RTS TV Jobs Guide 2018

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VVGETGET INTO INTO II SS II ON ON HOW TO SURVIVE AS A FREELANCER LOUIS THEROUX’S INTERVIEW TIPS WRITE THE NEXT LINE OF DUTY HOW TO GET THE PERFECT SHOT 5 Smart moves 6 A running start A foot in the door is the It’s the ultimate entry- first step, says Holly Close. level job and a hard Now you need to graft, but it can open keep it up all kinds of futures there

8 Cast your net wide Without you, the show would have no exclusives, no guests and no archive footage

12 Headline snapper Covering the news is all about hitting deadlines in the Story first face of unforseen 10 events Good storytelling is central to editing – and editing is central to all TV shows

14 Hear this! It’s all about knowing what’s possible, says Strictly’s Tony Revell It’s all in the light 13 The pros shed light on shooting Centre of big-budget 16 attention dramas Keep it raw, rather than falsely polished – you can be yourself and still stand out, says Chris Stark

2 20 Write now Line of Duty creator Jed Mercurio Making headlines took time out of filming 18 series 5 to share his advice for writers Follow your curiosity, says who want to see their work on screen Louis Theroux – but don’t forget your audience

22 Freelance survival guide Job hunting How to make a success 24 What employers of self-employment – are looking for in and who to turn to for your CV, letter advice and support and interview

26 Get in training 28 Love TV? So do we Find out about a wide variety The RTS is committed to of training schemes from helping young people make broadcasters, producers and their way in television professional organisations

Television is not an industry for the faint hearted, but the results can be hugely rewarding. In this magazine you’ll find tips and inspiration on how to get your foot in the door of this Code of conduct challenging and exhilarating business. 30 Royal Television Society Editor: Ed Gove Don’t just be good at 3 Dorset Rise, London EC4Y 8EN Contributors: T: 020 7822 2810 Holly Barrett, E: [email protected] your job – be good to W: www.rts.org.uk Matthew Bell, Registered Charity 313 728 your colleagues, says Holly Close, ISSN 0308-454X Kate Holman, Printer: FE Burman Adrian Lester Pippa Shawley, 20 Crimscott Street London SE1 5TP Ashley Whitt © Royal Television Society 2018

RTS Careers Guide 2018 www.rts.org.uk 3 How far could you run? StartRunner as a runner and your ambition could take you a lot further

Post- Library/ Lighting Camera Sound Production Script production dispatch Researcher electrician assistant technician co-ordinator reader co-ordinator assistant

Post- Grams/ Camera Data Production Assistant Script Casting Best boy production boom operator assistant manager producer assistant assistant producer operator

Editing Editing and Sound Casting Gaffer support media Producer Script editor recordist director manager support

Lighting Editing Location Production Colourist director assistant manager director

Camera Track layer supervisor

Dubbing Sound Executive Editor Director mixer supervisor producer

NOTE This chart excludes the specialist technical and Director of Senior broadcast engineering roles, as well as on-screen talent, Series photography editor to concentrate on the jobs that are open to people who producer enter the television industry as a runner.

