One of the main reasons why a constant stream of big-budget film and HETV productions chose the UK as a base is its huge diverse and inclusive pool of skilled crew.
Here, the British Film Commission spotlights 10 talented individuals working across a breadth of below-the-line roles.
Adam Johnston - First/second sound assistant
Ten years ago, Adam Johnston was running restaurants but yearned to pursue a career in film and television. A friend told Johnston to apply to the National Film and Television school and, while earning his diploma in location and sound recording, he became a trainee on ITV’s Midsomer Murders. The show’s sound supervisor Jonathan Wyatt then took Johnston with him to work on Kay Mellor’s The Syndicate and, a decade on, Johnston’s resume boasts Mr. Selfridge, Sally Wainwright’s Happy Valley, Gentleman Jack, Sherwood and a new BBC comedy Alma’s Not Normal. “Recording the sound and boom operating is probably about 75% of the job; the other 25% is dealing with everybody else,” says Johnston. “Television production is like a machine, and we’re all cogs. If you don’t do your job effectively, the machine falls apart.” Contact: awjohnston121@hotmail.com
Melissa Van Tongeren - Hair and Make-Up Artist
Melissa Van Tongeren worked in a hairdressing salon in Nairobi, Kenya before coming to the London College of Fashion to learn specialist makeup for film, TV and theatre and, after 10 years of West End theatre shows, sought out film work. “If you feel comfortable, then the person in the chair is comfortable,” says Van Tongeren, who specialises in Afro hair. “Understanding the boundaries in dealing with Afro hair and all the pros and cons helps creative coherence.” Van Tongeren’s impressive resume now includes Idris Elba’s directorial debut Yardie, Steve McQueen’s Blitz, Daniel Kaluuya and Kibwe Tavares’ Kitchen and Bond instalment No Time To Die. Tongeren is now working with star Lashana Lynch on The Day of the Jackal. Contact: Milton Agency, Jane Oginsky jane@miltonagency.com
Grant Sandy-Phillips - Stedicam Operator
From the moment Londoner Grant Sandy-Phillips bought a mini Sony DV camera to shoot events while studying music industry management and studio production, he knew what he wanted to do. While his Caribbean mum and his English dad, a nurse and construction worker respectively, were not too sure about a life in the creative industries, any doubts have now dissipated. He is now an in-demand camera / steadicam operator with more than 10 years’ experience from London-set dystopian big-screen drama The Kitchen to Top Boy, Britannia, period drama Bridgerton and the BBC’s upcoming Enid Blyton’s Famous Five. “It’s been quite a journey,” says Sandy-Phillips”It’s all about having a positive mindset when facing challenges and adapting to your environment.” Contact: Loop Talent, crew@looptalent.co.uk
Kate Eldridge - Production Accountant
Almost 10 years ago Kate Eldridge secured a place on the Apex assistant production accounting training scheme run by the Production Guild Of Great Britain. As part of the course, she became a trainee on ITV’s Mr. Selfridge, and a role on Disney’s live action Beauty and the Beast followed. Now living in Glasgow after moving from Berlin to work on Batgirl for Warner Brothers, Eldridge is staying in Scotland. Her accountancy skills have been put to work on Chiwetel Ejiofor’s The Boy Who Harnessed the Wind and Guy Ritchie’s The Ministry of Ungentlemanly Behaviour. “You don’t get people accepting awards saying thanks to the accounts department,” smiles Eldridge. “But productions can’t happen unless we accountants are working.” Contact: kate@katefilm.com
Emily-Rose Spreadborough - Costume Maker and Embroiderer
Based in Liverpool, Emily Rose Spreadborough started sewing aged nine, with a 1960’s shift dress made from her Nan’s curtains. After graduating from Huddersfield University with a degree in costume and textiles, Spreadborough immediately started her first job as a trainee maker in the principal menswear department for Assassins Creed. “It was a supportive crew and I learnt a lot very quickly,” she says. Now working directly alongside Jenny Beavan and her assistant designer Lauren Reyhani in the prep phase of Furiosa, the upcoming Mad Max: Fury Road prequel is her biggest work to date. “We had the luxury of an extended sampling period, playing with textiles and cuts in tandem with Jenny’s design process. I absolutely loved it.” Contact: emilyrosespreadborough@gmail.com
