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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.

The Mark Milsome Memorial Cup 2024 took place last weekend and was a tremendous success. A large crowd turned out to support the teams. All the teams fought tooth and nail in thrilling playoffs. The exhilarating final match between Eweventus and Hail Mary FC saw Hail Mary FC clinch the cup in a memorable victory. Huge congratulations to the winners, runners-up, and all the teams who took part, and to Callum Crawford for receiving the Bickers Action Player of the Match Award.

Before the final, a clapperboard generously donated by the production of Bridget Jones: Mad About the Boy was auctioned off, raising further funds for the Foundation. Thank you for your generosity!

We extend our heartfelt thanks to all the participants – Hail Mary FC, Eweventus, Barbarians, Bridget FC, Sandman, and Vera FC – as well as the attendees and sponsors for their support. Sponsor included:

Project Hail Mary: Camera Revolution
Eweventus: MBS Lighting
Barbarians: Universal Production Services
Sandman: Sandman, with thanks to WB
Vera: Location Logistics
Bridget: Upstage Theatrical Dry Cleaners
Panavision: Venue Sponsor
Panalux: Venue Sponsor
Bickers Action: Player of the Match Award
Sway: Match Officials

A special acknowledgment and thanks goes out to Andy Woodcock and Harry Bowers whose dedication to organising the event every year has been invaluable. Andy stated:

“It was another successful year for the MMMC, with a great response from fans and players to the new tournament format. The event created smiles and laughs throughout the day, exactly the spirit that we want to evoke when remembering Mark. I want to thank all the teams for entering and give Vera FC a special mention for travelling the length of the country to take part. I’m so pleased to know that the cup has become such a big event that it will draw this level of effort from competing teams. We look forward to next year for an even bigger, even better MMMC25!”

Pictured above: Ryan Gosling with the winners – Hail Mary FC.

We are delighted that our Chair, Samantha Wainstein, is featured in an article entitled ‘Safety on Set’ on Definition Magazine’s website. The article highlights and addresses important issues around health and safety within the film and TV industry and the need to improve current practices. As Samantha points out: “It’s the tragic deaths that make the headlines, and they are tragic, and must not be ignored – but the everyday grind of health and safety is the issue we need to solve.” Being included in articles such as this one helps us amplify our message, reaching more industry professionals and encouraging them to join us in our mission to protect the well-being of all crew. To read the full article click here.

We are thrilled that the Foundation has been featured in British Cinematographer. The article, which is an opinion piece penned by our Chair (Samantha Wainstein), draws attention to the ongoing safety concerns within the film and TV industry, highlights recent accidents and the lack of accountability for crew safety. It emphasizes the need for mandatory safety training, better enforcement of safety protocols, and reasonable working hours to ensure the well-being of crew members.

Below is a snippet from the article.

SAFETY FIRST

Samantha Wainstein, Chair, Mark Milsome Foundation, highlights why it is essential crew protect themselves and their colleagues by participating in training if it is available and demanding it when it is not offered.

As we approach what would have been Mark’s 61^st birthday, there is news yet again of a devastating on set accident during filming, this time in Atlanta on the Eddie Murphy movie The Pick Up, where at least one member of the crew has suffered potentially life altering injuries.

To read full article click here

We are pleased to announce that our Chair, Samantha Wainstein has been appointed onto the AD Guild Advisory Council.

The AD Guild Advisory Council (AC) comprises elected ADG members and non-members from the broader film & TV industry. These individuals bring with them substantial experience and expertise, either as Assistant Directors or within their respective fields. The Advisory Council plays a pivotal role in shaping the Guild’s vision and strategy, with its primary objective being to offer valuable input and guidance that aligns closely with the Guild’s goals and objectives.

Samantha Wainstein says: “I am delighted to have been invited to join the AD Guild’s Advisory Council. It is with great enthusiasm that I embrace this opportunity to collaborate with fellow industry professionals and contribute to the advancement of the Guild’s vision and strategy. The AD Guild have been a steadfast supporter of our Foundation and we are deeply grateful for their continued support. We are aware of the crucial role ADs play in health and safety on set and appreciate the AD Guild’s commitment to deliver our course to their members, thereby ensuring safety on set.

To read the full article about the new Advisory Council on the ADG website please click here

We are proud to announce our partnership with Set Ready, a national training initiative dedicated to training the next generation of film and TV talent as they embark on their careers. Set Ready places diversity and inclusion right at the heart of all recruitment efforts, ensuring that the screen industries workforce reflects the richness of our communities. 

As part of Set Ready’s provision they are enrolling students in our ScreenSkills Level 2 Production Safety Passport course. Currently, they have enrolled 41 of their students on our course, with many more in the pipeline, in a bid to ensure and foster a safe environment on set. These have included Set Ready courses in Manchester, Liverpool and Camden, Islington and Croydon boroughs to name a few.