4 On location with BBC One’s Hard Sun Smart moves

ongratulations! You’ve honed round is more than just a way to keep the your CV, done some net- A foot in the door is team’s caffeine levels up. “Kitchens are a working and your hard work great place to meet people – eventually has turned into your first TV the first step, says you’ll be asked, ‘What are you working on’ job. But now you’ve got your – which is a perfect moment to do your spiel foot in the door, how do you and say, ‘Let me know if you need a hand on turn it into a lifelong career? Holly Close. Now you anything’,” says AP Simon Lee. CStarting out on a week-long position here It’s also helpful to figure out your own or a few days of running there can feel need to keep it there unique selling point, and make sure other pretty daunting, but no matter how junior people know about it, too. Knowledge you the role or short the contract, every job is a already have, such as speaking a second chance to build a name for yourself, not just language, knowing how to drive or having at the company you’re working for, but in disaster, and get you a reputation as some- a specialist academic background, can help the wider industry too. one to rely on in a crisis. you make the leap from runner to People move around a lot between roles Small things can make a big difference on researcher – but be proactive about learn- and productions, so word travels fast about a hectic production. Whether it’s staying ing new skills on the job, too. dependable new talent. Stand out in one later to help with photocopying or remem- Finding a quiet moment to ask about job, and you could soon be being recom- bering how the crew take their coffee, being camerawork or learn about editing demon- mended for plenty more. kind and using your initiative will help you strates that you’re keen and engaged, and For Emily Fielden, talent executive at make a great impression. And doing a drinks can help prepare you for your next role. Studio Lambert, the opportunities to And lastly, even when the job is over, impress come before you’ve even set foot keep chatting to the contacts you’ve made. on set: “Do your research. You’re so much Logger Suna Yokes says: “It helps to keep in more charming when you’re well prepared.” touch with friends you make along the way As well as checking out the route to the and to let each other know when companies

studio or researching the programme you’re you’re already in are looking for people. Holly Close working on, make sure you’re ready for “People really value recommendations anything the day can throw at you. Having a from people they already know.” pen ready to take notes, or a phone charger You never know when an old acquaint- you can lend to the director can easily avert ance could be your new colleague.

RTS Careers Guide 2018 www.rts.org.uk 5 RunnerRunner

A running

6 start On the set of ITV’s Victoria Christmas episode

Runner’s diary

Ellie Robins, junior researcher remembering to update the other runners, giving tips for working with It’s the ultimate I already had several runner credits high-profile contributors. That before starting on Comic Relief, so I meant that I could pre-empt prob- entry-level job and knew the importance of adaptabil- lems before they arose, or make a ity and a calm head when new coffee before it was asked for, a hard graft, but challenges arise. Good communica- which can make you a favourite on tion was particularly important; the spot! it can open up all kinds of futures

runner has one of the most varied job roles in television; one day you could in an office setting up a meeting, and the next you Top tips could be on a busy production shoot. Although you won’t be able to escape making teas and coffees, the job Arole can differ significantly for each sector of the industry. It’s an incredibly demanding industry and [not for] anyone who wants to clock off at six.… Being a grafter, Office Runner This role is the most nine-to-five job you can making cups of tea, carrying people’s find in TV and is based in an office, either during kit and learning the job as you go pre-production or the edit of a production. Daily Nicola Brown, producer/director, The Secret Life jobs involve transcribing footage, collecting and of Four Year Olds and Educating Cardiff distributing post, topping up refreshments, tidying the office, hiring kit, answering the phone and administration. It might not be glamourous, but The people who stick around are fun, showing enthusiasm could land you a job on the next project. hard-working, resourceful and innovative.… Being rude is the worst thing you can do in telly Pictures: ITV/iStockPhoto.com/Shutterstock Production Runner Mike Matthews, director, Jamie’s 15-Minute Meals Working in production is often seen as the most exciting runner job, but the hours can be long and you will be on your feet for most of the shift – so A degree is not essential… as long as wear comfortable shoes! Duties include looking after contributors, setting up kit, collecting they show initiative, have intelligence lunches and buying props. It’s beneficial to own a and are quick learners.… These are the drivers licence as many jobs involve driving attributes we’re looking for, regardless contributors and kit to different locations. of qualifications.… Be a great team player and don’t get above yourself Post Production Runner Claire Walls, series producer, The Apprentice A runner at a post house will be on hand to keep edit suites tidy, provide food and drinks, deliver and collect rushes, set up meetings and general People want to help people who want reception duties. If you have no experience in TV, to learn. There’s no such thing as a this is a good place to get your foot in the door as employers will often look for customer service stupid question.… If you have the experience for the role. energy, passion, enthusiasm, and the bravery to be creative, that’s what’s Starting at the bottom is always going to require going to make you stand out hard work, but it will pay off when you have a breadth of experience, great references and a list of Gemma Nightingale, series producer, Ant & Dec’s

contacts to make the next step in your TV career. Holman Kate Saturday Night Takeaway

