News

We continue to be deeply encouraged by the unrelenting support for the Foundation.

Recently, we were honoured to receive a bespoke order from Ian Macdonald, assistant location manager, who requested a customised version of our Foundation Caps for his locations team on After the Flood 2. Ian knew Mark well and chose to support his legacy by purchasing these caps.

We were also touched by the support of Erica Ford, an actress currently working on the new series of Robin Hood. She, alongside her father – who knew Mark very well and worked with him on Memphis Belle – purchased Foundation Tees.

It’s these simple acts of generosity, support, and solidarity that help fund our mission: to create safer sets for all those working within the film and TV industry, and to help young people get started in the industry.

We are incredibly grateful for every contribution – large or small – that helps carry Mark’s legacy forward.

Featured in above photo from left to right – Augus Castle-Doughty, Steven Waddington, Sean Bean, Matija Gredic, Erica Ford, Lydia Peckham, James Farley, Ryan Gage and Klem Novak

Celebrated film stills photographer David Appleby has sadly died, aged 77, at home in Somerset, his wife Juliana Malucelli  announced earlier this week.

David’s long career saw him work on iconic films including Bugsy Malone, Midnight Express, Mississippi Burning, The Commitments, Evita and The Life of David Gale. Known for his discreet, unobtrusive presence on set, he became one of the industry’s most respected stills photographers.

He worked alongside camera operator Mark Milsome on several productions, including Brassed Off and Memphis Belle, as part of the close-knit UK film community.

David is remembered not only for his extraordinary images but also for his honesty, down to earth nature, generosity, and humour. He is survived by his wife, family, and a remarkable legacy of work.

LONDON, 17 June 2025 –  During a House of Lords debate on proposed amendments to the Employment Bill, Baroness Caine of Kentish Town, CBE, called for greater protections for freelancers working in the film and TV industry. The debate was linked to a motion by the Earl of Clancarty to establish an Independent Freelance Commissioner.

Freelancers now make up over 70% of the UK’s production workforce, yet current legislation does not guarantee them the same safety rights, training, or protections as full-time employees. Many fear speaking up about unsafe conditions could damage their job prospects, while short-term nature of productions often blurs lines of responsibility.

Baroness Caine raised concerns about health and safety practices for freelance crew and highlighted the Mark Milsome Foundation’s ongoing campaign to improve safety within the film and TV industry – a sector that we know is largely powered by freelance crew.

Stating “Amendment 287 provides an opportunity to address a long-standing gap in protection for freelance workers. Current laws surrounding health and safety at work are often open to interpretation by those on productions who hire them, and, in some productions, a culture of minimum compliance becomes compounded by an industry that tends to self-regulate. I hope that the Government can find ways to protect freelancers better – if not in the Bill, then by secondary legislation or, following my specific example, by amending health and safety legislation.”

The Foundation was delighted by the response from Lord Katz, MBE, who said:
“It is essential that employers in the creative industries do not use — or rather, abuse — the multifarious employment statuses of those working in the sector to evade their responsibilities, particularly when it comes to health and safety. I am happy to take this back to colleagues in DBT and DCMS.”

“We are incredibly grateful to Baroness Caine for raising the issue of health and safety for those working in the film and TV industry,” said Samantha Wainstein, Chair of the Foundation. “It is deeply troubling that, so many years after Mark was killed, there has still been no legislative change to prevent serious injury or loss of life in an industry fraught with risk. Freelance crew are routinely expected to work dangerously long hours, and too often there is no accountability when things go wrong. We are hopeful that Lord Katz’s efforts to take these concerns to DBT and DCMS will lead to meaningful action.”

The Foundation is encouraged that its voice is being heard at the highest levels of government and will continue to advocate for improved health and safety standards, greater accountability, and lasting change across the film and television industry.

Baroness Caine’s full speech:
My Lords, I support Amendment 287 tabled by the noble Earl, Lord Clancarty, which provides an opportunity to address a long-standing gap in protection for freelance workers. To illuminate that, I will focus on one area of specific concern: health and safety.

