Member in Focus:
Sofia Guiotto

When Christopher Nolan makes a film, the world pays attention. And when Sofia Giuotto is part of the production team, you can be certain the UK side of the operation is in the very best hands. A Production Supervisor with credits spanning Tenet to Meg 2: The Trench, Sofia has spent her career working at the very highest level of international studio filmmaking — and her latest credit, The Odyssey, is perhaps the most ambitious production she has been part of yet. Filming across multiple countries simultaneously, on the first film ever to be shot entirely on IMAX 70mm cameras, Sofia served as Production Supervisor: UK — coordinating the British arm of a truly global production with the precision, calm and expertise that has made her one of the most trusted names in the business. This week's Member in Focus, she sat down with us to reflect on a career defined by scale, craft and a genuine love of the people around her.

Congratulations on the release of The Odyssey. It’s Christopher Nolan's most ambitious production yet — released in IMAX today. With a cast including Matt Damon, Tom Holland, Anne Hathaway and Zendaya, and filming spanning the UK, Morocco and beyond, how does it feel to be part of something on this scale — and what has the experience meant to you?

It’s incredibly exciting to be able to say I had a part in creating such a highly anticipated film and I’m looking forward to seeing the results of all the cast and crew’s hard work.

It was a very logistically demanding show and the level of talent on set, from both the cast and crew, was astonishing. Everyone was expected to bring their A-game every single day. Working with Christopher Nolan is filmmaking at the highest level.

It feels special to be part of a movie that will have a cultural impact around the world.

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

From a young age, I was captivated by the behind-the-scenes featurettes included on DVD releases. It was through watching one of these that I first discovered the role of the Production Manager, and from that moment on, I knew it was the career I wanted to pursue.

Having gained experience in Italy, I was then accepted onto the Production Management course at the National Film & Television School in the UK, where I was fast-tracked into all aspects of production.

Following graduation, I was fortunate to be selected for the Sara Putt Associates Trainee Scheme, which led to my first “real” job in the industry on an ITV show. I was only supposed to be on the show for a week, but the Line Producer Christine Healy recognised my potential and gave me the opportunity to stay as a runner.

From that point onwards, I have worked on a wide range of projects across both television and film, in the UK and internationally, and have been part of some incredibly rewarding shows. Along the way, I met some of the most amazing and inspiring people, who helped me move up through the ranks until I finally became a Production Supervisor.

Your credits include Tenet, alongside The Odyssey — which means you've now worked with Christopher Nolan’s team on multiple productions. What does it mean to be a working with a production team multiple times and how has your working relationship evolved across those productions?

It is always gratifying to be asked to work with the same team again, as it usually means you worked well together the first time and earned your colleagues’ trust.

Working with the same individuals allows you to anticipate requests that might have taken a long time to understand the first time around. This is much more efficient, freeing up time to improve or learn new skills rather than figuring out what is expected of you.

I had the pleasure of working with Alison Banks and Chris Moore on multiple occasions, and I value their experience and support. They shaped how I approach production and my work as a whole.

As Production Supervisor: UK on The Odyssey, you were responsible for overseeing the UK arm of a truly global production — filming across different countries. What does that level of logistical complexity look like day to day, and what are the biggest challenges of keeping a production of that scale running smoothly?

The way the show was set up was to have a core team travelling with the unit from country to country, while relying on local teams to put the infrastructure in place for each shoot day (anything from catering to helicopters, etc.)

Looking after such an international crew on a production like The Odyssey is largely about ensuring everyone has the support and resources they need to do their best work as efficiently as possible. It requires particularly careful communication about how each shoot day will operate, and it is essential to establish and maintain a consistent routine across every country, even when adapting to different industry structures and local working practices.

A significant part of the role involved managing travel, accommodation and shipping logistics, ensuring that both crew and equipment were in the right country at the right time.

The schedule was extremely demanding. With constant packing, travelling and shooting in each new location, it was essential that every travel plan was carefully coordinated and executed smoothly, with no delays or disruptions. The UK production team, lead by Kathryn Butt, was exceptionally organised and did a fantastic job delivering everything that was required of them.

You also served as one of the Production Supervisors on The Night Manager – now in it’s second season. How does your approach shift between different studio environments, in this case from film to television, and across genres? 

Film and television have very different setups, and I enjoy the challenge of switching between the two because each involves a different way of thinking and working.

Television often requires you to juggle multiple phases of production at once. While one episode is shooting, another may be in prep and another wrapping, so you're constantly balancing different crews, scripts and schedules simultaneously. You have to make sure you pace yourself for the long run.

