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Studio Stories featuring George Ward-Thompson
- Katapult Team
- 3 days ago
- 3 min read
Welcome to Studio Stories presented by Rhianna McGonigal, a new podcast feature from Katapult as we explore the people we are and the projects we work on. This episode we talk to our Production Assistant, George Ward-Thompson and his involvement on the WW2 Tunnels Experience we designed in Gibraltar.
Listen to Studio Stories
Q: Can you start by explaining what "The Tunnels" project is?
"The Tunnels" is a heritage-based attraction located within the historic Rock of Gibraltar. Our goal was to help bring its history back to life, guiding visitors through the expansive, man-made tunnels and telling the story of Gibraltar's crucial role during World War II. Catapult's work focused on about half a dozen rooms, where we designed displays and interactives to explore key historical moments, including wartime strategy, the civilian evacuation, and the fascinating history of espionage that took place there.
Q: As Production Assistant, what was your role on this project?
The Tunnels was one of my first projects, and I joined during the production phase. My role was focused heavily on asset collection. This meant I was responsible for meticulously researching and sourcing the right historical photographs to tell the story. It involved a lot more than just finding a picture; I had to ensure every image was of high enough quality for the display and, most importantly, that we had cleared all the usage rights.
This is a typical part of the Production Assistant role, which is incredibly varied. On any given day, I might be supporting producers, assisting with research, managing shipping paperwork, or helping on the company side with databases and vendor communications.
Q: The Tunnels deals with real WWII history. Did that add a layer of pressure to the project?
Absolutely. It was definitely intimidating. There's a significant weight of responsibility when you're telling real stories about real people, especially concerning a subject as important as WWII. My focus was on making sure the assets we used were correct and respectful.
The impact of it really hit me when I saw the first video walk-through of the finished attraction. I found it a very moving moment. To see the culmination of all that work and know that we were telling these important stories... it was a real "wow moment" that highlighted the cultural significance of the project.
Q: You later had the chance to visit the attraction with your family. What was that experience like?
It was fantastic, and it also served as a real-world example of how different "play types" engage with an experience. My brother, who is definitely a "moving" play type, immediately ran to all the spy-themed interactives, like the "spy name" generator and the spot-the-difference game. My father, on the other hand, fits the "collector" play type; he moved meticulously through the space and read every single information panel. It was a perfect illustration of how we have to design for all the different ways people take in information and have fun.
Q: Your work isn't just on projects; you're also passionate about the wider themed entertainment industry. Can you tell us about your involvement?
Yes, I'm heavily involved with the Themed Entertainment Association (TEA). I'm on the TEA NextGen Committee, where I help run the NextGen Discord server. It's a community hub for students and new members of the industry, offering workshops and networking opportunities for those who might not be able to travel to in-person events.
I also recently participated in a TEA roundtable discussion on imposter syndrome and social anxiety. It's a feeling I think many people have, especially when new to the industry. We discussed how important it is to talk about it openly to help build a supportive community where everyone feels they belong. This focus on people is a key part of what defines our work, both in the projects we create and the industry we're part of.
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