At least 70% of the production workforce in film and TV operates on non-permanent contracts. Technically classified as “self-employed”, they do not meet the standard definition of autonomous self-employment. Current laws surrounding health and safety at work are often open to interpretation by those on productions who hire them, and, in some productions, a culture of minimum compliance becomes compounded by an industry that tends to self-regulate. Freelancers often do not raise safety concerns or request reasonable adjustments to the work they are doing, as they fear gaining a reputation for being difficult in highly networked industries where word of mouth is a powerful currency.

To illuminate that further, let me turn to a tragedy raised in this place last February by my noble friend Lady Smith of Basildon—the now Leader of the House—while in opposition, during a very well received debate led by my noble friend Lord Bragg on the contribution of the arts to the UK economy and society. She referenced the work of the Mark Milsome Foundation, a campaign established following the tragic workplace death of this highly respected and experienced camera operator on a film set in 2017. At the inquest on Mark’s death, the coroner concluded that, on that set,

“the risk of Mr Milsome being harmed or fatally injured was not effectively recognised, assessed, communicated or managed”.

Despite these findings, no one has ever been held accountable, suggesting a gap or flaw in the law that needs to be filled or rectified, affording freelance employees the same safety rights, benefits and policies as others in employment.

The Health and Safety at Work etc. Act 1974 states that it is necessary to ensure that there is adequate training of staff so that health and safety procedures are understood and adhered to. It could therefore be argued that legislation is in place. However, the Act does not define “staff”, leaving some companies to believe that they have little legal duty here towards freelance crews. Because of the ways that productions need to work, crews are often asked to waive their rights under the Working Time Regulations 1998, which can lead to dangerously long hours on some productions.
The legislation before us will have a wide and positive impact on both the rights of employees and workplace relations. However, I also hope that the Government can find ways to protect freelancers better, including the many in the creative industries. Despite the brief time I have spent in your Lordships’ House, I understand that there is always caution about turning flagship legislation into what I believe is termed a Christmas tree Bill. In replying, can my noble friend the Minister say a little about the potential for the concerns that have been raised in this debate to be addressed, if not in the Bill then by secondary legislation or, following my specific example, by amending health and safety legislation?
I thank the noble Earl for proposing his amendment. I look forward to playing a continuing role in supporting freelance workers, specifically those in the creative industries, to secure their safety and indeed dignity at work.

The Foundation is encouraged that its voice is being heard at the highest levels of government and will continue to advocate for improved health and safety standards, greater accountability, and lasting change across the film and television industry.

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Happy New Year to all of you! We hope you have a successful and, most importantly, safe year ahead.

As we step into another year, it’s a good time to reflect on the importance of safety in the film and TV industry. The work we do can be demanding, but no project is worth compromising the well-being of cast and crew. Mark Milsome’s legacy reminds us of the critical need to prioritise safety at all times.

Have you made your resolutions yet? If not, consider adding these to your list:

Complete relevant Health & Safety training – Knowledge is the first step to prevention.
Speak up – If something feels unsafe, say something. Your voice can protect yourself and others.
Prioritise rest – Fatigue leads to mistakes. (We’ve posted about this already!)
Know your rights – Understand not just safety regulations, but also your rights around fair working hours, conditions, and treatment. No one should be overworked or exploited.
Do your due diligence when hiring – Ensure that those you work with are competent and responsible.
Only step up when ready – And never pressure others to take on responsibilities beyond their experience.
Always read and follow the risk assessment – It’s there for a reason.

The Mark Milsome Foundation is committed to promoting a culture where safety is second nature, not an afterthought. Let’s work together to make 2024 a year of awareness, responsibility, and positive change in our industry.

Yesterday Mona Benjamin, MMF Secretary, gave a pertinent speech on behalf of the Foundation. The speech called for an end to the culture of long hours to protect crew well-being and ensure a sustainable future. Speech is below:

Focus talk, 10 x minutes, 10^th December 2024 at 12 noon

“The industry would be a better place if…we weren’t still talking about hours.”

