Sargent-Disc to set off for the 77th Festival de Cannes

Sargent-Disc, a Cast & Crew company, is pleased to be returning to Cannes this year for the 77th edition of the film festival. Members of the team will be in attendance for the opportunity to meet with industry professionals alongside hosting/supporting several festival events.

UK and Irish Films at Cannes

UK and Irish films will have an impressive representation this year at the festival, including three films from Dublin, London and Belfast-based production company Element Pictures. Andrea Arnold’s sixth Feature Bird starring Barry Keoghan and Franz Rogowski will be featured in Competition – Arnold’s fourth time – and produced by House Productions, counting BBC Film and BFI within the funders. The esteemed Directors’ Fortnight’s Carrosse d’Or award will also be presented to Arnold this year.

Yorgas Lanthimos’ latest collaboration with Element Pictures, Kinds of Kindness, also sits in Competition whilst Santosh, Sandyha Suri’s neo-noir narrative debut with UK company Good Chaos plays in Un Certain Regard.


Sargent-Disc is honoured to be supporting two important events at the festival this year. The Women in Film and Television Brunch, on Sunday 19th May, and our own International Producers Reception, on Saturday 18th May, will both be opportunities for industry figures to network and celebrate the latest successes in UK Film.

Sargent-Disc Team Attending:

Dr. Laurence Sargent (Director, Sargent-Disc; Co-Head of International, Cast & Crew)

Lara Sargent (Director, Sargent-Disc; Co-Head of International, Cast & Crew)

Sarah McKenzie (Business Development Consultant)

Imogen Mohr (Sales and Marketing Administrator)

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If you have an enquiry, or would like to meet with a member of the team, please contact us at

Cast & Crew and Sargent-Disc host a Production Finance Reception

Following a successful Royal Television Society Programme Awards – the first year with Cast & Crew as the headline sponsor – Sargent-Disc, with Cast & Crew held a reception for those working within production finance and the production office on Wednesday 27 March at the Century Club, 61 – 63 Shaftesbury Avenue, London W1D 6LQ.

The evening saw members of the industry meet to discuss the current state of the industry, alongside the range of leading products and services offered by Cast & Crew and Sargent-Disc.

Cast & Crew backs British TV excellence at 2024 RTS Programme Awards

It was a glittering evening for the Sargent-Disc team on 26th March at the 2024 RTS Programme Awards, the first edition of the prestigious event to be presented in partnership with Cast & Crew, its new headline sponsor.

Hosted by comedian Tom Allen, the illustrious ceremony took place at the JW Marriott Grosvenor House Hotel in London. A host of notable screen talent was in attendance including Hannah Waddingham, Bella Ramsey, Jodie Whittaker, Gabby Roslin, Noel Fielding, Chris Packham, Stacey Solomon, Joe Swash, Mark Gatiss, Susanna Reid, Romesh Ranganathan, Kane Robinson and Siobhán McSweeney.

Laurence and Lara Sargent (Co Heads of International and Co Directors Sargent-Disc), John Berkley (CEO, Cast & Crew), Jeff Caruso (SVP and Head of Sales & Marketing FTVS, Cast & Crew) and Andrew Jablonski (VP East Coast and International Sales, Cast & Crew) were joined on the Cast & Crew table by a number of close colleagues and partners from across the UK industry.

Yet again the Awards showcased the world-class talent evident across all genres in British television. The BBC took home the most accolades overall, scoring 21 wins across the 30 categories. Hard-hitting drama The Sixth Commandment (Wild Mercury Productions and True Vision) was the most successful programme of the night, taking home awards for Limited Series, Supporting Actor – Male (Éanna Hardwicke) and Writer – Drama (Sarah Phelps). Judges describe the series as “pitch perfect, with exquisite performances and first-class writing.”

The team behind The Sixth Commandment
Photo credit: RTS/Richard Kendal

In the Drama series category, Happy Valley (Lookout Point/AMC for BBC) took home the award with Judges describing it as “game changing, top-of-the-class drama…sometimes operatic in scale, but attentive to the tiniest detail.” Meanwhile, Partygate(Halcyons Heart Films for Channel 4) took home the award for Single Drama.