Collaborating with Set Ready and similar organisations aligns with the core principles of our mission, to ensure safety on set and to help young people get the training they need at the beginning of their career journeys. 

Our Chair, Samantha Wainstein, says: “We applaud Set Ready for their commitment to making safety a top priority in their training programme. There is nothing more important on a film or TV production than the safety and well-being of the crew.” 

Andrew Pavord of Set Ready added, “Safety on Set is essential, we are delighted to work with the Mark Milsome Foundation to give the next generation of filmmakers the information they need to work in a safe environment.”

The Foundation had a fantastic time at the BSC Expo this year. Our stand buzzed with activity and excitement, as many people stopped by to meet the trustees, trainees, and friends of the Foundation. Visitors also had the opportunity to purchase merchandise and buy raffle tickets for a chance to win the framed pair of captivating photos donated by the talented DP, Robbie Ryan. The raffle draw was held towards the end of the second day and the lucky winner took home the lovely photos featuring Ken Loach on his way to work. We are deeply thankful to Robbie for his generous donation to the raffle.

A big thank you to BSC for generously providing us with a stand. We are also grateful to everyone who helped out at the expo, to everyone who took the time to visit us, and to all those who continue to support us in our endeavour to make sets safe.

Mark Milsome Foundation Year in Review

The Foundation has had a fantastic year advocating for better health and safety practice, actively participating in events to help spread awareness of our mission, forging new relationships with production companies and education/training providers. The overwhelming support from all of you has been truly inspiring and we look forward to your continued support in the coming year. Below are a few of the 2023 highlights.

Mission Digital / illuminatrix Fundraising Event – This event was held on behalf of the Foundation at 100 Wardour Street. A diverse range of our merchandise was available for purchase with all proceeds directly contributing to fund our mission.

Cinegirl Event at CVP – A panel discussion with speakers Laura Smith (Director), Abbi Collins (stunt coordinator), Annabella Wood (stunt performer) and Andra (MMF Founder) focused on stunts and safety.

First Aid Course for Guild Trainees Applicants – one day course at the Guild of British Camera Technicians, sponsored by the Foundation.

Health & Safety Talks for Film London – we guided various groups of students, who were doing a week long film course at Film London, through our Skillset level 2 production safety passport course.

Mark Milsome Memorial Cup – the annual football fundraiser was held in a bid to raise money for the Foundation and featured teams comprised of production crew.

Mark’s 60th Birthday – we commemorated Mark on what would’ve been his 60th by bringing back the much-loved green cap and launching a bottle green t-shirt and sweatshirt.

‘Foot in the Door’ – we interviewed a number of Film and TV students from different educational institutions at Panavision for our ‘Foot in the Door’ traineeship programme and selected Lily Coney, Stephanie Chao and Louie Walters.

Mentor for ‘Foot in the Door’ Trainees – Agnieszka Szeliga, a seasoned camera operator, assumed the role of mentor for the MMF trainees, offering guidance, support and invaluable industry insights over the next year.

Screenskills Level 2 Production Safety Passport – many production companies and colleges took up the MMF H&S course, providing an opportunity for thousands of current and aspiring crew to learn essential safety knowledge.

HSE Working Minds – In honour of World Mental Health Day the Foundation partnered with the HSE Working Minds campaign to assist businesses and employees in understanding effective methods for preventing job-related stress and promoting mental well-being.

Mark’s Gift – The annual gift of £2000 was awarded to Zara Trott, someone we believe Mark would’ve wanted to support.

Health and Safety Survey – The Foundation, in collaboration with Bectu, launched a health and safety survey, entitled ‘A Few Minutes for Mark’, with the aim of assessing and improving the safety of UK film and TV crews.

Cameraimage Festival – The Foundation attended the Cameraimage Film Festival in Poland to explore how other countries are tackling health and safety. During the festival, we took the opportunity to launch our 2024 calendar, “Our Planet’s Perspective,” at a special event.

Mark’s Six Year Anniversary – we commemorated Mark’s six year anniversary since his death on 18th November and highlighted the importance of strictly adhering to health and safety guidelines.

Mad Dog 2020 Casting Fundraiser – Mad Dog organised a fundraising hike through the Forest of Dean on behalf of the Foundation which was attended by members of the Milsome family.

BBC News Piece – The BBC ran a compelling news piece, widely covered in the media, drawing attention to health and safety on set and raising questions about the risks involved for actors and crew.

Pinewood Futures Festival – The Foundation participated in the exciting annual careers event held at Pinewood Studios for those looking to embark on a career in the Film and TV industry.

On the 6th anniversary of the tragic death of respected British camera operator Mark Milsome, The Mark Milsome Foundation and Bectu have released the findings from a survey of film and TV crew about current views on health and safety training and protocols on British sets.

Alarmingly, nearly three quarters of respondents said they have felt their safety or that of a colleague has been compromised at work.

