I think the stigma of working class people is still very prevalent, and just because you have a regional accent, are from a council estate and attended a state school, it doesn’t mean you can’t contribute worthwhile opinions, ideas and stories to the creative industries in a professional capacity.

WHERE ARE YOU BASED AND HOW DOES THIS PLAY INTO THE WORK THAT YOU DO?

When I started out in the industry in the North East, there were very few opportunities in Drama, particularly in scripts. I also knew I wanted to write and produce and work directly with scripts from such a young age, but the lack of opportunities and the distance from London for me, made the odds so much greater to, actually be able to pursue and sustain a career in the media. Given I am also from a low socioeconomic background, with parents who didn’t get so much as an O Level let alone a degree; financially, geographically and ethically everything was pretty much against me growing up; (combined with the fact I was also a teenaged single mother). Having fell pregnant whilst at college studying Drama, everyone in my family told me to ‘get in the real world and get a proper job’ - as I settled into in my new role in single motherhood. This responsibility would probably be enough for any young woman my age at the time, but despite the struggle, I continued with my studies in Media, attaining a first-class degree and absolutely determined to forge a future for us, no matter how unrealistic it seemed at the time.


WHAT INSPIRED YOU TO BECOME A SCRIPT SUPERVISOR/ PRODUCER?

So Script Supervising is not a usual route into producing. In-fact, I will probably at some stage, have to take a detour into production or script editing. Script Supervisors in the UK (not the US may I add) very rarely make the transition – which is insane to be fair, because what you learn sat by the monitor including working with hundreds of directors, producers and actors, whilst knowing how to edit, knowing story, structure, storytelling and continuity exposes you to so much of what producing entails.

I really thought in my very naïve 20’s, that being in a senior role like script supervising, would somehow open doors for me in producing however, upon reaching almost 30, I quickly realised this wasn’t the case. It became clear that I was going to have to do a hell of a lot more work to make my dreams a reality. This propelled me to start writing my own scripts, getting myself a screenwriting agent, setting up a production company and just basically making my own stuff. In essence, the only way to get to where you want to be in this industry, is to not let other people tell you that you can’t have something you really want. I’m like that really annoying person who just keeps knocking on doors no matter how many times they are slammed in my face, in the hope that eventually, the upper-class people that are behind those doors, will finally give me a shot.


HAS MENTORSHIP PLAYED A ROLE IN YOUR CAREER AND TO WHAT EXTENT?

Mentorship from a script point is something that I am constantly promoting, after all I’m just passing through script supervising, so I want to give all of my knowledge and opportunities to others when I do eventually get to where I want to be. So, in addition to constantly supporting other people coming into the industry; whether that be as a runner, as a script supervisor, as someone who doesn’t quite know what they want to do - I am always keen to support the next wave of talent coming through. Particularly since it was so hard to break into the industry for me and I would hate to have achieved all of this knowledge and wisdom and for it to just die with me when I go lol. I’m always attending masterclasses, giving talks on zoom, answering emails, bringing on trainees and assistants when there is a budget for it, and just basically being a nice person and giving back. There are enough opportunities for us all really and my love language is taking people with me on my journey.

I have had a lot of positive experiences and extremely helpful advice from agencies like the BFI, BAFTA and Screenskills; in addition to attending the BFI Creative producer lab and being a part of an amazing community of producers from there. The BFI and Film Hub North are fabulous in supporting producers and I would urge anyone looking for a career in filmmaking to reach out to their local BFI film hub, because the opportunities really are endless. In terms of actually being able to get a mentor in producing, I am hoping that after this year with all of the productions I have had on my slate via True Moon Pictures, I will be in a much better position to apply to the screenskills co-producer initiative and hopefully a production will take me under their wing.


WHAT HAS BEEN THE GREATEST CHALLENGE YOU HAVE HAD TO OVERCOME TO GET TO WHERE YOU ARE NOW?

The greatest challenge for me so far has probably been, being from such a background, that has constantly required me to keep levelling up. I think when you come from a background like I have, with little to no help from anywhere, it means you have to work twice as hard in all areas. I also feel like being Northern, being working class and not being privately educated, instantly creates a stigma for you especially in above the line roles. I think the stigma of working class people is still very prevalent, and just because you have a regional accent, are from a council estate and attended a state school, it doesn’t mean you can’t contribute worthwhile opinions, ideas and stories to the creative industries in a professional capacity. In addition to this, having the resilience to just keep getting up and showing up every time life throws a curve ball your way, is one of that hardest things to master. But as long as you keep turning up and putting the work in, eventually the good will outweigh the hard and you will reap the rewards of your perseverance.