A few years ago, a friend and I went to a talk given by Matthew Walker, a scientist and professor of neuroscience and psychology, whose work focuses on the science of sleep and its impact – or rather, the lack of it — on mental and physical health.

Afterwards, my friend and I were thinking the same thing — trying to work out how far we’d travelled past what Walker considers the point of no return: that period in one’s life when, after a certain amount of sleep deprivation has accrued, the body and mind will never fully recover. 

My friend and I said our goodbyes, but at home that night, I thought of her. I thought of myself too, and of the many friends and colleagues I’d worked with over the years: the editor on one job who told me that he didn’t think he’d yet recovered from the lack of sleep on his previous film – which had wrapped more than a year beforehand. The location manager, who while preparing boards for the next day’s recces, was jerked awake in the middle of the night, photos stuck to his face, by someone in the hotel room next door, thumping on the wall about the loud volume on the TV: the volume he’d turned all the way up to try and keep himself awake. 

Then there was the friend who one night, was pulled over by the police on her way home and breathalysed. They were convinced that no one could be driving that way, that late, after “just” a day at work and that she had to be over the limit. 

On one of my hardest jobs, we clocked up 93 to 97-hour weeks — for five months. And we weren’t even doing the longest hours: that honour went to Locations, who I think were grabbing 3 to 4 hours’ sleep a night. As we lurched towards wrap, my vision began to blur and a time lag set in between a thought forming and my being able to vocalise that thought. Much later, the friend on the job with me confessed that towards the end, she’d started hearing voices in her head. When I asked her why she hadn’t said anything to me at the time, she replied “I was afraid that you would send me home.”

It’s been a while since I’ve been in the production office, but all of what I’ve just described could easily have taken place last week, or this week, and might even be happening on a production somewhere, right now. 

It’s astonishing to think that as little as six years ago, Walker’s conclusions on sleep were seen as groundbreaking, showing definitively the detrimental effects of inadequate rest. 

So, my question today is not: how did we get here? But rather, what are we still doing here? 

A lot has changed. Although the major reckoning that many thought would follow lockdown didn’t quite happen, we do have Covid to thank for helping to break the silence around so many issues, like mental and physical health, financial stress and the elusive work-life balance — but there’s still a lot to be done. 

It’s no secret that there are recurring themes that crop up around the issue of working hours. 

A big one is the fear of speaking up. When so many are worrying about their next job before they’ve even finished the one they’re on, there is a strong reluctance to be seen as a troublemaker.  When we’re overtired, we don’t just put ourselves in danger; others around us are also at risk. Crew need to be able to speak up without worrying that doing so might affect the way they’re treated on the job or worse, jeopardise future employment. 

Everyone knows that there are days — and nights — when all you can do is throw as many hours as you can at the problem and hope you get through the day; but the standard working days are already long enough, and when these extra hours become the norm; when overtime is knowingly, regularly, scheduled, something’s gone awry. 

We have agreements that all parties work so hard to hammer out, but with no real cap to the number of hours crew can work, and no system in place for giving them an opportunity to recover from those extra hours, a crew’s diligence and willingness to drive the schedule forward can easily be exploited. Anxiety around job insecurity leaves crew vulnerable to punishing schedules when they feel they have no choice but to take what they can get. 

Working in Film and TV is hard. It’s also amazing. A strong work ethic is a given. Everyone turns up because they want to there. Crew don’t need to be continually tested and pushed to their limits to deliver. Overtime needs to be the exception, not the rule. Turnaround times are there for a reason and they need to be respected – for everyone. By “everyone”, I mean those crew who aren’t on set and whose long hours are often dismissed or simply forgotten. I can’t tell you how many times, when I was working, extended hours were only regarded as “real” if they were worked on set. 

And it’s not just the turnaround time that’s become problematic; the mandatory breaks set out in the agreements also seem to get conveniently “forgotten” – we’ve heard from too many crew who aren’t even aware that they are entitled to them. 

