Production Supervisor, Amelia Southgate

Stepping Off Set With Production Supervisor Amelia Southgate

🎬 How did you break into the film industry/what was your first job?

At 17, I signed up with the Kent Film Office after hearing they occasionally connected local runners with productions. My first taste of set life was on a Shreddies campaign about the iconic “knitting nanas,” we filmed in a disused Hovis factory and an old cinema. It was my first time with a radio and a 10+ hour day and I loved every minute.

Not long after, Director Jan Dunn was shooting Ruby Blue with Bob Hoskins in Ramsgate, and my Grandad’s house ended up being chosen as the main character’s home. I was allowed to sit on set and watch filming with my Grandad. Jan told me she'd be making another film soon and that I should stay in touch. A year later, I turned up at her office with a CV and mentioned I was about to take my driving test. Jan simply said: “Pass your test, and you’ve got the job.” I passed, came back the next week at 8am sharp, and spent the next four weeks working on The Calling with Brenda Blethyn, right before leaving Kent for University.

On the day I handed in my dissertation, my friend, Martin Galvin (now an incredible 1st AD) got a few of us onto an indie feature in Norwich. From there I chased every opportunity across the country, often for expenses only or £50 a day, until I finally landed my first proper weekly payslip with Warp Films on Channel 4's "Southcliffe". 14 years later, I'm still working in an industry I love.

🎬 Did you always know you wanted to be in the Production route?

Not at all. I started out as a runner in the AD department and worked my way up to 3rd AD on small shorts, music videos and indies. But I quickly realised that six-week shoots wouldn’t pay my rent. Production, on the other hand, covered prep, shoot and wrap, so the jobs were longer. I’ve always been good at organising people and keeping things on track, so the move felt natural.

🎬 What advice would you give to Production Office PAs who are starting out and want to move up in the Production department?

The PAs who shine are the ones who master the basics without being asked, then go further by supporting the team, learning, and growing. Be confident in introducing yourself, show people they can rely on you, and always follow through. Focus on the quality of your work, don’t just get it done, get it right. Attitude is also key. A PA who brings positivity and professionalism can lift the atmosphere for the whole team. That mix of reliability, attention to detail and genuine passion is what builds your reputation and moves you forward in the industry.

🎬 What skills do you look for when interviewing for your Production team?

I’m guided more by attitude and experience than formal skills/training. I like to see a range of projects on a CV, indie films, music videos, commercials, studio features etc. because it shows adaptability. Repeated collaborations with the same teams tell me someone is reliable, professional, and valued. Technical skills can be taught, but initiative, attitude, and the ability to work well with others are what make a Production team strong.

🎬 What's a common misconception about the Production Department on a Film?

A lot of people think we just sit in offices, book treat trucks, and send emails, that our work isn’t as demanding as the shooting crew on set. In reality, we’ve often been working for 2–3 months before shooting even starts, navigating constant changes, problem-solving, and anticipating issues to ensure a smooth shoot. We work long hours, evenings, and sometimes weekends, supporting every department, the Director, Producer, cast, and studio requirements. It’s challenging, fast-paced, and incredibly rewarding.

🎬 What's the most rewarding part of your job?

I love the cycle of freelance film work; from prep and script revisions to casting and curating a team of talented, passionate crew. I thrive on the rush of getting everything ready for day one, then settling into the rhythm of shooting. Watching as all the moving parts come together (sets, performances, crew, and equipment) and feeling like you’re creating something special as a team. Finally, the bliss of wrapping principal photography, closing the production office, and knowing your part is done, then waiting to see the finished project a year later.

🎬 What's the most challenging aspect of being a Production Supervisor?

As a relatively new role in the industry, it’s often unclear to others what a Production Supervisor actually does. One of the biggest challenges is becoming the main conduit to the UPM, fielding questions, relaying messages, and juggling multiple demands can sometimes feel like you’re doing everyone else’s work rather than your own. The hardest part is finding the balance between supporting the team and keeping your own priorities on track.

🎬 What's one piece of advice you wish you had when you started, or the biggest lesson you've learned in your career?

It’s okay to say no to projects that don’t serve you. Sometimes planning your finances and waiting for the right team, project, or role can make all the difference. A year of learning, adventure, and supported development rather than one that drains your energy, erodes confidence, or leaves you feeling undervalued. Choosing projects thoughtfully is as important as the work itself.

🎬 Who or what has been your biggest inspiration during your career so far?

I’m inspired by all the women who have successfully balanced raising families with maintaining their freelance careers. Their resilience and determination challenge the industry's norms and carve pathways for those who follow. Reflecting on my own journey, I recognise that while I may not always be the most experienced or the smartest person in the room, I bring valuable skills and perspectives that matter. If I weren't contributing meaningfully, I wouldn't still be here, and that motivates me to keep moving forward.

🎬 Can you share a memorable experience or "pinch me" moment from a past project

Working on Paddington 2 was surreal. The first time I walked onto the stage and saw the prison set in all its glory, with a green screen roof, detailed brickwork, and real stone flooring, I was in awe of people’s skill. Watching 50 dancers and Hugh Grant rehearse the end credits sequence to playback, I couldn’t believe I was part of such an iconic British story, collaborating with so many talented people.

*CallTime Company have made a donation to the UK Film and TV Charity on behalf of Amelia Southgate to thank Amelia for her time, knowledge and insight https://filmtvcharity.org.uk/

Check out Amelia's incredible body of work here: https://www.imdb.com/name/nm4536347/?ref_=nv_sr_srsg_0_tt_0_nm_3_in_0_q_amelia%2520southgate

We hope you enjoyed Amela's interview. 💫👏👏