Member in Focus: Lorraine Edwards

This week, we sat down with Production Guild member, Lorraine Edwards, Production Supervisor and proud member of both the Production Guild Board and our Sustainability Committee, to talk about a career that has taken her across some of the most exciting productions in British film and television. With The Sheep Detectives now in cinemas, it felt like the perfect moment to hear Lorraine's story — from her earliest steps in the industry to the path that led her to production supervision, and how a film about a very particular flock of sheep became a career highlight.

From The Acolyte to Andor, Dumbo & Spectre - Lorraine has worked on an impressive roster of productions, and during our chat we explored what it means to her to help shape the future of the Guild from the inside — and why sustainability isn't just a committee agenda, but a cause she's genuinely passionate about.

Congratulations on the release of The Sheep Detectives! Now that it's out in the world, how does it feel seeing it reach audiences — and what was it about this project that drew you in from the start?

It’s really rewarding to see the film out in the world – I’m very proud to have been part of such an enjoyable and beautiful project. At the crew screening, we laughed and cried, which felt like a great sign of how it would connect with audiences.

The initial enquiry first drew me in, but what really secured my interest was the calibre of the team, I’d heard wonderful things about them, and who you work with matters greatly to me. Along with very noteworthy Producers; key creatives linked to Paddington; the Director of Minions; and the strength of a Working Title production and Amazon MGM, it felt like a special opportunity.

Can you tell us how you first got started in the industry, and what path led you to becoming a Production Supervisor?

My first job as a Runner was at Bushey Studios in Hertfordshire (now closed). At the time, work was scarce, information was limited, and opportunities often depended on who you knew. I felt quite unsure at the start, and my path was a varied one, including extensive work experience, lifestyle TV, shopping TV (notably QVC), short film, film for television, independent and studio feature film and streaming tv series.

A few years in, Working Title offered me work experience – they have done so much and still do – to support new entrants, and Nicola Garrett there has been instrumental in supporting so many people starting out. Gaining further opportunities from that point felt like a real step forward. The Sheep Detectives being a Working Title production felt full circle for me. A key turning point came when Production Coordinator, now Production Executive, Victoria Cadiou brought me from two smaller productions onto my first studio feature based at Pinewood Studios. That experience was formative, and I’ll always be grateful for her guidance and positivity. I’d wanted to be a Producer’s Assistant as well as work in the production office, although when I first started out, I didn’t understand what those roles involved. It took some time to move into an assisting role, but I eventually assisted the incredible Producer, Mark Huffam, which was an invaluable experience. Despite working for him, he provided — and continues to provide — support and advice to me and many others.

My work in the production office has been varied, and some of my biggest roles have been under the guidance of Janine Modder. I will always be in awe of her relentless hard work and vast experience. She is amazing and has also been someone I can always turn to for advice.

You're also a Production Guild Board Member — how has being part of the Guild shaped your career, and what does that role mean to you personally?

I joined the Guild in 2017 and was really pleased when I earned my membership.

I’ve seen the Production Guild go through many changes, as has the industry and my own career — everything evolves. I remember calling the Production Guild UK on occasion to ask what work was coming up, and during COVID I was especially grateful for how the Guild kept us informed and connected. I was therefore really pleased, afterwards, to be voted onto the Board.

I really enjoy being on the Board. Being able to share my opinions alongside such a high calibre of fellow Board members, and to hear their knowledge and perspectives, is incredibly insightful. The PG has also been fantastic in terms of training. I’ve always been keen to take courses to improve my knowledge, including ‘Movie Magic Scheduling’ and Budgeting, as well as, more recently, the ‘Step Up to Production Manager’ course sponsored by Netflix.
 

Production Management demands you hold the creative and the commercial in balance, at all times. How do you approach that tension — and has your method evolved over the years?

Tension between the creative and commercial is inherent in production — everyone is striving to achieve the best possible result, always within some constraints. While I’m not a primary decision-maker in setting that balance, I focus on supporting the UPM and my department, as well as the wider crew, with a calm and diplomatic approach during challenging moments. Over time, my understanding of other departments’ roles has grown, which has helped me navigate this tension more effectively. I’ve also seen a shift towards stronger collaboration and mutual respect across teams, which makes balancing creative ambition with practical realities more achievable, particularly notable on this production, it was a fantastic crew. 

Looking back across your career, what would you say have been some of your proudest moments — and does anything from The Sheep Detectives stand out in particular?

