Latest news with #BAFTACraftAwards
Daily Mail
28-04-2025
- Entertainment
- Daily Mail
Baby Reindeer star Richard Gadd leads the winners at the BAFTA Craft Awards as Rivals and Slow Horses also scoop top gongs
The BAFTA Craft Awards held in London on Sunday night saw big wins for Baby Reindeer, Rivals and Slow Horses. Celebrating the exceptional creativity, skill and craft of behind-the-scenes television talent and the best programmes of 2024, Richard Gadd won the Writer Drama category for Baby Reindeer. While Weronika Tofilska won for Director: Fiction also for Baby Reindeer - meaning the hit Netflix show impressively left with two gongs. Andrew Sissons, Martin Jensen, Joe Beal, Alex Ellerington, Duncan Price and Abbie Shaw won in Sound: Fiction for Slow Horses and Robert Frost collected the award for Editing: Fiction, for their work on episode one of the show. Shining a spotlight on the emerging talent in the industry writer Lucia Keskin won Emerging Talent: Fiction for Things You Should Have Done. While director of photography Jaber Badwan won for Emerging Talent: Factual Kill Zone: Inside Gaza Director: Factual was won by Charlie Hamilton James for Billy & Molly: An Otter Love Story. Janet Fraser Crook collected the Director: Multi-Camera BAFTA for Glastonbury 2024. Previous winners, in 2018, Reece Shearsmith and Steve Pemberton collected the BAFTA for Writer: Comedy for Inside No. 9. Following her win in 2019 Suzanne Cave won Costume Design for Eric; new category Children's Craft Team was won by Tom Bidwell, Jennifer Perrott, Rick Thiele, Sarah Brewerton, Anna Rackard and James Mather for The Velveteen Rabbit. Entertainment Craft Team went to Andy Devonshire, Rebecca Bowker, James Dillon and Dru Masters for Taskmaster. Scripted Casting was won by Isabella Odoffin for Supacell. First-time BAFTA winners included, Noor Khaleghi, Original Music: Factual for Rage Against the Regime: Iran, Sarah Keeling, winner of Editing: Factual for Life and Death in Gaza (Storyville) and Tim Phillips and PJ Harvey for Bad Sisters in Original Music: Fiction. Previous BAFTA winner Marcel Mettelsiefen won Photography: Factual for State of Rage; Photography & Lighting: Fiction was won by Christopher Ross for Shōgun. Brian Moseley, Angela Groves, Paul Fisher, Chris Watson and Ioannis Spanos won Sound: Factual for Secret World of Sound with David Attenborough. Peter Anderson Studio won for Sweetpea in the Titles and Graphic Identity category. Jason Smith, Richard Bain, Ryan Conder and Chris Rodgers collected the award for Special, Visual & Graphic Effects for The Lord of the Rings: The Rings of Power. Anita Dobson presented the Television Craft Special Award to EastEnders. Kate Oates, head of genre, and Ben Wadey, executive producer, were presented with the award. In the year that EastEnders celebrated 40 years on screen, the award honoured the show's long-term commitment to nurturing new talent through their production process, which has enabled the development of many of the UK and international film and television industry's top behind-the-camera talents. The BAFTA Television Craft Awards was hosted by Stacey Dooley, and took place at The Brewery London. The night featured a host of top TV talent as guest presenters including; Angela Rippon, Benedict Wong, David Proud, Fatiha El-Ghorri, Harriet Kemsley, India Ria Amarteifio, Lindsey Russell, Malachi Kirby, Nisha Katona, Sian Gibson and Siena Kelly. Jill Sweeney, Abi Brotherton, Natalie Allan, Tifanny Pierre, Franziska Roesslhuber and Martine Watkins won the Make-up and Hair category, and Dominic Hyman won for Production Design. The stars were out in force for the BAFTA Craft Awards 2025 held at The Brewery in London on Sunday night. Host Stacey Dooley stunned in a sheer mesh co-ord as she posed up a storm while leading the arrivals on a sunny evening in the capital. The stars were out in force for the BAFTA Craft Awards 2025 held at The Brewery in London on Sunday night - including a stylish Stacey Dooley The TV star, 38, looked great in the strapless number which featured black belt detailing and was worn with strappy heels to boost her height. She accessorised perfectly with silver hoop earrings and pulled back her red tresses while opting for glowing makeup. Radio 1's Clara Amfo 's meanwhile cut a chic figure in a blue suit which she wore with white heels and statement earrings. The likes of Angela Rippon, Anita Dobson and Baby Reindeer star Richard were also seen arriving.