Leading Actor awards went to Tamara Lawrance for the BBC’s Time and Kane Robinson for Netflix’s Top Boy. Elsewhere Netflix also picked up the Entertainment award for Squid Game: The Challenge and the Science & the Natural World award for Chimp Empire. Disney+ won its first RTS Programme Award in the Scripted Comedy category for Extraordinary, produced by Sid Gentle Films.

The 2024 Judges’ Award went to ITV’s ground-breaking series Mr Bates vs The Post Office, “for shining a light on the human stories of the real people caught in a living nightmare, and the incredible audience reaction to the series which provoked the government to take action.” Earlier this month, ITV Studios’ Director of Production, Drama, Julie Clark spoke about the success of the show in a special interview with Sargent-Disc to mark International Women’s Day (add link).

The team behind Mr Bates vs The Post Office - winners of the 2024 Judges' Award
Photo credit: RTS/Richard Kendal

The 2024 Outstanding Achievement Award went to renowned producer Stephen Lambert, whose career was recognised for “creating genre-defining formats that have travelled and been reproduced all over the world”. 

Stephen Lambert, winner of the Outstanding Achievement Award
Photo credit: RTS/Richard Kendal

Finally, the RTS also presented the Gold Medal, one of its most prestigious accolades, to broadcaster and producer Dame Esther Rantzen, whose daughter collected the award on her behalf, relaying Dame Rantzen’s words of acceptance that were delivered in her distinctive, inimitable style.

Dame Esther Rantzen, winner of the Gold Medal
Photo credit: RTS/Richard Kendal

Lara Sargent, Co-Head International at Cast & Crew and Sargent-Disc Co-Director says: “What an incredible evening! To see such sensitively made and powerful dramas as Mr Bates Versus the Post Office and The Sixth Commandment recognised by the Judges particularly underlines the power of programme-making, in terms of accountability and creating change in today’s society.

We are delighted that our parent company Cast & Crew is the new headline sponsor for the RTS Programme Awards. Sargent-Disc is proud to play its part in this increased support for the UK television sector. Congratulations to all the winners and nominees who had a hand in producing the world-class content showcased tonight.”

Kenton Allen, Chair of the RTS Programme Awards, said: “Amidst rigorous deliberations by the juries, the winners stand as testament to their unwavering merit. Here’s to acknowledging the achievements of all involved – a reflection of an industry poised for continued innovation and impact in the UK and around the world.”

View the full list of winners and awards gallery here

Header image photo credit: Photo credit: RTS/Richard Kendal

In Conversation with Julie Clark, Director of Production, Drama for ITV Studios

Sargent-Disc celebrated International Women’s Day on Tuesday 5th March, with an inspiring ‘In Conversation’ event with Julie Clark, ITV Studios’ Director of Production (Drama).

Introduced by Director Lara Sargent, Julie recounted the path she took into film and TV, from her Drama Media course at Leeds, to moving to London and finding her first job as a Receptionist in a Soho post-production company. From there she stepped into freelance production, starting out in corporate, progressing to documentaries, then drama-docs and finally into the more complicated world of HETV drama. Moving from the role of production manager to line producer and producer, throughout her freelancer career Julie gained credits on numerous award-winning dramas and feature films.

After a period as Production Consultant for the BBC In-House Drama working across titles including Luther, Our Girl and Silent Witness, Julie became Senior Production Executive at Left Bank Pictures where she worked on Outlander (Starz), Electric Dreams (Channel 4/Amazon), The Replacement (BBC One) and The Halcyon (ITV). Yet the biggest step of her career she describes as moving into her first staff job, offered to her by Executive Producer Sue Hogg whom she’d worked alongside as a production exec at the BBC.

Sue had just set up the drama department at Studio Lambert, and needed someone with years of production knowledge and connections to help expand so she invited Julie to be her Head of Production.  Sue invited Julie to help grow it, eventually making Julie her ‘right-hand woman’. Julie went on to lead production on titles such as The Feed (Amazon Prime Video), The Nest and Three Families (BBC One) before joining ITV Studios as Director of Production (Drama) in 2022. Today she oversees eight drama labels, including Happy Prince, Jeff Pope’s Factual Drama, Patrick Spence, Poison Pen, 5 Acts, Tall Story Pictures, Silverprint Pictures and Quay Street Productions.

