A great chance to put all that experience working out product placement and clearance with the films legal team, into a project that feels like it is putting something good into the world. Film is already going in the direction of wanting to be more ethical and sustainable - we are just wanting to help supercharge the efforts. And help people get to know some pretty cool brands, doing good in the world.

Handling the Hand Props on this production included prop manufacturing, as well as in depth research into this docudrama with considerable and important relevance to our city. This research was conducted with a lot of contact with experts in their field, and individuals with specific experience, it was by no means an easy subject matter to research. But this was with a truly lovely team that were very supportive and brought more joy than could be expected with the subject matter.

Buying within the Set Decoration department under the talented and generous Kathryn Pyle. A beautifully welcoming team and a multitude of opportunities for learning and gaining new insight on this short contract.

Hand Prop Buyer on the Bob Marley 'One Love' Movie

Hand prop buyer on The Three Body Problem which is an intriguing Sci-Fi, written by DB Weiss, David Benioff and Alexander Woo, and incredible Set Design by Deborah Riley.It gave me incredible opportunities for really exciting research with specialists from NASA and in microbiology. The level of detail that the whole team was excited to delve into was really inspiring.

Hand Prop Buyer for the Movie School for Good & Evil, directed by the inimitable Paul Feig. I really upped my game in finding unique and beautiful walking canes - one must, when working with Paul Feig. The delicate swan handled cane as used by Charlize Theron was found at Michael German Antiques in Kensington.

This kind production not only kept me safe during the covid years, but found a way to keep their team supported throughout. Truly some of the most beautiful sets, with incredible detail - which is to be expected from the Oscar winning and incredibly talented team that is Gemma Jackson and Tina Jones. I learnt so much working under this established and generous team of professionals. And I got to work alongside Craig Narramore's incredible team of prop makers who (along with the SFX team) built not one, but two cars, along with all the incredible hand props and dressing props.

Greens Sculptor on this Star Wars movie, working under the Greens Team.

Spectacular sculpting projects on this - including the magical wedding arch. Beautiful things to make designed by the visionary, and incredibly generous Designer Patrick Tatopoulos, I got to work alongside fantastic Sculptors whom I was able to learn a great deal from.

Model making, Sculpting, Leather work. Working under the direction of the best HOD model making Supervisor Clint Whelan, and Craig Narramore, I learnt a lot on this production, and had the best time doing it. When Clint handed my colleague and me a bunch of airplane parts and said 'we need some transformer limbs' I think that was my favourite ever Saturday at work.But - I am still so intrigued by who wrote on the box which the Tuna fish we needed to mould came in 'Tunatron - sushi in disguise' that was a really top moment!

What a fantastic opportunity to work under Alex Garland, who in this movie created something spectacular and led his team with such pronounced vision and support. To this day the only Director I have seen sully engaging with model makers in their workshop, truly creating a team from top down. Under the supervision of incredibly talented HOD model maker Craig Narramore, I think you'll agree that the film was like no other, and I was really proud to be a small part of that.

Working across Weapons making and Prop making with incredibly talented leaders in Clint Whelan and Katie Lodge, under Craig Narramore. I was able to learn a lot from the whole team who were all incredibly talented and skilled. I am proud to say that I put together a great number of the spears used in this film. This film was just beautifully put together and designed by the incredible team of Aline Bonetto and Anna Lynch-Robinson, and I feel very lucky to have been part of that art department.

This is where I learnt a great deal about woodwork under Ben Fletcher, who aside from being an incredibly talented carpenter and model maker, he is also a generous, patient mentor and teacher. I felt so proud of the work that I was able to create under his tutelage, that I would have never have been able to do before that. Obviously the Set Design and Decoration by the Oscar winning team of Andy Nicholson and Tina Jones, gave the opportunity for us as makers to really create spectacular things, and those makes were upheld to a high standard which I was proud to achieve.

Model Making under the talented team of Pierre Bohanna and Jim Barr. I was able to learn from this generous and skilled team, and work as part of the team working on the suitcases, amongst other props. I was really grateful for the mentorship with Emily Bick who apart from being a talented model maker, was very kindly precise and informative in helping me grow in my own skills.

One of the most beautiful films I have ever been a part of making. The incredible team that is Sarah Greenwood and Katie Spencer - who led us in creating this magical world. Under the supervision of Pierre Bohanna and Jim Barr, we spent our time making beautiful baroque pieces, and fake beautiful foods for the buffet, and even a mock up for a beautiful diorama, that I am still sad we never got to make full.

My first foray into Mould making and casting - making fake leaves and trees for the jungle. Under the tutelage of Steve Wotherspoon, and Charlie Dale, who were both kind and generous with their time, helping me to learn and excel in this new skill. I should also note, that Steve was also kind enough to help me get a much better quality finish for my planets on the orrery I made for my Masters - which I was working on along side this job.

Set Design for a number of fringe theatres. And I worked with a number of Children's theatre companies, such as Script Slam, GLYPT, Half Moon etc. I love the excitement of designing for theatre, the problem solving of having to create a number of rooms on one stage, and to manage and magically take your audience to places in often very surreal ways. Theatre is pure magic and it will always have my heart.