Documentary Producer - Once Upon a Time in Northern Ireland, Our School by the Tower, Three Wives One Husband, The Tribe, Educating Yorkshire
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ALT A pink graphic card with subdued accent patterns. The card is titled ‘Original Music: Factual’ and the iconic BAFTA mask sits to the right of the card under a light blue and green diamond shape typographic element that reads 'Television Craft Awards'. The mask is stylised with green, orange, pink and blue doodles over it. The BAFTA Television Craft Awards logo sits in the bottom left corner. There is an image fof a young boy holding a gun with the text 'Once Upon a Time in Northern Ireland' below
ALT A pink graphic card with subdued accent patterns. The card is titled ‘Editing: Factual’ and the iconic BAFTA mask sits to the right of the card under a light blue and green diamond shape typographic element that reads 'Television Craft Awards'. The mask is stylised with green, orange, pink and blue doodles over it. The BAFTA Television Craft Awards logo sits in the bottom left corner. The image features a young person with a striped balaclava in front of a van that is on fire. The text below reads 'Editing Team Once Upon a Time in Northern Ireland'
ALT A blue graphic card with subdued pink neon accents. The card is titled "Factual Series” and the iconic BAFTA mask sits to the left of the card under an orange diamond shape typographic element that reads 'Television Awards'. The mask is stylised with neon doodles over it. The BAFTA Television Awards with P&O Cruises logo sits in the bottom right corner. Stills of the following nominees are laid out in two rows: Top Row: Dublin Narcos, Evacuation Bottom Row: Lockerbie, Once Upon A Time In Northern Ireland
ALT Person with face covered in foreground, car on fire slightly blurred in background. Once Upon A Time In Northern Ireland white text. 5 stars from Financial Times, The Times, The Daily Mail, The Telegraph. Text, "James Bluemel's documentary series may be the best television ever made about the Northern Ireland Troubles" - The New Statesman