Some of my proudest moments have come from both the people I’ve worked with and the variety of projects I’ve been part of. An early highlight was working at Pinewood Studios, which has such a rich history and was a special environment to be part of.

Working on two Bond films with Janine Modder were also standout experiences. They are iconic productions, and the scale and complexity of the logistics — along with working on a Ridley Scott film — made for some truly memorable and epic unit moves and Set creations.

On The Sheep Detectives, I particularly valued the opportunity to be involved in a production that actively encouraged and explored sustainable practices, which I found both important and rewarding. Across my career, it’s often the combination of ambitious productions (large and small) and the people behind them that stand out most, and I feel fortunate to have had these experiences.  

The industry has changed significantly over the past decade. From your position both on the ground as a Production Supervisor and at Board level with the Guild, what shifts have you seen — and what do you think still needs to change?

I’ve seen mostly positive shifts in the industry over the past decade, particularly in the level of support for crew, with greater emphasis on safety, welfare and wellbeing than before. Sustainability is also now a much more consistent consideration, and there is a broader awareness of EDI, with more opportunities beyond traditional routes into the industry. I’m especially pleased to say, I felt that this production was the most supportive in all these areas. 

That said, there is still a long way to go. While many companies and productions are making genuine efforts, there remains inconsistency in how these practices are implemented, and there is room for more robust and embedded standards across the board.

From my perspective as a Production Supervisor and through my role on the Production Guild Board, I’ve seen how valuable the Guild is as a resource in supporting these areas. It provides guidance, training, and a platform for discussion, and continues to play an important role in driving positive change within the industry.

What does a production need to have — creatively or logistically — for you to say yes to it? Is there a project you turned down that you now wish you hadn’t?

For me, the most important factor is the team I’ll be working with. It’s always preferable to be part of a production with people — both in front of and behind the camera — whom I respect and admire. Logistically, I would ideally prefer a reasonable travel time of under an hour - although this is never guaranteed! Locations can change and vary widely depending on the project. Creatively, I’m increasingly interested in projects that have strong sustainability or conservation messaging, as that’s something I’d really like to engage with more. There have been a couple of projects I didn’t take on that may have carried some level of recognition or ‘kudos’, but in each case, there were usually other factors or trade-offs that made them less suitable at the time. 

On a lighter note — what's your non-negotiable on a long shoot? Whether that's something from the craft table, a ritual, or a piece of kit you'd never leave home without.

On a long shoot, my non-negotiables are pretty boring. I really like having a drink of squash on hand. I also can’t stand being cold, especially when I’m tired, so my big warm coat is an absolute essential. It’s become something of a running joke at home, but it genuinely makes a big difference on long day going to Set, working on in a trailer and even finding your car at the end of the day/night. Also, not non-negotiable kit, but it’s great to be able to bring your dog into work if the need arises. Dogs can be such a lovely presence. We even had a dog Unit List on The Sheep Detectives, that included owner and dog photos of those that came into work.

If all that wasn’t enough, you're also a member of Production Guild’s Sustainability Committee - what first sparked your passion for this area, and what motivated you to get involved? 

I’ve been interested in environmental and conservation issues for as long as I can remember. A few of years ago, I completed the IEMA (now ISEP) Foundation Certificate in Environmental Management to broaden my understanding. While in conversation with Amy Deegan at the Production Guild, about my Board application, I also asked about the possibility of a Sustainability Committee and submitted a proposal for consideration. I believe others had raised similar ideas, and we were given the green light to bring together a group of like-minded members. It’s been a great experience, and I’ve learned a lot from everyone involved and really hope we can help signpost others to best practices and information available. 

We're interested in how you bring that perspective into your day-to-day work as a Production Supervisor. How does sustainability influence the decisions you make on set or in planning? 

I always try to consider whether things can be done in a more sustainable way and will raise that question where appropriate. In practice, the key is having the right support in place — ideally a dedicated Coordinator — because every production is different, and departments are extremely busy working to tight schedules. Good planning, clear communication, and giving teams the time and resources to make informed choices are essential to embedding sustainability effectively on productions.

 

Finally, what advice would you give to someone who wants to move into Production Management— and what's kept you passionate about the role after all these years?

I’d say the production office really feels like the heart of a show — it becomes a kind of home, and the team like a slightly dysfunctional but close-knit family. That sense of connection is one of the things that makes Production so rewarding. My advice would be to keep learning as much as you can of the process that is ever evolving, be adaptable, and value the relationships you build along the way. What’s kept me passionate over the years is that mix of people, problem-solving, and the ever-changing nature of each production!