Production Guild Board Elections 2018

Voting now closed - Deadline: Friday 29th June 2018

Voting now closed. Thank you for voting in the 2018 PG board elections.

Voting Guidance

Please read through the guidance below in full before placing your votes.

Only members within the full, honorary, and permanently employed membership categories are entitled to vote.

Please find below a list of nine nominations for a position on the board of The Production Guild. There are three positions available. Once you have read through the statements from the candidates, please place your votes below.  You will find the voting form below the candidate profiles.

Please note, votes cannot be placed anonymously.

Any entries placing more than one vote per individual candidate or more than three total votes will become null and void.

Closing date: Friday 29th June 2018.

If you have any questions, please contact Alison Small on 07976 524322[javascript protected email address].

Thank you.

The Candidates

Jo Burn, Line Producer
Seconded by Marianne Jenkins

For those of you who do not know me I have been working in the British film & TV industry for over 30 years (time flies – I was young!) for both US major studios, and smaller independent filmmakers.

I started my film career working in house at a British (sadly now defunct) production company, EMI Films, as assistant to Graham Easton who at that time was Production Executive. When Graham re-joined the freelance world, I went with him and since then have worked my way up via the production route (Producer’s Assistant > Production Co-ordinator > UPM > Line Producer).

Despite my lengthy years of service, I like to think that I remain flexible in my approach to filmmaking – there is always more than one way to do anything and, like all of life, the film industry is forever changing and evolving and so we need to adapt and evolve with it.

When I started production managing there were very few women performing this role and I am glad to see things have changed considerably since then. That said, the female presence is still noticeably absent from many other departments and this needs to change.

Even worse is the lack of diversity in our industry.

Obviously, this has all been highlighted by recent events and the evolution of the #MeToo and #TimesUp campaigns. It is our duty to ensure that this becomes more than just talk and we find ways to make this industry more accessible to all.

Nonetheless we should also be mindful that we do not trip into any form of inverted racism or sexism. Like all industries there are a number of families for whom the film industry is the ‘family profession’ (mine happen to be doctors) and it would be unfair to block access to these people just because they do not tick the ‘correct’ box.

I think the Production Guild is perfectly placed to help steer the industry through these unchartered waters and I would very much like to be a part of that. So, on that note I do hope you will consider my application favourably.

Fiona Francombe – Permanently employed member. Site Director, Bottle Yard Studios, Bristol
Seconded by Ben Greenacre
Standing for election having been co-opted to the PG board 2016 – 17, and 17 - 18

For the past two years I have served as a co-opted member of the Production Guild Board, an experience I have thoroughly enjoyed. The Board are committed and dedicated, and genuinely care for the industry and the future of the Guild. There is a wealth of talent, experience and knowledge around the table, and I have been proud to play my own part by representing the views of the Guild’s regional membership, primarily those working in high-end drama, at Board meetings.

I’m very supportive of the work that Alison and her team deliver on behalf of the membership, and have strived to give sound advice whenever appropriate, including suggestions of how to run the Guild as a business as well as a highly-regarded and respected membership organisation.

I have travelled from Bristol to London to attend all but one Board meeting during the past two years. I hope this reflects my commitment to setting time aside to be present for key discussions requiring a strong voice for those working outside London and the South East. I have facilitated discussions about increasing the Guild’s presence in the regions and fully backed the decision to reduce membership fees for regional members.

Through my work at a busy regional studio, speaking every day with a range of different production teams, liaising with crew across all grades working from one project to the next, I’m extremely aware of how the rapidly evolving nature of this industry, particularly new commissioning and co-production models, are impacting those working on the ground. With flourishing levels of high-end drama production around the country, I believe the work of the Guild to support and strengthen an inclusive crew base across the whole of the UK has never been more important.

To represent the entire workforce most effectively, I believe the Board must continue to consider the challenges facing those working outside of the capital. I would very much like to carry on providing this regional perspective on members’ behalf.

I hope you’ll lend me your support to do this, by voting for me to become a Board member this year.

Gina Hallas – Production Accountant
Seconded by Stephen Jones

I have worked as a Financial Controller/Production Accountant on films in territories as diverse as the USA, India, Australia, New Zealand, Indonesia, Fiji, Singapore, the UK and now Europe. Working with major US studios and high-profile indie producers and crews from all over the world has given me valuable insight into the ways of movie-making, big and small. The UK is a premiere film destination for both locations and for its uniquely British film-making sensibility. International producers and studios feel the pull of the UK as a film destination. In this context, my 25 years international experience will be a valuable asset and bring a fresh perspective to the Production Guild board.

