Jay Maidment

Jay Maidment started his career as a unit photographer covering TV documentaries and dramas. Then in 1997 he was introduced to established unit photographer Keith Hamshere, who invited him to be his replacement on the set of Tomorrow Never Dies (1997). Jay seized the opportunity and quickly learnt the art of working on a major action film.  Jay moved through an impressive list of films, working with Hamshere again on two further Bond films, The World is Not Enough (1999) and Die Another Day (2002).  In 2006 he was requested to be the unit photographer to cover Daniel Craig's first outing as Bond in Casino Royale (2006).  The following year he joined the prestigious Society of Motion Picture Still Photographers (SMPSP), with whom he has participated in several exhibitions.  In recent years he has become best known for his work on several action films and has added Marvel Studios to his impressive list of clients. Working on Captain America: The First Avenger (2011), Thor: The Dark World (2013), Guardians of the Galaxy (2014), Avengers: Age of Ultron (2015), Doctor Strange (2016), Spider-Man: Far From Home (2019), Black Widow (2021), Venom: Let There Be Carnage (2021), Morbius (2022), Doctor Strange in the Multiverse of Madness (2022), Ant-Man and the Wasp: Quantumania (2023), Deadpool & Wolverine (2024), Kraven The Hunter (2024), and The Fantastic Four: First Steps (2025).  Equally, he can apply his skill and discreet manner to a broad range of genres, most notably Clint Eastwood's Hereafter (2010), the Wachowski/Tykwer collaboration Cloud Atlas (2012), Tim Burton's Miss Peregrine's Home for Peculiar Children (2016) & Dumbo (2019), Rob Marshall's musical Mary Poppins Returns (2018), and Robert Zemeckis' Here (2024).  In 2017 he became a member of the British Academy of Film and Television Arts (BAFTA).  Jay lives in London, UK, & France.  Information above via their homepage.

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About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.