Chiara Carbonara - Script Supervisor
Born and raised in southern Italy, Chiara Carbonara arrived in Wales to do an MA in Film, completed Sgil Cymru’s Film Script Supervisor Training Scheme in 2017 and stayed. Mentored by script supervisors such as Ceri Evans Cooper, Carbonara started as a camera trainee, then editor assistant, camera trainee, runner, and then script supervisor, with a resume including HETV shows Willow, His Dark Materials, Industry, Dr Who and Hellboy. “Developing skills in all of the different roles helped,” says Carbonara. “I get bored easily in my daily life and I needed something that demands 12 hours of absolute focus in business. That for me is what makes a good script supervisor.” Contact: Sara Putt, Nia Hughes nia@saraputt.co.uk
Grace Mahony - Assistant Art Director
While studying set design for film & TV at University of South Wales (USW), Cardiff, Grace Mahony threw herself into working in art departments; first as an art department assistant and then standby art director. Her big break working in her preferred role of art director was the first season of Moominvalley in 2017, designing and drafting some of the props, furniture and foliage. Mahony has always loved designing spaces, and initially toyed with becoming an architect. “My fascination with film-making — watching every single behind-the-scenes DVD I could get my hands on growing up — got me curious about the worlds that art departments create,” says Bristol-based Mahoney, who was recently assistant art director on Aardman’s Chicken Run: Dawn of the Nugget. Contact: gracemahony@aol.co.uk
Alex Cheung - Digital Imaging Tech
Graduating from Ulster University with an MA in film and television management policy and a visual effects foundation course, Alex Cheung’s first role in the industry was as a trainee assistant director on Your Highness, which shot in Northern Ireland in 2009. Subsequently being in Northern Ireland at the same time as Game of Thrones was booming, Cheung’s first digital imaging role was as a trainee on the fourth season of the HBO show. A Derry boy, his proudest boast to date is his role as DIT on all three seasons of Derry Girls. “It’s an amazing industry, you meet a lot of incredible people and get to work in some beautiful locations,” he says, “but you face a lot of challenges along the way and need to adapt to difficult situations.” Contact: alexcheung08@gmail.com
Atem Kuol - Sr VFX Coordinator / Jr VFX Production Manager
The summer after graduating from Kingston University, Atem Kuol landed a role at the 2012 London Olympics as his alma mater was one of nine institutions invited to participate in the media coverage. His film and TV work began as a witness camera operator on Zach Snyder’s Justice League, Guy Ritchie’s Aladdin, Men In Black: International and The King’s Man. Kuol then advanced into the role of Data Wrangler, working with VFX teams across film and HETV projects such as Maleficent: Mistress Of Evil, Artemis Fowl and Ben Wheatley’s Rebecca. As VFX Production Coordinator, Kuol’s credits span Willow, the second season of Loki and animation Coyote v ACME for Warner Bros. “You have to persevere at all levels, multiple times,” Kuol says. “Not just at the start.” Contact: The VFX And Post Talent Agency, Harriet Donington harriet@vfxposttalent.com
Jasmin John - Post: Assembly Editor
A Ravensbourne University London graduate, Jasmin John came into the industry through the ScreenSkills Trainee Finder scheme, and worked on a slew of HETV Productions including Becoming Elizabeth for Starz, Tin Star for Sky and Liar for ITV. John is the founder of Black Women In Post-Production (BWIPP), a network which aims to create access and opportunity for Black and Mixed Heritage women working or looking to work in UK post-production. “When I was coming up, I didn’t have a network or connections in the industry,” John says. “I want to help those coming up behind me.” Most recently assembly editor on Boiling Point John has landed the editor role for an under wraps ITV drama. Contact: Sara Putt Associates, Kelly Spearman kelly@saraputt.co.uk
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