On the topic of discrimination she has experienced as a woman in a leadership role, Julie described the challenges of balancing home and work life during her time as a line producer 10-15 years ago whilst her two kids were young. At the time, she explained, the male-orientated nature of the industry meant it was easier to keep details of your home life quiet, in case you were seen as someone who may have to leave early, leading to you being discriminated against when going for your next job.

Recounting those fast-paced freelance days moving from title to title, Julie recalled being inspired by women she encountered around her, giving one particular example of a conversation she had with Helena Bonham Carter. “She was juggling two kids who were a similar age to mine,” said Julie. “Whilst reading in character at a script read-through, she was also texting her nanny, making notes & looking for headache tablets!  We chatted afterwards and I said, ‘I don’t know how you do this,’ and she said, ‘You just do it, day by day.’ I guess a little bit of that has stayed with me.

Julie also recalled having to deal with difficult situations, like asking overtime of some of the more ‘macho’ crew members who would give her a hard time and respond disrespectfully. She explained about having to find the confidence and resilience to stand up against them and say, “Please, we’re asking this on behalf of the production,” and not take it personally. Early on, she decided that authenticity and transparency was the best approach, saying that she always prefers talking to people face to face rather than writing or even having virtual calls since they have become more commonplace.

Anybody who’s got kids and a demanding career is always going to feel guilt,” she said. “When you’re home, you feel guilty you’re not working hard enough. When you’re at work, you feel guilty you’re not spending enough time with your kids. It’s much easier now because people are more open. The industry is starting to encourage smart working and emboldening people to be honest about their home lives. We’re putting well-being at the forefront of conversations. There has been a massive shift, I think, since the days I was line-producing.

Asked about the biggest changes she has seen throughout her career, Julie talked about the shift in attitudes to work safety both in front and behind the camera. “Today, it’s just as much about trust within a crew and speaking up when things don’t feel right. That would never have been talked about even five years ago. I was recently doing the Mark Milson Foundation course and one of the takeaways I got was that the producer’s most important role on set is the well-being of the crew. That’s encouraging.

Reflecting on her proudest achievements to date, Julie talked about being an active member of the Creative Access scheme that she joined when she started at ITV Studios. Taking on a mentee from a small village in Doncaster who was a keen photographer but knew nothing about the industry, Julie helped her hone her CV, gave her some connections and helped her grow over the months. She arranged a day of shadowing for her with Emmerdale’s camera team.

She was so engaged that they gave her the job of making the tea and running for the camera equipment,” she said. “They asked her back for a second day, then a third. After a week, they offered her a trainee grip position. You don’t get female grips, ever. She took that role and has been flying ever since. I feel so proud of her, and of Emmerdale for giving her that opportunity. I think giving people from disadvantaged backgrounds a chance, opening a door for them – not pushing them through, just opening it so they can go through themselves – is really important.

Julie also talked about a sense of pride in having recruited the industry’s first in house Access Coordinator. AC’s have been employed on an ad hoc basis for various productions, but only when there was a clear DDN cast or crew member employed. Now, ITV actively encourage DDN people to come and work with them, both in front or behind the camera, and it has made a huge difference in terms of inclusivity for crewing up and casting. “I’m hoping the approach will spread out into the industry a little more,” she said. “We’ve also been encouraging time sharing, job shares, trying to build flexi working into our day-to-day work.

Closing the session, Lara asked Julie whether she ever expected Mr Bates vs. The Post Office to have so much influence on the Post Office scandal? Julie talked about the challenges that the show presented in terms of the budget; for example, the fact that the Submasters were scattered all over the country, and writer Gwyneth Jones and director James Strong were keen to shoot in each of those actual places. “We had to come to some compromises because we couldn’t afford all of it, but I’m proud that our teams here saw it through and that the show has made a difference. We had no idea it was going to hit like it did when we first got the script from Gwyneth. I think Toby Jones’s portrayal of Alan Bates was extraordinary, and the other cast were remarkable too. It has really resonated with the public and has created an impact that we could never have imagined.