Edinburgh Live
27-04-2025
- Entertainment
- Edinburgh Live
'From creating small pox to challenging weather conditions
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info As you settle down in front of the telly, deciding whether to watch Baby Reindeer on Netflix or perhaps a historical series like Mary and George, or maybe even the latest series of Industry or One Day, remember that behind every show is a team of creatives working tirelessly to make it visually stunning. In anticipation of the BAFTA Craft Awards this weekend, Reach had a chat with the creative minds behind some of this year's most gripping and thrilling shows. Fake pox, tattoo bruises and wigs Paul Gooch, who worked on Sky's hit series Mary and George, gave us an insight into what went into creating the intricate hairstyles and makeup for the historical drama. "We needed to create a form of Pox for our lead actor," he revealed. "It could have been syphilis, a skin disease or a form of smallpox. In the script, it was non-specific. "And for another character, a full-blown case of syphilis which ate away at the soft bone tissue of the face. To do these effects we used a combination of tattoo transfers and pro bondo sculpted prosthetics. It took five of us an hour to achieve, along with a red rash, as it had to cover the actor's whole body. "Fun to do but very time-consuming and manpower heavy, for speed. Death, disease and ageing were a large part of this show's remit." To assist with continuity, Paul explained that bruising would be created as tattoo transfers so they're "fast to apply and always identical". Paul, from the hair and makeup team, highlighted the challenges of maintaining continuity in unpredictable weather: "Maintaining elaborate hair styles in these conditions is a major part of our work alongside continuity, making sure things stay the same, so we don't give problems to the editors. "When using wigs and facial hair these require gluing to the skin. Damp weather will affect this too. Long working hours are also a factor. An average filming day for the makeup/hair department is around 16 to 18 hours long so maintaining these highly stylised looks is a long game. We use heavy duty hair products to help keep these sculptural styles." 'Electric' performances and 'tricky' scenes (Image: BBC) The writers behind the industry, Mickey Down and Konrad Kay, discussed the intense portrayal of Sagar Radia's character Rishi Ramdani and his gambling struggles: "Because of its relentless pace and the fact the script turned the screws on the character at every available opportunity, married to Sagar's electric performance. Very hard to take your eyes off him. Very volatile. Very unpredictable." Nicole Taylor, known for her work on Netflix's hit One Day, opened up about the difficulties she faced while penning the script, reports the Mirror. "The greatest challenge was probably figuring out what the 'motor' of each episode would be," she explained. "In a story like this about people and a relationship over time, without any particular 'plot' as such, without traditional TV 'hooks', how could I lock viewers into this story? How could I make sure they never looked away? (Image: Netflix) "The hardest scenes to write were those in episode 14 and the opening scenes were tricky too. It was all quite tricky! Trickier than I expected – ha. With material that brilliant, one might have hoped it was a cut and paste job but alas no!" Scenes viewers will never see Editor Benjamin Gerstein divulged: "I think scenes that end up on the cutting room floor mostly end up there for a reason. Sometimes you have to lose moments you love in order for the whole episode or series to work best. Having said that, there was a bar-fight I really liked that we ended up losing. "It was tragic and funny but didn't fit the overall thrust of the episode as we accelerated towards the end." Reflecting on the challenges he faced when editing, Benjamin shared: "There were some pretty traumatic sequences in the show, and cutting them was challenging on an emotional as well as technical level. "I found it meant making yourself both emotionally available and objectively distant at the same time so that you could feel what the audience might feel in watching and also have the capacity to make creative decisions that were more measured." The BAFTA TV Craft Awards are on 27th April
Daily Mirror
27-04-2025
- Entertainment
- Daily Mirror
'I worked behind the scenes on huge TV show - syphilis was our biggest challenge'
