News

Member in Focus:
Charlie Reed

Fri 13th Feb 2026

Unit Production Manager "Wuthering Heights"

We recently caught up with PGGB Member Charlie Reed, a Unit Production Manager whose impressive credits range from In Bruges to Beetlejuice Beetlejuice and Mission: Impossible - Dead Reckoning. After 18 years working in the industry as an Assistant Director, Charlie moved into the role of Production Manager in 2021, working on The Peripheral for Amazon Prime, and also served as Line Producer on Warfare.

Most recently, Charlie worked as UPM on Emerald Fennell’s Emily Brontë adaptation Wuthering Heights, starring Margot Robbie and Jacob Elordi, which is out in cinemas across the UK today.

We caught up with Charlie on the joys of 35mm, filming in the moors, and what it takes to become a UPM.

Hi Charlie – congratulations on the release of Wuthering Heights! I wonder if you could share your journey into the industry, and how you became a UPM?

I began my career over twenty years ago as a runner on BBC children’s drama at Television Centre. After a year, I moved into freelance assistant directing, which allowed me to work across productions of varying scales and gave me a broader perspective on how the industry operates. Over that time, I’ve witnessed significant changes in both budgets and the wider British film and television landscape. One of the most positive developments, in my view, has been the shift towards improved working hours and a greater emphasis on work–life balance compared with when I first started out.

Could you tell us a bit more about the specific role of a UPM, and what you do on a day-to-day basis?

On paper, the role of a Unit Production Manager involves negotiating crew deals, booking equipment, and ensuring that all health and safety, insurance, and compliance protocols are in place. In practice, however, the role is far broader and more nuanced. For me, it is fundamentally about helping to make the best possible film with the resources available.

That requires building strong working relationships with all departments and having a clear understanding of their creative and logistical needs so they can be properly supported. The role is inherently forward-looking, with a strong emphasis on planning and anticipating challenges on a weekly basis. On a day-to-day level, it involves being present on the floor—checking in with departments, identifying potential issues early, and resolving them in a way that keeps momentum and does not disrupt the flow of the set.

Back to Wuthering Heights, which is in cinemas today - what can you tell us about the film, and how it was made?

The film is a fully realised interpretation of Emerald Fennell’s vision for Emily Brontë’s source material. It is a heavily stylised work and a truly epic love story. To maintain precise control over the film’s aesthetic, we constructed numerous exterior sets on sound stages at Sky Studios Elstree, before spending several weeks filming on location in Yorkshire.

The Yorkshire location is hugely important - the Moors are almost as much of a character in the film as Margot and Jacob. How did you navigate between filming on set and on location?

Well, we were working to a fairly tight schedule, but the strength and experience of our crew, along with the commitment of our exceptional cast and director, enabled us to meet those demands successfully. Filming in Yorkshire was particularly challenging, as we had to work with whatever weather conditions presented themselves and make the most of our limited time there. To manage this, we undertook extensive planning across all departments and kept several locations on standby within relatively close proximity. This allowed us to make informed decisions the night before about where to begin each shooting day, maximising efficiency and flexibility.

Speaking of the crew, what was it like working with the production team? There were another few Guild Members involved, weren’t there?

We were supported by a strong production team, led by Guild member Sara Desmond as Executive Producer, and I worked closely alongside fellow member Rachel Rosser in her role as Production Supervisor. We operated as a cohesive unit, with clear and consistent communication at the heart of our process. Sharing an office proved invaluable, allowing us to track progress collaboratively and address challenges in real time. Our open-door policy ensured that any crew member could drop in to discuss issues or updates, fostering transparency and collective problem-solving.

Many of the Heads of Department had previously worked with Emerald on Saltburn, which helped us integrate quickly and provide effective support to the creative and design teams during a fast-paced prep period with significant delivery demands. In addition to the studio builds, we also had to prepare remote locations on the Yorkshire moors. These sites presented logistical and access challenges and were obviously a considerable distance from our Elstree base, making early planning and sufficient prep time for recces and scouts essential to the success of the shoot. 

As well as these locations, another important part of the look and feel of Wuthering Heights was the decision to shoot on 35mm film. How did this impact the production?

I greatly valued the decision to shoot Wuthering Heights  on film. It felt entirely appropriate for the project and provided a rewarding opportunity to engage with the specific workflows and production processes that shooting on film entails. Earlier in my career, over twenty years ago, I worked as an Assistant Director where film-based productions were the norm, and returning to that format was really great.

Do you have any particular personal highlights from the production?

Walking onto the completed and fully dressed Wuthering Heights set on Stage Three was a memorable moment for the entire crew. The scale and detail were extraordinary: rock formations, trees, horses in their stables, pigs, and atmospheric effects created by our SFX department, including rain rigs and wind machines. The result was an immersive environment that genuinely felt like standing on the moors. This set was central to our production plan, not only in terms of the film’s visual identity but also as a significant consideration for both scheduling and budget.

Finally, if someone is getting started in the industry, what skills or qualities do you think are essential for succeeding as a UPM?

Succeeding in this role requires a combination of strong analytical ability and well-developed interpersonal skills. On one level, it involves interpreting information from scripts, schedules, and budgets in order to make informed, practical decisions. Equally important is the human aspect of the role—listening carefully, building constructive relationships with the crew, and fostering an environment of collaboration rather than top-down instruction.

I also believe it is essential to be comfortable asking questions and acknowledging when you don’t have all the answers. Taking the time to get properly informed allows you to develop solutions and plans that genuinely work for both the production and the people delivering it.