RTS Careers Guide 2018 www.rts.org.uk 7 Researcher

First Dates Channel 4 Cast your net wide

esearchers are everywhere in someone who can hit the ground running, television. While the name because they already have useful contacts seems self-explanatory, addi- Without you, the and understanding.” tional descriptive words, such Craig Langran started out as a junior as “shooting” or “casting”, can show would have researcher before becoming a development render the job title confusing and then a casting researcher, so is well and mysterious to outsiders. placed to outline the distinctions between RSpecialist researchers are easier to set no exclusives, no the terms. apart. They include archive researchers or “A development researcher will be writ- people who have degrees in subjects, such guests and no ing up whole treatments and [junior as science or history, relevant to the show. researchers] might support them [with Alex Cowan has worked as a freelance archive footage back-up] research,” he says. archive researcher for more than 20 years. The ability to use a camera is very valua- His role requires a technical but broad skill- ble for budding casting researchers who set. Being responsible for finding archive occasionally have to shoot and cut casting footage to convey a particular mood or event candidates with any kind of knowledge that tapes for producers. means that “you’re lucky enough to be much might benefit the production. Langran says that there are no set criteria closer to the creative coalface,” he says. Helen Thompson, a talent manager at BBC for becoming a “self-shooting” researcher. Even if a candidate for a researcher post Northern Ireland, explains: “Productions are New researchers shouldn’t be afraid to try isn’t a specialist, producers tend to favour on a short time frame. They will prefer and learn new skills on the job, however be

8 Top tips

Get off the internet and on to the phone – or, even better, get out of the office MY BIG BREAK Emma Loach, executive producer Justine Allan’s career has soared since she won an RTS Student Television Get to know as many of the producers and Award in 2010 for Creatures of the executive producers as you can Compost in the Postgraduate Entertainment category – only Annie Conlon, senior producer/director 10 months after first picking up a camera. Winning the RTS award Use multiple official and verifiable sources. “opened doors” for her, she Commercial resources may be sponsored says, and gave her “a confi-

and have an agenda dence boost to say: ‘You Allen/Discovery Justine Pictures: can do this’”. Carrie Britton, executive producer After receiving her MA in wildlife documentary production, Allan quit her Ask what you can do. Don’t wait to be told. sales job and moved to the Be proactive and productive home of nature programming in the UK, Bristol. “I knew I had Amy Jenkins, producer to strike while the iron was hot and get moving,” she recalls. She credits a meeting with Charlotte Get over the very British concern Crosse, at the time a of feeling as if you are bothering someone. series producer for That’s part and parcel of our profession Justine Allan (above, on a CBBC wildlife location for Discovery’s Dogs: show, as her Nicky Huggett, head of development, Popkorn TV The Untold Story) and her a big break. own film (right) Creatures She joined of the Compost the BBC as Never take information straight from a junior Wikipedia – always check the sources researcher, where the Selina Tso, researcher experience of creating her award-winning children’s nature short was directly helpful with the tasks she was given. The post eventually led to a job as researcher for Mike Gunton, the creative head of the Natu- ral History Unit. After working on several projects for the BBC, she fulfilled every wildlife program- mer’s dream of working with Sir David Attenborough. The experience was “simply Cast your net wide amazing”, she says. “That voice just holds your attention.” careful not to promise things you cannot Since then, she has criss-crossed the deliver. There’s a fine line to walk here globe, from Alaska to Botswana, as an assis- between pushing yourself to learn new skills tant producer on a six-part series for Dis- as you work and misleading the producer covery. She has now landed her first into counting on you delivering something assistant director role for a feature-length that you can’t. documentary that will take her to Canada “If you don’t know something, don’t try to and Cambodia. blag it,” advises Emily Hudson, casting Her “wild dream” – making an award- executive at Studio Lambert. “Be honest if Be determined, winning feature-length nature docu- you make a mistake.” mentary – is getting closer by the day. Holman Kate Whatever kind of researcher you become, there is a core skillset to all roles. According to curious – and Ophelia Byrne, a producer at BBC Northern Ireland, decent researchers are “determined, ready to go the ONLINE LINKS curious – and ready to go the extra mile”. Whether you stick to one path or do a bit extra mile How To Be the Best Researcher handbook of everything, strengthening your core skills rts.org.uk/researcher-handbook and being prepared to go beyond your basic duties should help you land the researcher Researcher tips video playlist