EXCLUSIVE: Behind your favourite TV shows are a team of creatives who work tirelessly to produce the biggest and best episodes. We chat to some of the experts... You sit in front of the TV and look for something to watch - do you choose Baby Reindeer on Netflix or maybe a historical series like Mary & George? Perhaps you want to tune into the latest series of Industry or sob at One Day? Whatever you choose, you'll be watching the work of a team of creatives who work long hours to ensure the end product is visually compelling. Ahead of the BAFTA Craft Awards this weekend, we spoke to the creatives behind some of this year's most captivating and exciting shows. Fake pox, tattoo bruises and wigs Paul Gooch, who worked on Sky's hit series Mary & George, shared details on what went into creating the elaborate hair styles and make-up for the historical drama. "We needed to create a form of Pox for our lead actor," he explained. "It could have been syphilis, a skin disease of a form of small pox. In the script it was non specific. "And for another character a full blown case of syphilis which are away at the soft bone tissue of the face. To do these effects we used a combination of tattoo transfers and pro bondo sculpted prosthetics. It took five of us an hour to achieve, along with a red rash, as it had to cover the actor's whole body. "Fun to do but very time consuming and man power heavy, for speed. Death, disease and ageing were a large part of this shows remit." In order to help with continuity, Paul shared bruising would be created as tattoo transfers so they're "fast to apply and always identical". Unfortunately when it comes to continuity, the weather can prove challenging for the hair and make-up team as Paul explained: "Maintaining elaborate hair styles in these conditions is a major part of our work alongside continuity, making sure things stay the same, so we don't give problems to the editors. "When using wigs and facial hair these require gluing to the skin. Damp weather will affect this too. Long working hours are also a factor. An average filming day for the makeup/hair department is around 16 to 18 hours long so maintaining these highly stylised looks is a long game. We use heavy duty hair products to help keep these sculptural styles." 'Electric' performances and 'tricky' scenes Industry writers Mickey Down and Konrad Kay had the job of showcasing Sagar Radia's character Rishi Ramdani's struggle with gambling. Reflecting on why the episode focussing on Rishi's downfall had such an impact, they shared: "Because of its relentless pace and the fact the script turned the screws on the character at every available opportunity, married to Sagar's electric performance. Very hard to take your eyes off him. Very volatile. Very unpredictable." Meanwhile, writer of Netflix hit One Day, Nicole Taylor, detailed how creating the script was much harder than she anticipated. "The greatest challenge was probably figuring out what the 'motor' of each episode would be," she explained. "In a story like this about people and a relationship over time, without any particular 'plot' as such, without traditional TV 'hooks', how could I lock viewers into this story? How could I make sure they never looked away? "The hardest scenes to write were those in episode 14 and the opening scenes were tricky too. It was all quite tricky! Trickier than I expected – ha. With material that brilliant, one might have hoped it was a cut and paste job but alas no!" The scenes you'll never see Baby Reindeer took Netflix by storm when it quietly dropped on the streamer in early 2024. It had viewers gripped from start to finish but fans might be surprised to learn key scenes were cut from the series. Editor Benjamin Gerstein divulged: "I think scenes that end up on the cutting room floor mostly end up there for a reason. Sometimes you have to lose moments you love in order for the whole episode or series to work best. Having said that, there was a bar-fight I really liked that we ended up losing. "It was tragic and funny but didn't fit the overall thrust of the episode as we accelerated towards the end." Reflecting on the challenges he faced when editing, Benjamin shared: "There were some pretty traumatic sequences in the show, and cutting them was challenging on an emotional as well as technical level. "I found it meant making yourself both emotionally available and objectively distant at the same time so that you could feel what the audience might feel in watching and also have the capacity to make creative decisions that were more measured." The BAFTA TV Craft Awards are on 27th April
