The Script That Started Everything
For both Ben and Charlotte, the journey to Bad Apples began with the screenplay - and the reaction was immediate.
"Bad Apples was one of those scripts which you love the moment you read it," says Ben. "It's dark, it's funny, it challenges you, it subverts your moral code, makes you think, makes you wince and then makes you laugh some more. Audiences are in for a treat - and they'll have interesting conversations at the water cooler the next day."
Charlotte's response was equally instinctive - and for her, the project carried an extra layer of significance. "What drew me to Bad Apples in the first place was the opportunity to work on an independent feature in Bristol, my hometown, which felt particularly special. The script was completely up my street with its dark comedy and really powerful message underneath it. Working with Ben again was a huge bonus and of course, getting to work with talent like Saoirse Ronan was a dream."
From Bianca Gavin's perspective, as Head of Production, Scripted, for VICE Studios, the film represented something genuinely exciting from the very beginning. "Bad Apples was such a special project for us at Vice Studios," she says. "Ben and Charlotte built a team around it who were all so passionate to make something brilliant."
The Co-Producer and the Production Manager
Ask anyone working in production what the most important relationship on a film is, and many will say the same thing: the dynamic between the producer and the production manager. Get it right, and a production runs with clarity, energy and purpose. Get it wrong, and the cracks show quickly. On Bad Apples, it was very much the former.
"I think we worked together fantastically," says Ben, "and I look forward to the next time - if Charlotte can face it. I like working with people who have complementary skillsets. On a day-to-day basis, that really just means constant open communication. I was happy for Charlotte to be across everything - financial, logistical, everything. I'm not big on hierarchical secret-keeping. If I was to get hit by a bus, Charlotte would have been ready to step up. Hopefully involving Charlotte in everything helps with her development as a PM and beyond - we only really have learning on the job in this industry, and it's important to enable that for those around you."
Charlotte describes their shared working philosophy simply and warmly. "I've always enjoyed working with Ben. We share the same working ethic of promoting a positive and collaborative environment on set, bringing together can-do crews and engaging with the local community to create work experience opportunities. Our main focus is to ensure that as much of the budget as possible ends up on screen."
"The best relationships" she continues, "come from a willingness to collaborate; respect for each other’s collective knowledge and sharing a similar ethos. You must be on the same page, and if you do feel something needs to be challenged be able to do so without worry of reproach. The key is communication and if that is not there or it falls apart early on, then that is a sign that something is not right."
For Bianca, watching that dynamic from above was a source of real pride. "Ben and Charlotte were integral to building a workplace rooted in respect, collaboration - and fun. They always worked together to find solutions, and managed to cultivate a supportive environment for everyone."
The Challenges - Children, Cider Factories and Chaperones
Ask Charlotte what the specific production challenges of Bad Apples looked like, and her answer is characteristically direct - and funny.
"Bad Apples had a lot of children involved, which meant there were a lot of logistics to manage. We filmed across two closed schools, which gave us the facilities we needed to make sure we had separate green rooms for the supporting artist children, the cast children and the adult cast."
Scheduling around the restricted filming hours for young performers demanded meticulous planning - and one day in particular stood out above all others. "The assembly day was probably our biggest challenge. We had children of all different ages and had to manage the day around their individual working hours, prioritising shots based on when we would need to wrap each group. We probably booked every chaperone in the South West to cover that day."
The production's more unusual locations added another layer of complexity. "We were filming stunt scenes in a working cider factory with children," Charlotte notes, "so there was a lot to take into consideration to make sure we could achieve what we needed whilst working in line with the location's restrictions."
Ben is clear about how those decisions were made. "We had some very difficult decisions to make - but we made them together, with full disclosure of all the financial and logistical issues that made us go one way or another. Whatever inevitable fires you're fighting should have minimal impact if those big decisions were right and the structure is sound."
Two Careers, One Shared Ethos
To understand what makes Ben and Charlotte's collaboration so effective, it helps to understand how differently they arrived at it.