Everyone, from producers to line producers and UPMs, from 1^st ADs to HODs, need to prioritise communication, with each other and crucially, within their own departments. When a crew feels heard, the production becomes stronger. An HOD’s responsibilities are about more than creative excellence and a line in the budget.

Here’s just one example of what I mean. An old friend, on her first feature, many years ago, was forced to work such long days that she kept a washbag and change of clothing on her and slept in her car in the studio car park. For this to have happened, Someone either didn’t notice, or Someone didn’t care. Which of those two ‘Someones’ do you think is the better HOD?

You know that I can’t talk about long hours without bringing up the dreaded travel times, which no one can pretend are improving, particularly with the studio expansions of the last decade. If nothing can be done about the time it takes to travel to and from work each day, these hours cannot continue to be ignored. 

88% of respondents to Bectu’s Eyes Half Shut survey from 2017 reported that they had, at some point, felt unsafe at work, or when travelling to and from work, because of tiredness. 

Fast forward to a joint survey the Foundation conducted with Bectu last year, where 77.2% of respondents agreed with the statement: “I am sometimes so tired that I am concerned about my safety on the road travelling to and from work, and/or the possibility that I will work in an unsafe way.”

These statistics are grim and they are NOT okay. It’s time to move away from the entrenched “Out of Sight, Out of Mind” attitude taken towards travel times. If someone is driving to work exhausted, how can they be alert, efficient – and safe — when they arrive? 

Travel times can’t go on being treated as irrelevant to schedules.

Long hours have for too long been regarded as a badge of honour, a rite of passage. A cultural shift is needed. This was one of the driving forces behind the Foundation’s own Health & Safety course: to educate, and to create awareness around minimum standards of safety that crew should be able to expect when stepping onto a set each day, and in so doing, empower themselves, and others. 

But a cultural shift isn’t quite enough: structural change is needed. Working in this industry is a privilege and a joy, but it’s still a job, not a lifestyle. No one wants to think about budgets having to go up, or aspirations having to come down, but let’s not pretend that this isn’t an industry already in crisis. And the toll that long hours take will, in the long-term, have a further negative impact. Not to mention the human element that goes unseen: mental health issues, ill-health and sickness later in life, the result of years of industry burnout. 

Everyone will know what I mean when I say that you cannot really learn how to do your job, whatever the department, anywhere other than on the ground. Reading about film will not teach you how to work on a film; watching a film will not teach you how to work on a film. You can only learn by doing, in the same way that reading a book about driving or watching a video about swimming won’t teach you either of those skills. You have to get in a car, your body has to enter the water. 

And it’s my hope that all the trainees we mentor at the Foundation are able to learn, just as I was, from the very best. But for this to happen, you have to stay in the industry long enough to become your best, and then long enough again to pass the best of what you’ve learnt onto others. 

What does it say about a profession when stamina is prioritised over expertise and experience? When the desire to please and impress at work becomes more important than one’s own wellbeing, and where, in the worst cases, gruelling hours are used to measure the quality of someone’s dedication?

Film & TV’s renowned for being at the forefront when it comes to the technical side of things; not so much when it comes to the human side. It’s time to stop “opting out” of the human element and for everyone to work together towards a healthier, more flexible environment. This is a huge challenge but stronger, safer working practices have been shown to lead to higher-quality productivity in the long-term. And it has been done; there are precedents; it’s not “impossible”. 

And this isn’t all about “The Crew”. The issue of hours goes to the heart of the industry and the bigger question of sustainability. Where is the industry headed if it insists on continually working crew to the point of burnout? We know that people are leaving at an unprecedented rate, for a myriad of reasons. What’s left when crew are forced to walk away — whether through lack of employment, long hours that simply become unworkable , illness, injury, burnout or a combination of all these factors – and they take all their years of experience with them? Who will be left to pass on the torch? And when so many young people today view these hours as an obstacle to a long-term career, who will be left to carry the flame? 