Today the UK industry is booming. More than ever we need good people coming up through the ranks. I am passionate about training highly skilled, adaptable and resilient accountants. I have personally trained around 30 assistants in various countries. From the Guild’s perspective, there are not enough accounts personnel to fill the demand, and this is an area I would like to develop. I’m keen to promote the UK industry as a great career path for graduates who are smart and dedicated to pursuing a career in the industry.

Every day we balance the challenges of getting the job done for the sake of art, whilst honouring the accounting principles and reporting requirements studios and producers demand. I would seek to make my contribution to the PG board with the same passion and energy I bring to my projects.

Christine Healy – Permanently employed member. Head of Production, New Pictures
Seconded by Emily Russell
Standing for election having been co-opted to the PG board 2016 – 17, and 17 - 18

With an increased number of internationally acclaimed television productions being produced here in the UK, TV Guild members require a greater voice within the Production Guild regarding the issues and challenges that they face.

For the past two years as a co-opted member of the Production Guild Board, I have been delighted to be able to be a voice for those Guild members.

As a Head of Production of a prominent independent production company, I am perfectly positioned to share my knowledge and expertise within the Board for the good of all the Production Guild members.

With another term as a board member, I will build on the past two years in order to keep the challenges and issues surrounding HETV sector of our industry and the Television Guild members at the forefront of the Board’s agenda.

I would be very honoured and thrilled to receive your vote onto the Board of such a prestigious and respected production forum. Should I be successful, I will passionately uphold and represent the interests, while promoting the profile of, the Production Guild and its members, especially those who work within the Television sector.

Anna Mansi – Permanently employed member. Head of Certification, British Film Institute
Seconded by Stephen Bristow

I am nominating myself for the Production Guild of Great Britain Board elections as I feel my experience working in the film and wider screen sectors over the last thirteen years has given me a very good understanding of the development and production of screen content and the issues the screen industries are facing going forward.

I have also been directly engaged with the BFI Diversity Standards since their introduction in 2016.

As a potential board member for the PGGB, I would take a proactive approach in developing and supporting the guild’s agenda in the future and I believe I am able to contribute confidently and professionally to the PGGB board. I would see this as an opportunity to support the screen sectors not least in areas such as skills, education, inclusive representation and progression.

I have worked in the Certification Unit for over 13 years, progressing from a Certification Analyst role to Certification Manager in 2011 and since 2013 I have been the Head of Certification. In that time the Unit has expanded from a small team of three focusing just on the film tax relief to now ten members and a much broader remit covering five creative sector tax reliefs for high-end television, animation television, children’s television and video games on behalf of HMG.

I have had to implement a much wider strategy beyond the Unit’s basic administration function and have broadened our marketing and promotion of the newer creative sector tax reliefs. I have taken a positive and pro-active approach to engaging with new and existing key stakeholders in the creative sector industries around the UK to ensure all parts of the country are aware of the tax reliefs. This has enabled me to build strong relationships with nations and regions partners as well as trade bodies such as PACT, Ukie and the industry skills body Creative Skillset to promote the work we do and ensure that that the UK’s Creative sector tax reliefs remain competitive in the international market and I am keen to ensure that all sizes of production and development are supported.

I have a good dialogue with colleagues in HMG relating to policy matters and the legislation of the tax reliefs. I contribute and have led policy papers for the BFI on changes to the creative sector reliefs or the implementation of them.

In addition, since their introduction in 2016, I have been directly involved in the creation and implementation of the BFI Diversity Standards and the administration of them within my team.

We are now beginning to develop a wider strategy for them, to encourage more production companies to adopt them for their projects and to work with these companies to help them develop more inclusive content, practices and personnel.

I believe, I would be able to add value to the Production Guild Board based on my work on the creative sector tax reliefs and the diversity agenda and welcome the opportunity to put myself forward.

Andrew Noakes – Financial controller and co-producer
Seconded by Kevin Trehy
Re-standing after one year off the board by rotation

I have worked in the industry for 35 years through various grades within the accounts department, reaching the Financial Controller position. In the last 10 years I have also been co-producing the James Bond series with Eon Productions. Recently Eon Productions have diversified into producing independent film which I have also been co-producing giving me valuable experience in both big budget studio and UK independent feature films, and the different challenges and demands of both areas, and the areas of support and information that our members need.

I have been a board member of the Production Guild for over 10 years – standing down last year due to the rotation cycle in place requiring me to take a year off. During this 10-year period I have been heavily engaged in helping to set the direction of the organisation, assisting with internal matters such as HR and systems, supporting the team with their work, and have been a member of the finance committee. I have also been involved with the PG working groups supporting and advising on the PACT / BECTU negotiations for construction, electricians and finally the major motion picture agreement, all the time championing the fairest deals possible for all crew.