Ben's career began not in the production office but on location - working as a Location Manager on productions including Bridget Jones's Diary, Run Fat Boy Run and Avengers: Age of Ultron, before gradually moving across into production management and then producing. "If it is unusual, it shouldn't be," he says of the arc. "I certainly didn’t plan this career path - I fell somewhat accidentally into LM-ing relatively early on but after nearly a decade I’d had quite enough of telling people where the honeywagon was parked so it was time to move on. I’d wanted to be a Producer and the PM to LP route seemed the most available to me and I’m grateful for it. Like all good HODs, Location Managers have a foot both in the pragmatic and the creative. Managing that balance, pushing for the maximum on-screen impact whilst making sure there's money left to pay the invoices after the last day of filming, is something that takes time to learn."
Charlotte's journey was a more traditional climb through the production office - from Production Assistant on The Good Karma Hospital, through Production Coordinator on Alex Rider and McDonald & Dodds, to the Production Manager role she holds today. But one moment stands out as the turning point. "Stepping up to Production Manager was the pivotal moment of my career," she says. "Following Alex Rider Series 3, I had a meeting for the Production Coordinator role on McDonald & Dodds Series 4 where the Line Producer asked me if I knew any local Production Managers - and so I took a leap and asked her to consider me for the role. It worked. Production Management has been my most enjoyable role within the production team, stepping out of the office and into the field. "
What unites both careers, despite their very different paths, is a commitment to people - and to bringing others with them.
Fostering Talent: The Training Scheme on The Outlaws
If there is one story that captures what Ben and Charlotte stand for as production professionals, it is the training scheme they created together on The Outlaws for the BBC - a programme for local, underrepresented talent across multiple departments that has sent ripples through Bristol's production community ever since.
"One of the things of which I'm most proud is that training scheme," says Ben. "Having said all that, fostering talent doesn't always have to be something big and bold. Just taking half an hour with a PM to decode a cost report and then inviting them to listen in on the calls - or talking through how a Progress Report works with a production secretary and getting them to assemble some of the data - these small acts help demystify the next step of their careers and give crew the confidence that moving up won't be as daunting as they might fear."
Charlotte reflects on the impact with real pride. "Many of those trainees are still working in the industry today and have progressed into roles such as Action Prop Buyer and Make-Up Artist, which is incredibly rewarding to see." She also works closely with local organisations and schemes to arrange set visits, work experience opportunities and graduate trainee roles - and has supported team members through the ScreenSkills ‘Make a Move’ programme.
"Working with a production team who make everyone feel respected for their good work - and who know how to bring people together - means every department starts to row in the same direction," says Bianca. "In the case of Bad Apples, we are so proud of the result."
The Production Guild: Community in Action
For both Ben and Charlotte, the Production Guild is an extension of the values they bring to every production they work on - and a community they are both committed to building.
Ben has been on not one but three Guild committees - including the Membership Committee - and is particularly passionate about expanding the Guild's regional membership. "I'm keen to build on the excellent work that others have done over the last decade by bringing in more membership from the regions, where 60% of TV is made but only about 10% of the Guild membership is regional."
Charlotte joined the Guild at the end of 2025 and has already felt the benefits. "I've attended the Christmas Party, joined several of the lunchtime masterclasses, and I've found it a great way to connect with peers, access discounted training and increase my visibility to incoming productions. I'd definitely encourage anyone considering joining to take advantage of the opportunities it offers."
A Scene to Watch
Finally - with Bad Apples now in cinemas - which moment are they most excited for audiences to experience?
For Ben, it is a scene that generated wildly different reactions at different screenings. "There's a scene in the film about which most people feel incredibly uncomfortable - but when screened at a Spanish film festival, the audience cheered. I'm intrigued to see how people react. And I really want to see it with some actual teachers. That would be fascinating."
Charlotte has a different favourite. "The PTA meeting is brilliant - it's a real catalyst in the story and exposes some uncomfortable truths. It's delightfully awkward, very funny, and I'm really looking forward to seeing how audiences react to it."
As for their non-negotiables on a long shoot day? Ben's is a short drive home. Charlotte's is a Lipton's Peach Iced Tea.
Bad Apples is in UK cinemas now.