role that you really want. Barrett Holly rts.org.uk/researcher-explained RTS Careers Guide 2018 www.rts.org.uk ‘’ 9 Editor

Story firstPlanet Earth II

ike most editors, Matt Meech as it can possibly be. While it helps to be a started out as a runner, working Good storytelling is perfectionist, having a short-term memory at a post-production house in can also come in handy, says Matt. “It really Soho where he spent his spare central to editing – helps to be able to look at a sequence you’re time learning how to use editing working on like it’s the first time you’ve software Avid. seen it. The longer you’re working on it, the Matt put together a showreel which and editing is central harder it is to do.” Limpressed his bosses enough for them to On projects of the scale of Blue Planet II, give him a job as an assistant editor. to all TV shows editors spend hours going through rushes, Since then, he’s moved to Bristol, first selecting shots and working out how to tell working on a feature film for Wallace & the story that the director wants to tell. Gromit creator Aardman Animations, then Rather than trying to plan a programme, going into natural history programmes. He Matt and his colleagues are tasked with started on The Really Wild Show, working up creating six-minute sequences, and these are to landmark series such as Planet Earth II. eventually woven together to form a film. “Natural history films are the most chal- After days spent agonising over sequences, lenging and entertaining programmes to Matt likes to go back to his original cut to see work on,” explains Matt. “They have to have if there is anything that has become dulled as much drama as Game of Thrones, be both during the re-edit. “You can go into a spiral concise and scientifically true, and be so of picture changes and commentary changes beautiful that you can’t switch over the that creates a really flat sequence.” channel.” It doesn’t help that animals don’t As a professional perfectionist, you need tend to follow a script. to know when to stop, says Matt. “I will The camera teams spend months amass- often get 10 hours of material for a six-min- ing footage for a series such as Planet Earth II, Matt Meech ute sequence, so there is an infinite number and Matt feels a great responsibility for of ways to craft a story.” Pippa Shawley making sure that the end product is as good

10 l Never cut the beginning first – you don’t know what exactly the film is [yet] Bonnie Rae Brickman, film and TV editor

l How to establish a location, how to cut a scene, how to compress time – those are skills you need to master Bonnie Rae Brickman, film and TV editor

l Take a film that you love and cut a trailer for it. Turn a horror film into a

Top tips Top romance. This is what one does in the Planet Earth II cutting room! Ben Stark, documentary editor Pictures: BBC

l Editing’s about pace, and how you pace yourself as much as pacing the film Rupert Houseman, documentary editor

l Pick up your smartphone, film some videos, edit them, stick them on YouTube Planet Earth II Josh Douglas, assistant editor at Barcroft Media

YouTuber Charlie Kilman, of Our Chang- tion as snakes pour from the rocks. ing Climate, analyses the famous Racer Twist: The iguana gets caught by the Snakes vs Iguana sequence from Planet snakes, abruptly stopping his escape. CUTTING TO Earth II in a video which, Matt Meech So sudden is it, your eye wants to keep says, captures his process. tracking across the screen. Falling action: A rapid series of shots With 28 shots over 2 minutes 4 seconds, allows Matt to manipulate the timeline THE CHASE Matt echoes the narrative of a Holly- and gradually release tension as the wood film – which, he says, allows him snakes fall behind. a ‘subliminal way to ease people into a Resolution: The iguana escapes. Deconstruction of new story.’ Charlie divides the sequence into six parts: Charlie explains that Matt’s editing Exposition: Using a shot/counter shot brings out a simple narrative in order to a classic sequence technique, Matt establishes the location ‘maximise sympathy, imply opposition of the snakes (frame left) and the lizard and build suspense’, ‘transforming an (frame right). animal that may fail to engage an audi- Tension: A series of shots show the ence in real life, into an emotional and snakes now moving right to left – as if educational hero.’ For a fuller under- creeping up behind the lizard. standing of the editing of this scene, Conflict:The chase begins! Three wide watch Charlie’s video at bit.ly/Editing-