To those who cling to the belief that “This is how it’s always been, crew need to stop whining, be grateful and get on with it”, I say: wake up. Yes, this industry is unique, and extraordinary. I can’t think of any other profession I would have wanted to be in. But it’s a living, not a life. It’s not worth giving up your days, your nights, your health, your family, your friends, or your own life, for. Ever. 

“PRINTS FOR MARK” 2025 CALENDAR GUEST CURATED BY

ACCLAIMED CINEMATOGRAPHER FABIAN WAGNER ASC, BSC

LONDON, 5^th November, 2024:   THE MARK MILSOME FOUNDATION (MMF) is proud to announce the launch of the fifth anniversary edition of “Prints For Mark” a collaborative project between Mark’s widow, Andra Milsome, and Mark Purvis of Mission Digital. This year’s calendar, entitled “Perspectives on Life”, is guest-curated by acclaimed cinematographer Fabian Wagner ASC, BSC, and features a stunning collection of images captured by some of the world’s most prestigious cinematographers, including, Lawerence Sher ASC (The Joker), Erik Messerschmidt ASC  (Mank), Alice Brooks ASC (Wicked),Robert Elswit ASC (Ripley), Mandy Walker AM ACS ASC (Elvis), Nancy Schreiber ASC (Mapplethorpe), Edward Lachman ASC (Carol), Magdelena Gorka ASC PSC (Star Trek: Strange New Worlds), Sean Bobbitt BSC (12 Years a Slave), Ari Wegner ACS ASC (The Power Of The Dog), Dan Lausten ASC DFF (The Shape Of Water) and Autumn Durald Arkapaw ASC (Sinners).

Mark Milsome, a respected British camera operator, tragically lost his life while filming a stunt scene in 2017. His sudden passing sent shockwaves through the global film industry, prompting the creation of the Mark Milsome Foundation, which aims to honour his legacy and advocate for safety in film production, as well as supporting aspiring filmmakers through scholarships and mentorship programmes, continuing Mark’s passion for nurturing young talent.

Fabian Wagner and Mark Milsome shared a deep friendship and a history of working together on numerous projects. Wagner, whose cinematography credits include Game of Thrones, Zack Snyder’s Justice League, Sherlock, and The Crown, brings an intensely personal touch to this year’s curation. Wagner’s own illustrious career has made him a driving force in the world of visual storytelling, and his longstanding friendship with Mark Milsome adds a special significance to his involvement in this project.

“Perspectives on Life” explores themes of everyday moments we often take for granted. Each page of the calendar will feature exclusive, never-before-seen images from renowned cinematographers, offering a rare glimpse into their perspectives both on and off the set.

Reflecting on his role as guest curator, Wagner said:

“When Andra asked me to curate this year’s calendar I was not only deeply honoured, I also felt a huge responsibly to reach as many people as possible. This is not just about keeping Mark’s memory alive, it’s about so many people who died on a set and have not received any justice. I am so grateful to all the wonderful cinematographers who contributed their images to this cause.“

Andra Milsome and Mark Purvis have worked tirelessly over the past five years to produce this artistic tribute. The calendar has grown into a symbol of remembrance and creativity, showcasing not only stunning imagery but also the sense of community that Mark was known for cultivating in the industry.

MMF’s Health & Safety Passport has now been taken by over 5000 people but MMF’s campaign to improve on set safety and the overall wellbeing of crew members continues in earnest, at a time when it is needed more than ever, as highlighted by a host of recent surveys.

Proceeds from the sale of the calendar will directly benefit the Mark Milsome Foundation.  The calendar is available for pre-order through the Foundation’s website www.markmilsomefoundation.com or contact:

“Perspectives on Life” will receive its official launch at an event hosted by Mission Digital and sponsored by Sony, on 21^st November at the 32^nd International Film Festival EnergaCAMERIMAGE in Torun, Poland.

