fiction: Sound Team, The Crown (Left Bank Pictures, Netflix)
Chris Ashworth, production sound mixer: My biggest challenge is managing the scale of the show. It’s an enormous shoot. It goes on for 30 weeks, so it’s a huge management thing from my point of view on the floor, managing three crews and making sure everyone’s working together. Then on the huge set pieces we do, we have to keep a variety of directors happy.
Lee Walpole, supervising sound editor: In post production, we’re trying to take Chris’s clean recordings on location and add a complexity, scale and richness, bringing it to life and pinning it to the period it comes from. Sound recording is only becoming more complex, and that brings its own challenges. We have five days to final-mix an episode and you’re expected to produce a film soundtrack in that time.
Andy Kennedy, sound designer: The line between cinema and television is very blurred. We’re not dealing with stereo, we’re dealing with multi-channel formats and it also has a different presentation because The Crown is shown as a streaming piece, so sound is evolving and it’s very close to what a cinema produces, but it’s slightly smaller scale.

Tom Hardy in a photo presumably taken on a Monday

Make Up & Hair Design: Jan Archibald, Erika Ökvist and Audrey Doyle, Taboo (Scott Free London, Hardy Son & Baker, BBC1)
Audrey Doyle: Tom Hardy and his dad, Chips, developed the whole storyline seven years ago, he said, in his kitchen. They approached Steven Knight to write the scripts and it developed from there. We all did research of the period and the looks and started there. Tom is covered in his own tattoos so we had to develop a whole new tribal make-up for him. We had ‘Naked Mondays’ – every Monday, for some reason, we always seemed to film his tribal scenes, so we had to do his full tattoo cover, full tribal make-up and scars and everything. But he did wear a loin cloth. It took two-and-a-half hours each time.

Game of Thrones production designers Deborah Riley and Rob Cameron

Production Design: Deborah Riley and Rob Cameron, Game of Thrones (HBO, Bighead, Littlehead, Television 360, Startling Television, Sky Atlantic)
Deborah Riley: My process begins right at the start in LA with the writers when they issue an outline, which tells us exactly what is going to be in every episode of the whole season. The scripts don’t come until a bit later. Then we’ll start the approval process. We have concept artists that draw everything for us, and everything gets approved before it gets made. It’s an amazing team of people. We’ve got great producers. David and Dan know exactly what they want, they’re very clear with their vision. Time is the challenge, because there’s just too much to do in too short an amount of time, as we’re trying to produce film finishes on a television schedule. We just really work hard, and David and Dan’s biggest talent is they collected a whole lot of workaholic perfectionists in one place.
Visual effects are always led through production design. We create the worlds and then we need visual effects to help us when we can’t build it all or see it all, but it’s very much a collaboration; we don’t work in isolation. The whole show is very cohesive in its vision and what it’s trying to achieve. It’s a very special thing. I’m most proud of just surviving.

King Charles III won a Bafta for its original music

Original Music: Jocelyn Pook, King Charles III (Drama Republic, BBC2)
In a lot of films, less is more. Music is so overdone quite often and it’s nice when people use it more carefully and more thoughtfully. On this particular project, it was really inspiring because of all the settings. It had been a theatre play, but hardly any of the music I had written for the theatre worked for film so I had to do a whole new score.
Because of the history of the monarchy, there’s a sense of the ancient and modern combined, and definitely elements of the contemporary because it’s set in the present day. That was lovely, musically, to mine, particularly English choral music that I’m naturally inspired by. There’s also an Englishness, whatever that is.

Three Girls told the true story of a sexual abuse scandal

Director: Fiction: Philippa Lowthorpe, Three Girls (BBC Studios Drama, Studio Lambert, BBC1)
I was really lucky because I was involved in the research right from the beginning of Three Girls and that, to me as a director, is very valuable. I got to meet all the real people very early on and, with our wonderful writer Nicole Taylor, I was able to be part of the research along with our producer Simon Hughes. That really informed how I saw it and how to direct the actors, because I’d met the real people. I don’t think I could have done it without having met them and spending a a lot of time with them.
I went for a real feel, but it wasn’t pure documentary either. I used lots of very long takes because I wanted the actors to feel absolutely free to move where they wanted to move. Sometimes in drama you put the light somewhere and they have to hit a mark. I banned marks and we did very long takes where we would capture a bit of the scene and then do back and do it again. It was a challenge for some of the younger actors at first because they’d never done it like that before, but it was brilliant and it gave the actors so much freedom to absolutely inhabit their parts.
We had a lot of rehearsal and a lot of discussion with the actors, and that was so valuable. Maxine Peake and Lesley Sharp were the leaders of the cast. The British Pakistani actors who were so brave to play the perpetrators in the piece were also very involved in the rehearsal, so their voices became part of the fabric of the rehearsal and we learned a lot from them.
The most important thing in the filming was to capture the truthfulness of the story and help the actors achieve that real authenticity in their performances, which they did. I’m very proud of the young people who played the girls. All three of them – Molly Windsor, Ria Zmitrowicz and Liv Hill – are amazing.
There have been some amazing factual dramas recently and that’s hats off to Charlotte Moore at the BBC, who has really given a platform to real stories.

Game of Thrones actors Hannah Murray and John Bradley on stage

Special Award: Game of Thrones
John Bradley, who plays Samwell Tarly: When I did my first day’s work on Game of Thrones, I knew nothing of how TV production worked. I remember getting my first call sheet the day before I shot my very first scene and not knowing what I was looking at. I read the scene, which was two pages long, and I thought, ‘Well, how long can that possibly take?’ I was always under the impression they just had the set and 20 or 30 hidden cameras in little nooks and crannies around the set, they kicked the actors into the set, we did it a couple of times and then we went home. In fact, what I thought when I first saw that it was going to be two pages long was, ‘What on Earth am I going to do with my afternoon?’ After all these years, I look back on that first day and I’m struck by how lucky I am that I was given such an incredible learning experience – the best learning experience in the world, working alongside some of the very best craftspeople at work anywhere. We as actors will forever owe a huge debt of gratitude for inspiring us every single time we walk onto the set and every single time we see the finished product on the screen, every day learning something new from them and learning new things to admire them for.
Hannah Murray, who plays Gilly: When you see so many phenomenally talented people in so many departments working at the very top of their game and getting breathtaking results time after time, it really forces you to bring your very best efforts to the table, if only to make sure you don’t look inadequate by comparison. Every year, they’re given scripts that on paper seem totally unfilmable, and every time they put it on the screen to mind-blowing effect. We as actors are so lucky to get to step into the world they create and we are as in awe of their work as the fans of the show all over the world. The show is a global phenomenon and what makes us proudest is that the work of so many British and Irish talents are being recognised on such a grand scale. We know our showrunners David [Benioff] and Dan [Weiss] are grateful to be working with this incredible team of people.

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