ARE THERE ANY WOMEN WHO YOU PARTICULARLY LOOK UP TO OR WHOSE WORK YOU HAVE BEEN INFLUENCED BY?

I really look up to the more experienced creatives I have around me to whom I have built close networks with over the years. I always make friends with people who are much more educated than I, who are far more ahead of me in their careers, so I can learn from them and they can teach me what I need to do to get to the next level of where I want to be. What’s that saying, you are the equivalent to the five people you spend the most time with? Well I am always on set, so hopefully that amounts to always spending time with some pretty smart and creative people!

People I have worked with over the last few years who have really inspired me are; Philip Barantini, Stephen Graham, Hannah Walters, Hester Ruoff, Rebecca Davies, Sasha Ransome, Sophie Reynolds, Jim Poyser, Ian Curtis, Anna Jurek, Joshua Oliver; and so many more who are out there creating stuff and teaching me so much, every time I work with them. Those are the people I take my influence from, the people I work with every day, the good ones who are contributing positive and meaningful stuff to the industry, that make a difference to not only the crew they work with, but also to society as a whole.


WHAT ADVICE WOULD YOU GIVE TO YOURSELF WHEN STARTING OUT?

The advice I would give to myself now just starting out, would probably be to take more time for the creative stuff, and basically just start creating right away. Don’t wait for the approval of others, start writing, producing and creating your own stuff and do it now. I think I was too scared to be criticised at the beginning, but just like Quentin Tarantino says - his first movie was his film school and it was a massive flop. But he learnt from the bad experience and that contributed to his next film. And look at him now. He knew nothing before that. And nobody really knows anything, except what we keep telling each other is right.


IS THERE ANYTHING THAT WOULD MAKE YOUR JOB/ GETTING WORK EASIER?

It would be easier to get more writing work, if there wasn’t so much nepotism and as previously stated, people being given opportunities because they are from a certain background or know certain people. I also think that some people in this industry have a very shallow mindset when it comes to working parents. Last year I had an experience on a job with someone, who was not very nice to me regarding being a parent. I think the stigma attached to being a parent and working in TV is a form of discrimination, and I don’t feel it is being challenged in the way some other characteristics are. This needs to change. I think in giving parents a voice to not be scared to ask for cover because their child needs them, will help protect people’s mental health in the long run. I want to be this kind of leader and I am committed to making this change when I get there. I want people to not be scared to put their children first which is very common attitude of some people in senior roles, particularly those who haven’t experienced parenthood themselves. In order to be better, we must do better, and this is not ok.


THE SECOND WAVE OF THE TIME'S UP MOVEMENT IS NOW IN ITS SIXTH YEAR. HAVE YOU NOTICED ANY CHANGES SINCE IT STARTED?

I have noticed a huge change in the industry since this movement started. Women being able to speak out about how they are being treat is hugely important, as history has proved to us that the treatment of women on set has not always been great in the creative industries. I think the support and guidance in pretty much every production memo is really clear now and there is an absolute zero tolerance to this sort of behaviour. It will be dealt with swiftly and professionally should any sexual harassment claims be made, on pretty much any TV and film set in the UK today.


WHAT ARE THE ESSENTIALS THAT YOU TAKE TO WORK WITH YOU?

The essentials to take on set with you as a script supervisor are always your stopwatch, script (obviously), laptop, iPad and a positive attitude. If you don’t have a positive attitude when you come to set, you’re going to have a pretty long day. So just come as your best self, with a smile on your face and get the day done!

As a producer, when I am on set on my own projects, the best thing to bring with me is a watch, as I am constantly checking the time to see if the first is on schedule so I can act accordingly regarding the script and any changes, as well as keeping a watchful eye that everyone is being safe and taking care of each other. My ethos as a producer, is that the cast and crew always come first, budget second. My crew and cast are the most important thing on set for me and ensuring their happiness is paramount. I can’t understand why or how anyone would upset or risk the happiness and safety of the people who are working the hardest for them and their project.