The calendar is available for pre-order. Click here to purchase

Our new trainees, Codie Rees and Henry Piekarczyk, have kicked off their trainee programme with an exciting start. At the beginning of September, they had some insightful sessions with Paul Forest, 1st AC, and Laurence Good, 2nd AC. Last Wednesday, they visited Cinelab, the UK’s only full-service film laboratory and digital dailies facility, where they were kindly shown around by keen MMF supporter Ingrid Civet.

The following day, they attended a CV workshop at BAFTA, led by MMF advisory panel member Sarah Prince and MMF secretary Mona Benjamin. Later, they explored Garden Studios, a modern, high-tech film and TV production facility, guided by Leone Buncombe. They rounded off the day with a tour of Mission Digital, a DIT and digital dailies services company, courtesy of Joe Mackenzie.

We are delighted that our new trainees have had such a promising start. They still have  things to look forward to in the coming weeks. Next up is a session with Vicki Hill, 2020-21 FiD Trainee, who will discuss “A Day in the Life of a Camera Trainee.” Additionally, they are scheduled to participate in an all important first aid course with Suzanne Stickley from First Aid Matters. 

If anyone is interested in providing our trainees, past and present, with training or work opportunities, please email us at contact@markmilsomefoundation.com.

Following the success of MMF’s ‘Get Involved’ campaign, which encouraged individuals to volunteer their services and expertise, MMF is pleased to announce several new appointments aimed at enhancing on-set safety and wellbeing for all cast and crew, and nurturing the next generation of filmmaking talent.

Three new trustees have been added to the board, expanding it from six to nine members:  James Layton, ACO, Assoc. BSC, Camera Operator/Steadicam Operator (Lord of the Rings: The Rings of Power, Silo, The Great), Junior Agyeman-Owusu, ACO, Steadicam Operator (Champion, Meg 2, Inside Man) and Abbi Collins, Stunt Coordinator (Star Wars: The Last Jedi, Downton Abbey, Suspect).   MMF has also created a new Advisory Council, comprising nine specialists and experts from across the creative media landscape.

Incoming Trustees, Layton, Agyeman-Owusu and Collins are three respected film and TV professionals, who provide lived-experience of the safety issues that MMF is committed to improving.   James was a close friend and film industry colleague of Mark Milsome and two years ago, became a mentor for MMF in its Foot in the Door training initiative.  He is keen to further Mark’s legacy and has a strong interest in improving wellbeing and work-life balance for those working in film and TV.   In the past year, Junior has supported MMF at a host of industry events and he subsequently met with MMF Chair, Samantha Wainstein and Mark’s widow Andra Milsome, to discuss initiatives to encourage people from more diverse backgrounds to consider a career in film and TV.   Junior is involved with the ACO training and hosts his own podcast.  Abbi is a stunt co-ordinator and horse master with more than 37 years of industry experience.  She is a founding member of The British Stunt Register and has collaborated with MMF on health and safety panels.  Abbi is particularly interested in addressing the issue of film and TV’s culture of excessively long working hours.

The newly formed MMF Advisory Council will provide Trustees with specialist expertise, knowledge and skills and will comprise the following leaders in their respective fields:

Mary Lawrence, Partner at Osborne Clarke, heading their specialist Health & Safety team, Mary has a particular interest in the media and entertainment businesses. She handles high profile HSE investigations including fatal accidents and serious injuries.

Jake Edmonds, MD of Media Safety Ltd, along with his team was instrumental in the creation of MMF’s Production Safety Passport course. MSL has been delivering bespoke Health and Safety solutions to the film and TV sector since 2003, credits range from major blockbusters such as Harry Potter and Gravity to Downton Abbey and the Harry & Paul show.

Jen Smith, CEO of CISSA, a new independent standards authority, designed to help those in the creative industries who are victims of bullying and harassment.  Jen was previously Head of Diversity and Inclusion at the BFI.

Mark Purvis, MD of Mission Digital, initiated the annual fundraising calendar, Prints for Mark. He has continued to collaborate with Andra Milsome for the last 4 years on the project. Mark regularly facilitates MMF’s presence at events like Camerimage and the BSC awards.