I would like to continue supporting the Production Guild as a board member, as I feel what we have accomplished to date has been invaluable to our members. We face challenges in the future with the lack of qualified and experienced crew because of production levels being so high, and PG plays an important role for its members and the wider industry in helping to solve this. As the industry develops, so must the Production Guild, and I have the experience to help to shape its future.

Angelika Schierz – Permanently employed member. VFX Producer, MyLiaison
Seconded by Helen Swanwick

I would like to be considered for PG board member. I started my career in the film industry by taking the first PG training scheme for Assistant Production Co-ordinators in 2007. The course offered a good ground in film production and allowed me to access a wide range of mentors and industry contacts. It gained my confidence and helped to pursue my career in film, and now after over a decade, I have worked on many productions and moving across from production department to VFX.

My experience includes on-set work, working in facilities and now producing for co-productions and independent films. I help facilities with their VFX requirements and business development. I also have experience in fundraising and managing events for Visual Effect Society - (VES) is a non-profit professional, honorary society, dedicated and representing visual effects practitioners.

I think my broad knowledge of production, VFX and business can help with promoting Production Guild and maintaining broader membership, especially in VFX industry.

I value the support of the Production Guild which has continued over the years and would love to help on the board.

Frith Tiplady – Permanently employed member. Executive Producer, Moonage Pictures
Seconded by Alison Barnett
Standing for election having been co-opted to the PG board 2016 – 17, and 17 - 18

Having been co-opted on to the Production Guild board for the past two years, I hope that my experience as Executive Producer on high end television Drama has been and would continue to be a useful contribution. I am committed to ensuring that the PG represent those members working in TV drama more fully, given the number of both UK and US TV Drama productions shooting in the UK, and the crews that they employ.

I've recently set up a new scripted Production Company, Moonage Pictures, having been leading drama production at Tiger Aspect Drama for 12 years. Previous to this I was a freelance line producer, having started as a runner and then in locations. My recent credits as EP at Tiger Aspect include Peaky Blinders, Ripper Street and Fortitude.

I'm passionate about creating interesting, entertaining world class television. I am always striving for fair working practices and enjoy working with great UK crew talent, many of whom are or could be members of the Production Guild. I'm particularly interested in addressing the social mobility issue facing our creative industry both at entry level and as crew talent progress through their careers. I would like to work with PG on developing the skills and talent of current and future crew, both in the South East but also in the regions and nations where TV shows often film.

Debbie Vertue – Permanently employed member. Director of Operations, Hartswood Films
Seconded by Di Barton

I came into the industry in the late 70’s as a runner on features with the ambition of being a 3rd AD. It was difficult to think beyond that being female and battling to be accepted by the Union but eventually after 5 years I got my ticket and went on to work as an AD in Film, TV and Commercials. After 20 years I moved off the floor into the production office and now find myself as Director of Operations at Hartswood Films making such programmes as Sherlock. The scale is rather like being back on a film.

I have been a permanently employed member of the Production Guild for many years even though during that time I have been working solely in TV. I say that as the PG is perceived by many to be heavily more film centric than TV but nevertheless I’ve always found it a wonderful resource for high class production talent and a go to portal for up to date production knowledge.

With the arrival of the UK television tax credit in 2013 the quality, ambition and status of High End television in the UK has grown and still growing exponentially, as are the budgets. But it is creating extra pressures on crews and resources.

Training at all levels is very important to me which is why I sit on Council at Creative Skillset. For years in film and tv it was solely on the job training primarily at entry level but that isn’t enough anymore. We need to reach more people and faster and supply focused training, tools and opportunities for them to work confidently to supply the demands of our highly creative industry. With international companies arriving in the UK to access our tax credit together with our already prolific film and tv industry, this is creating an exciting production environment but an over-demand on crew and facilities. The Production Guild already offers and supports excellent training, but I think with some joined up thinking we can do more.

Hartswood has a second office in Cardiff where we filmed Sherlock for BBC Wales. It has shown us there are hugely talented crews in the Nations and Regions and at a time when the broadcasters are committed to raising their remits for production outside of the M25 we need to raise the profile of the production values and talent in the nations and regions.

I would like to stand for the board and help promote the HETV sector both inside and outside the Production Guild.

The demand for quality high end crews also brings exciting opportunities for crew and production management to move between the Film and HETV sectors and I would like to help PG develop that bridge for its members. We are seeing the movement of talent from Film to TV on screen so let’s encourage it off screen too.

I sit on the HETV levy sub-committee and Council at Creative Skillset and I Co-Chair the Pact Business Affairs Council. I am a board member and Company Secretary at Hartswood Films.

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