WHAT HAS BEEN ONE OF YOUR GREATEST SUCCESSES SO FAR?

One of my great successes so far is probably still to this day, working with Tom Cruise on Mission Impossible. I don’t think I will ever be able to get over the day I met him. It was one of them moments where I actually stood and said to myself, ‘Oh my god Carlz, I think you’ve actually made it!!!’ And although we were filming in the UK, I really felt that I had experienced Hollywood. I am so privileged to get to experience this and I really don’t think I will ever get over what it feels like to work on a big film in that capacity. But hopefully, I will be producing movies with stars that big one day - well that’s the dream anyway. And as the saying goes - those who don’t believe in the magic... will never ever find it.


WHAT IS YOUR BEHIND THE SCENES PASSION OUTSIDE OF WORK?

Obviously, my son, husband, stepdaughter, dogs and family/friends to whom I spend most of my free time with, are a huge passion of mine. And outside of that is, anything else I can contribute towards my career. Producing shorts, writing and developing scripts and pursuing my next opportunity. When I am not working on my career, I am thinking about my career. How I can grow? How I can build? How I can be better than I was yesterday? You’ve got to have that mindset to go places in this industry. You can’t just pick it up and put it down whenever you please. It has to be a constant and well, it is for me.


TELL US SOMETHING ABOUT YOURSELF THAT MANY PEOPLE MAY NOT KNOW.

I’d probably say that one thing that a lot of people don’t know about me is that I actually started out in the industry in my younger days thinking I wanted to be an actor. Acting on stages, performing in films and I still do a little bit of it now when the opportunity arises but, it all leans into how I can create better stories, more believable characters and how I can get closer to the actors who are reading my words. If I can feel on the same level as they do, then I know I’m halfway there with a story. Drama is life, with the dull bits cut out after all. It really is that simple.


COULD YOU TELL US ABOUT ANY FUTURE PROJECTS?

As it currently stands now, myself and my producing partner Joshua Oliver have ‘Non Compos Mentis’ shooting in a couple of weeks, as well as ‘Are You Talking To Me’ and the second part of ‘Hide’ shooting after that. These are three special projects that we have been working on for the last twelve months. ‘Non Compos Mentis’ is a short form project about the effects of dementia on the people caring for the sufferers, that hopes to raise awareness. A film produced through SAE studios, a professional production studio, supporting the next wave of film graduates into their first roles in the industry. The film that will be told through the lens of students at the SAE institute under our professional creative supervision. The film is also a very unique project, that is in collaboration with the Vicky McClure-led, Our dementia choir. It will see the choir involved in the creation of an original soundtrack, a subsequent performance as part of a live screening at its festival premiere, as well as a vehicle for the release of the choir’s new single.

‘Are You Talking To Me’ is a branded online series with Sue Perkins attached in association with SAE studios. It is a brand-new entertainment series providing in- depth interviews with British celebrity guests. Using cinema to cushion themselves, the guests will engage in a biographical discussion as they gently peel back the layers of their life. Set against the backdrop of where the guests grew up and spent their formative years, we will also look at British cinema history that hails from that region, while guests will discuss how the films they watched imprinted on their identity as they journey down memory lane.The show will take a loosely segmented format with specific questions designed to create laughter, poignancy and intimacy, all key traits of any great film. The interviews will be brought to life with archive footage of the films & scenes in question, to further illustrate the emotional imprint they have had on our guest’s lives.

‘Hide’ is a short form Drama, that follows Abi and her siblings as they fight against all odds to stay together after the tragic loss of their mother. Told on the backdrop of a working-class north west landscape, we hope to shine light on themes such as the cost of living crisis, period poverty and the current social care system. Hide is written and directed by Ian Curtis and is starring Niamh Blackshaw and Lisa Davina Phillips.

In addition to these projects, I am also producing a number of commercials and music videos, along with developing features and other short form projects with Joshua via our production company True Moon Pictures. I’m basically building my slate in drama and film, as well as working on an upcoming series for Amazon Prime and Netflix in continuity; inbetween being a mother, wife, dog Mam and a full time Drama Queen!


WHAT IS YOUR FAVOURITE QUOTE OR MANTRA?

Hollywood is not a place; it is a state of mind...