Alexandra Stone is a producer whose recent credits include In the Country of Last Things and The Drowning. She has been on the advisory committees of the British Independent Film Awards and the London Film School’s Screenwriting programme.

John Wightman is currently Head of Market Analysis, Policy & Strategy for Consumer Finance at the Financial Conduct Authority (FCA), John worked for many years in the charity sector as Head of Fundraising, Development and Marketing for Crimestoppers. He has also been Ombudsman Leader & Head of Practice for Consumer Credit at the Financial Ombudsman Service.

Sarah Prince is Co-Founder of PrinceStone and was Mark Milsome’s agent. She has been an active supporter and consultant for the MMF since its inception. She works with the Foot in the Door initiative advising the trainees on areas including health and safety as related to crew contracts and agreements. Sarah is an advocate for a better work/life balance in the industry – strongly believing that tiredness is a major factor in H&S issues and she is keen to work with industry partners to reduce the working hours.

Fabian Wagner is an acclaimed cinematographer with credits across film and HETV including House of the Dragon, The Crown, and Game of Thrones.   He is the founder of First Steps Cinematography, an initiative that strives to improve diversity and equality in the film industry.

The current MMF Board consists of Chair, Samantha Wainstein, Mark’s widow Andra Milsome, and Trustees Philip Sindall, Dermot Hickey, Catrin Lewis-Defis, Sunny Bains, Julia Jones and Daisy Allen.  The Foundation’s patrons are Kirk Jones and Rory Kinnear.

Commenting on this expansion, MMF Chair, Samantha Wainstein said: “I am excited to welcome Abbi, Junior, and James to our Board of Trustees. Their backgrounds in film and TV, along with their personal commitment to improving the safety, well-being, and opportunities for crew members, will help us continue to deliver and develop our mission.  Equally, our new advisory council provides us with valuable skills and expertise, ranging from deep knowledge of the law (Mary Lawrence) to an understanding of broader issues like bullying and harassment (Jen Smith), to the creation of health and safety training (Jake Edmonds), to inspiring new talent (Fabian Wagner). Meanwhile, a host of other actions will be advanced with the ongoing support of Sarah, Alex, John and Mark.  We look forward to continuing to inspire, protect, and empower those working and aspiring to work in the film industry, in honour of Mark.”

The Foundation has confirmed the two new trainees in its annual Foot in the Door camera department training and mentorship initiative will be HENRY PIEKARCZYK and CODIE REES.    Selected from a shortlist of seven, Henry is a graduate of University of Hertfordshire and Codie from University of Falmouth.  A particular focus of FITD is to provide opportunity for students who may come from challenging or disadvantaged backgrounds who might find it difficult to access the film and television industry under normal circumstances.   Tutors from CILECT Film and Television courses in the UK are invited to nominate two graduating students who they deem to have the necessary drive, talent and attitude to succeed in the camera department.   FITD is a one-year mentorship programme that helps bridge the gap between full-time education and employment in the film and television industry. 

Interviews took place at Panavision on 7^th August and the selection panel included MMF Chair Samantha Wainstein, its founder and Mark’s widow Andra Milsome, board trustees Phil Sindall and Julia Jones, and members of the MMF FITD advisory panel, Sarah Prince who was Mark’s agent and is co-founder of Prince Stone, camera operator Harry Bowers and 1^st AC Sarah Rollason.   1^st AC Paul Forest and 2^nd AC Laurence Good contributed to the overall selection process.

In September 2024, Henry and Codie will receive a full first-aid training day as part of MMF’s mission to create safer sets for all, as well as taking the MMF Production Safety Passport.  They will each be assigned mentors and receive advice and support from established crew, at all levels of the camera department.  Site visits and workshops will also be arranged with top camera and technical houses, and support and advice with be provided by the Foundation throughout the year, including advice from agent Sarah Prince on CVs.   All MMF trainees are listed on the Foundation’s Availability for Work section of the website.

MMF extends its gratitude to Mission Digital, Panavision, Panalux, Cinelab, First Aid Matters, Garden Studios and CallTime for their help and support with the Foot in the Door initiative.