The survey highlights a worrying trend regarding crew’s reticence to speak up about their safety concerns – all those who reported incidents asked to remain anonymous for fear of jeopardising future employment.

The survey findings reveal an overwhelming consensus that safety training and protocols need to be improved and that production companies should take ultimate responsibility for issues affecting shooting crew on a film/TV set, even when there are freelance contractors involved in the work.

Over two-thirds of survey respondents identified real concerns regarding people being promoted to positions of responsibility without adequate experience or safety qualifications. 33.6% agreed that this is a problem and 34.0% strongly agreed.

Given the dynamic nature of freelance work on film and TV sets, the survey highlights the crucial need for all crew to feel assured that they are collaborating with competent and safety-conscious individuals. Key safety-critical roles must meet established standards of competency and must have objective and transparent craft-specific qualifications supported by recognised training and work experience structures.

Overall, there is a clear need for enhanced safety standards and qualifications and the industry should work towards making the achievement of such qualifications, and an adherence to these standards, a pre-condition of working in the sector. Basic safety training and orientation for all crew members should also be a prerequisite.

For these reasons, Bectu and MMF are calling for a commitment from the industry to ensure that everyone working on a production has completed a Level 2 Production Safety Passport, and that everyone in a supervisory role has completed a Level 3.5 Passport.

The survey also highlighted the need to address a culture of long working days, which result in unsafe working and commuting situations. 96.3% of respondents had a 10+ hour day as their most recent experience of a normal working day, not including travel, overtime or other unpaid working time (49.5% of respondents had worked a day of 10-12 hours, and 46.4% had worked a day lasting 12 hours or more).

Two thirds of respondents reported that they would work longer-than-standard hours at least once a week (23.5% said that long-days-plus-overtime were the norm).

72% agreed or strongly 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.”

Approximately 80% of respondents’ daily journeys to and from work took more than one hour and more than half took longer than 90 minutes (roughly one third took longer than two hours and more than 10% took longer than three hours).

When asked about their longest ‘door to door’ day of working/commuting in the past 12 months (i.e., the longest day that they had worked during the last year, the actual ‘working day’ including overtime, but not including the commute), over 96% of respondents had worked days that lasted longer than 12 hours.

Samantha Wainstein, Chair of the Mark Milsome Foundation commented:

‘Mark’s death serves as a poignant reminder of the critical importance of strictly adhering to health and safety guidelines. The Mark Milsome Foundation was established in his memory, and one of the core aspects of our mission is ensuring that no one on a film set dies for the sake of a shot again. This survey has gathered data on first-hand experiences from crew, allowing us to assess the progress in health and safety practices since our last survey and providing strong evidence that safety training for all is a necessary requirement. We are committed to advocating for safer sets until substantial and effective change is realised.”

Spencer MacDonald, Bectu National Secretary, said:

“This survey has shown that shooting crew have serious concerns about the standards of safety on UK film and TV sets. This is a dynamic industry where people are often working with hundreds of crew members that they have never worked with previously. It also has a dangerous long-hours culture and people are routinely working many months where scheduled working days last more than 12 hours, and the workers concerned are expected to drive long commuting journeys.
Many crews have never had even the most basic training or advice on safe working. Many departments don’t even have established safety protocols, training, or certification – and where they do, productions don’t always enforce them. Because of skills shortages, crew are often promoted to safety-critical roles without having the required training or experience.”
Bectu and the Mark Milsome Foundation, are calling on the industry, and their representatives, to establish industry norms on safety training and to work together to find solutions to the long working hours culture.

The Foundation is thrilled to announce that BBC News has done a piece about health and safety, raising questions about the risks involved for actors and crew members whilst on set. There are growing calls for health and safety to be made a priority.

Featuring Rory Kinnear (Patron), Andra (Founder), her daughter, Alice and Samantha Wainstein, (Chair). 

In the words of Chris Ross (President, British Society of Cinematographers):

“There have been too many incidences and close calls. The industry is scaling up in a way that has never been before. If the status quo stays the same there will be more injuries there will be more deaths and I’ll be back here in 20 years time having the same conversation.”

Six years ago today, Mark Milsome, the cherished husband, father, friend, mentor, and colleague was killed whilst filming a car stunt on a set in Ghana. His death serves as a poignant reminder of the critical importance of strictly adhering to health and safety guidelines in the film industry. The Mark Milsome Foundation was established in memory of Mark driven by two guiding principles at its core

One crucial aspect of our mission is dedicated to ensuring that no one on a film set loses their life for the sake of a shot again. We are committed to advocating for safer sets, tirelessly working until substantial and effective change is realised. Additionally, inspired by Mark’s dedication, another vital aspect of our mission focuses on supporting and mentoring young talent, helping them break into the film industry. Much like Mark did during his lifetime, we aim to provide opportunities and guidance for aspiring individuals seeking a foothold in the film and TV industry.