Films, in most cases, are more like a sprint. The pace is faster and the days are longer.

However, with the advent of HETV, the way these shows are shot is very similar to feature films, so the way I prepare is quite similar nowadays.

Ultimately, whether it's a feature or HETV, success comes down to the same fundamentals: thorough preparation, clear communication, and the ability to adapt when plans inevitably change.

Fellow Guild member James Knowles spoke warmly in his own Member in Focus, about the support you gave him during his own career — and that kind of community is something the Production Guild values deeply. As you progress and take on increasingly senior roles, how do you continue to make space for and champion the people coming up behind you?

I’m incredibly grateful for the support I received from some amazing colleagues when I was starting out in the industry, and I’ve always been passionate about giving something back to help those beginning their own careers. That support made a huge difference to my own development.

I genuinely love my job, and although it can be challenging, it has given me many rewarding experiences. I want others to have the same opportunities.

I always encourage younger members of the production team to explore other departments whenever possible. Whether it’s spending a day or two shadowing colleagues or taking part in informal teaching sessions on topics they’re interested in, I believe these experiences help them develop a broader understanding of how productions work and make more informed decisions about where they want their careers to go.

I’m also involved in the Film London mentoring scheme and have taught periodically at Crew HQ, which I think is a fantastic resource for people entering the industry.

I’m really pleased that, over the past few years, so many new training schemes and schools have been established to help people break into the industry. 

I’m very proud to have played a small part in the development of newcomers such as James, and it’s incredibly rewarding to see him continue to progress successfully in his career. 

The Production Supervisor role sits at a unique intersection of creative and logistical responsibility — bridging the producing team and the departments on the ground. How do you describe what the job really involves to people outside the industry, and what do you wish more people understood about it?

I often describe our job as a combination of logistics and communication, with an endless stream of phone calls and emails to make sure the right people, equipment and resources are in the right place at the right time.

Every production comes with its own unique challenges, so it can be difficult to explain exactly what we do on a day-to-day basis.

One thing I would like people to understand is that the production department is there to support everyone. Our goal is always to put the infrastructure in place that enables every department to do its best work and to find solutions that deliver the creative vision of the team, while working within the constraints of the budget which can sometimes lead to challenging discussion but always makes you think outside the box and come up with innovative solutions. 

The industry has faced significant turbulence in recent years — from the pandemic to the strikes to a slowdown in production. From where you sit, working at the very top level of studio filmmaking, what has that period looked like — and what gives you cause for optimism?

The past few years have been incredibly difficult for many people in our industry. A lot of crew members have had to find alternative work, and some have left the industry altogether. It has been a challenging period for all of us, especially after such a long run of sustained production activity in the UK.

My optimism comes from the passion that both experienced crew members and new entrants continue to have for filmmaking and television. I’ve also been fortunate to work on several projects with incredibly talented directors whose enthusiasm reminds you why we do this job. It reminds me of the importance of continuing to tell stories that connect with, inspire and entertain audiences.

I believe people will always have an appetite for great storytelling and compelling films and television. While the industry may look quite different in the years ahead, I’m confident it will continue to evolve and thrive.

On a lighter note — after productions spanning Tenet, Meg 2 and now The Odyssey, what is your absolute non-negotiable on a long shoot?

I think it’s important to have something outside of work that gives you a reason to switch off at the end of the day. We all want to do our best work, but to do that we also need time to rest and reset. Whether it’s a hobby, a sport, or simply something you enjoy doing for yourself, having interests outside of work helps create balance and often gives you a fresh perspective when tackling challenges.

One non-negotiable for me on any production is having a supportive and fun production team. We spend so much time together and inevitably go through stressful moments, so it’s essential to work with people who look out for one another, have each other’s backs, and create a positive working environment. I think it’s incredibly important to come to work feeling supported rather than dreading the day ahead. A strong team not only makes the experience more enjoyable but also enables everyone to do their best work.

Finally, what advice would you give to someone who wants to become a Production Supervisor — and what has kept you passionate about the role?

The advice I always give is:

Try to work with different teams and across different genres. Everyone has their own way of structuring the work, and it's valuable to experience different working environments and develop your own style.

When working in the office, make a habit of listening to what is happening around you. You’ll be surprised by how much valuable information you can pick up simply by paying attention.

Look after yourself and your team.

Be proactive and ask people to share their experiences with you.

What keeps me passionate about the role is my fellow crew members, many of whom have become very close friends and inspire me every day to come to work and do the best I can. There’s something incredibly special about sharing the wonderfully mad experiences that come with working in film and television alongside people you respect, admire and genuinely enjoy spending time with.