Commenting on the two new trainees and the importance of the FITD initiative, MMF Chair, Samantha Wainstein said:  

“For so long, film and TV has been a place where ‘who you know’ has been more important that ‘what you know’. Whilst in recent times, that has begun to change it is still incredibly hard for even the most talented students to get a foot in the door. Our scheme aims to provide support and mentorship for a small number of exceptional individuals who for a variety of reasons, might struggle to get that important first job. I am very excited that Henry and Codie were selected as this year’s Foot in the Door trainees.”

Commenting on his selection as an MMF, Foot in the Door trainee, Henry Piekarczyk said:

“Having studied filmmaking at the University of Hertfordshire, I deeply admire the Milsome family’s impact on the industry. Mark Milsome’s passion and talent inspire me both personally and professionally. My commitment to film drives me to push boundaries and embrace challenges. Inspired by his legacy, I am dedicated to making a meaningful impact while advancing diversity, inclusion, and neurodiversity in the industry as an autistic individual. My goal is to foster a more empathetic and perceptive filmmaking culture.”

Commenting on her selection, Codie Rees said:

“The Foot in The Door mentorship will provide invaluable opportunities I wouldn’t otherwise have access to, including a mentor who can offer support, guidance, and personalised feedback as I transition from education to industry. I believe the foundation’s training will equip me with the skills, knowledge, and confidence needed to succeed as a camera trainee, while any work experience will help me apply what I’ve learned.”

Please do get in touch if you’re interested in mentoring one of our trainees.

To find out more about the Foot in the Door scheme click here.

The Foundation really enjoyed holding the Foot in the Door interviews last week at Panavision. Seven applicants, who traveled from across the country, had the opportunity to meet with the Foot in the Door panel. The selected trainees will be announced shortly. In September they will embark on an exciting journey filled with enriching experiences, including meeting their mentors, engaging with Trustees, visiting camera houses, and attending a camera training workshop.

A big thank you to Andra Milsome, Samantha Wainstein, Julia Jones, Sarah Prince, Sarah Rollason, Harry Bowers and Philip Sindall for participating in the judging process. And thank you to Paul Forest, 1st AC and Laurence Good, 2nd AC for their contribution and to Panavision for hosting us!

Finally a special thanks to the applicants for making the effort to come and see us. We really enjoyed meeting each and every one of you!

To find out more about the Foot in the Door programme please click here

The Foundation is immensely grateful for the generous donation from Rob Bullock, the Executive Producer, and Scott Frank, the Director, of the production ‘Department Q.’ This contribution was made possible by the brilliant idea of Campbell Mitchell, the chargehand standby prop on the production and a friend and colleague of Mark.

Here’s the heartwarming story of how this donation came to be, as told by Campbell Mitchell:

“I brought a pinhole camera to make some images of our sets to give to the cast as gifts.

One of our main sets is a hyperbaric chamber and I was very pleased indeed with this image. Instead of making one image, I made two – one for the appropriate cast member and another for auction.

The image was made with a Zero Image medium format pinhole camera, printed on archival Hahnemühle Photorag paper and framed with non-reflective glass.  Both prints are signed and numbered.

The plan was to auction the print over the last two days of our shoot (Monday and Tuesday).

Half way through the first day, Scott Frank (our writer, director and show-runner) said that he would top whatever the winning bid was by £100 and then raffle the print to anyone who had submitted a bid.  An incredibly generous offer – typical of the inclusive and kind nature of the man.

The ‘winning’ bid was made by producer Rob Bullock at one thousand pounds, so Scott topped this to £1,100.

The subsequent raffle was won by standby costumer,  Kate Dalzell.

I was staggered by the amount raised – I was expecting a couple of hundred pounds.  I have always supported the Foundation where I can – one of my images was used in last year’s calendar and I am so pleased that we were able to raise so much. ”

Pictured above are Phil Pritchard and Campbell Mitchell both captured during their work on the production.