Member in Focus:
Claudia Cimmino

We recently caught up with PGGB Member Claudia Cimmino, a UPM with almost 30 years of experience in the Film & TV industry. Claudia began her career working on Star Wars: Episode I – The Phantom Menace as PA when they were shooting close to her hometown in Italy. She then worked her way up through the ranks of production and has since been involved in high-profile productions such as Quantum of Solace, Spider-Man: Far From Home and Mission: Impossible - Dead Reckoning.

Most recently, Claudia worked on Magic Faraway Tree, a fantasy film starring Andrew Garfield and Claire Foy. It follows a modern family that relocates to the countryside, where the children discover a magical tree with eccentric residents.

Claudia told us about her experiences working on the film and her role in bringing it from concept to screen.

Hello Claudia, congratulations on the release of Magic Faraway Tree! You worked on it as UPM. What can you tell us about the production?

Before joining the project, I wasn’t familiar with the book and didn’t realise how much it meant to so many generations - many people told me it was the most beloved book of their childhood, which made it an especially exciting project to be part of. Simon Farnaby’s script does a wonderful job of translating the spirit of the original story into a modern film that today’s families can connect with, while preserving the captivation of its characters and the enchantment of its Magic Lands.

The film had already been in development for quite some time by the time I came on board, which had given the director and production designer the opportunity to create some extraordinary concepts—many of which seemed far beyond our resources!

It was an extremely ambitious project for a relatively small production, and it took a great deal of passion and determination from everyone involved to bring it to life. There was so much love poured into this film, and I’m incredibly proud of what we were able to achieve.

What was it like working behind the scenes with the production team?

I was brought onto this project by the wonderful producer Jane Hooks. This was our fifth film together, and along with Production Managers Daniele Alfano and Alex Molden, we already had a strong working relationship. The four of us formed a cohesive team, each bringing different skills and experiences that complemented one another. We were also very lucky to be joined by an extraordinary and hard-working production team. They ensured that everything ran smoothly both on and off set, and their efficiency and great humour made life in the production office very enjoyable. Many of them had already worked together, so very quickly we were able to function like a well-oiled machine.

Jane Hooks is truly a force of nature. It was her belief and determination that made this film possible. Working alongside her has been inspiring, and I have learned far more than I could have imagined from her leadership, creativity, and dedication.

Can you share any highlights or interesting stories from filming?

We shot during the summer, starting in a barn in the Surrey countryside, before moving to Shinfield Studios for all the interiors and the Magic Lands. Eventually, a small crew travelled to Malta to complete the shoot.  One of the most memorable days, however, took place off set: our “Jelly & Ice Cream” day.

Since family - in all its shapes and forms - is at the heart of this movie, just before moving to Malta, Jane invited crew members’ families to visit the sets, turning the Land of Birthday into a lively party venue. Kids could explore Moonface’s house on the top of the Tree, drive the Land Hopper, and enjoy music, games, and treats—everyone loved it! It was wonderful to share the experience with our loved ones, especially considering how much of our family time is often sacrificed during a film shoot.

Were there any specific challenges you faced, and how did you overcome them?

Unsurprisingly, the biggest challenge was balancing the scope and ambition of the project with the practicalities of the budget—trying to stay on track without compromising the vision. Shooting in a foreign country wasn’t originally part of the plan, but as we worked to align the scale of the magical lands with the realities of the budget, Malta became a natural choice. Its locations helped us bring to life the souk-like atmosphere of the Land of Spell.

One of the biggest creative challenges was recreating the magic of the Tree. We scouted many woodlands to find the perfect Tree, but ultimately it was decided to build it on a stage at Shinfield Studios. Our talented Art and Green Departments worked for months, and it was fascinating to watch the Tree come to life—from a metallic skeleton to a fully sculpted, living structure. The Tree was split into two sections: the base and the top, where the Tree Folks lived. Both sets were crafted with incredible attention to detail, and the earthy scent of the many living plants made you forget you were even on a stage. I still remember the first day of shooting the Tree: as soon as the lights switched on, beams of sunlight streamed through the branches, and the Tree truly came to life. It was magical!

Could you tell us a bit more about the role of a UPM and what you do on a daily or weekly basis?

The UPM works closely with the Producer and the Heads of Department to ensure that the project stays within budget without compromising the quality and ambition of the film. During pre-production, the UPM is responsible for hiring the crew, negotiating deals, and working with the Heads of Department to align their individual departmental budgets with the overall production budget.

Once filming begins, the role becomes much more hands-on—overseeing logistics, ensuring compliance with health and safety regulations, and making sure everything runs as smoothly as possible on a daily basis. On a weekly basis, the UPM works with the Financial Controller to monitor cost reports and track the production’s spending against the budget. 

There is a lot of juggling between paperwork and troubleshooting!

What skills or qualities do you think are essential for succeeding in this role?

Different people bring different qualities to the role and may approach it in their own way. I don’t believe there is a single path to succeeding as a UPM, but integrity and hard work are essential. Building honest and trusting relationships with the crew is incredibly important. Ultimately, the role is about collaboration and problem-solving.

Could you share how you started off in the industry?

I was still a student in Italy when I was approached by a service company looking for English-speaking PAs for an American film shooting near my hometown. I accepted the challenge - without realising at the time that the film was none other than Star Wars: Episode I – The Phantom Menace!

It was a pivotal experience, and that’s when I fell in love with the film industry! A few years later, I moved to London and worked my way up through the ranks of production. I joined the Production Guild almost 20 years ago now! Through the Guild, I took a Production Manager course and, more recently, a Line Producer course in collaboration with Netflix. These courses, along with the professional connections I made, have been invaluable in shaping my career.

New Film Releases

Magic Faraway Tree

Elysian Film Group, Neal Street Productions, StudioCanal & more

PGGB Members: 

Rob Seager – Financial Controller 

Mark Jackson – Production Accountant 

Bryoni Askew – Accounts Assistant 

Claudia Cimmino – UPM 

Alex Molden – Production Manager 

PGGB Partners and Affiliates:

SetKeeper, ARRI Rental, Audiolink, Sargent Disc, Sara Putt Associates, Salon Rentals, Entertainment Partners, Location Collective & OMA Studio Group, CallTime Company Recruitment Ltd, Team Engine, SK Media Rooms, Shadowbox Studios Shinfield, Media Insurance Brokers, Digital Orchard