shots bombard viewers with informa- Animals and check out his channel. Gove Ed

Planet Earth II

RTS Careers Guide 2018 www.rts.org.uk 11 Camera Channel 4 Headline snapper Covering the news is all about hitting deadlines in the face of unforseen events

Dai Baker on assignment

hannel 4 News cameraman Dai Wales and the West Country. He’s also on After Dai’s had a call about a story, he Baker has travelled around standby to go further afield, having covered drives off in his van to film and then edit the world, including a 10-year the inauguration of Donald Trump in the US the package. On the scene, he takes a stint at the broadcaster’s and the independence protests in Barcelona. moment to plan what he needs to capture. Washington bureau. The unpredictable nature of the job is Knowing what you want for a sequence He’s now based in Wales both the best and worst thing about it. With can also help you plan what you’re going to where, alongside a reporter and producer, tight deadlines, it’s vital to stay calm under shoot. This means getting a variety of wide Che films and edits news packages from pressure. and close-up shots that can be pieced together to tell a story. Editing his own work has been invaluable in helping him know what to film – “It makes you think, ‘what I find windows and doorways very idiot shot this? Oh, it was me.’” useful (framing) devices Teamwork is another crucial aspect of the Bafta-winning documentary job. Dai’s relationship with his reporters means he can almost hear script lines form- cameraman Steve Robinson ing in his head as he shoots, something that When lighting, helps him plan what to film. “I’m not a don’t just think about journalist, I can’t write, but you… get an idea of what they’re looking for,” he explains. Learning to windows. Remember skylights, passing cars, Since joining ITN as a trainee in 1994, Dai light properly has learned a lot, often through the mistakes is probably ambient city lights he’s made. From putting the wrong lens on more Cinematographer Tim Palmer a camera to forgetting a spare battery and driving off with equipment on the top of the important car, he’s tried not to repeat his errors. than the The RTS award-winner’s top tip is not to camera stuff Keep the camera on a worry about getting the best footage, just to make sure you’ve got the pictures. Drama Director shot until there is a good Get to the right place at the right time, he of Photography place to cut says. “It’s no good being the best camera Ed Moore Series Producer Kristin Hadland person in the world if you’re stuck behind everyone else because you didn’t get there

until 9:00pm,” Dai warns. Pippa Shawley

12 It’s all in the light

BBC Two’s Peaky Blinders

ighting is key to camera – is vital for cinematographers. The pros work, says cinematographer Everything you need to learn can be Laurie Rose. It’s essential to found in classic films, Laurie suggests. shed light establishing a look or mood But despite the creativity of the role, for a scene, he explains: being organised and knowing your “The important thing is equipment are critical. “You’ve got on shooting to tell a story and create mood to find the right tools for the job,” Lusing light.” advises Laurie. big-budget Between them, Laurie and Matt agrees that it is very cinematographer Matt Gray easy to get left behind. “Things dramas have credits on shows as varied come at you that you just can’t as Peaky Blinders, Broadchurch anticipate,” he warns, listing and Riviera. bad weather and broken cam- “More light sources… can slow eras as just two threats to a you down” warns Matt. “Having cinematographer. “You have to fewer light sources for a scene be able to react accordingly.” means that you can move quicker.” “You’re always working with the For Laurie, the three-point lighting other departments throughout,” framework – which places one light Laurie Rose explains Laurie. “It’s that collaboration source behind the subject as well as key really, there’s something magical

and fill lights at 45° to their right and left about it.” Whitt Ashley

RTS Careers Guide 2018 www.rts.org.uk 13 Sound

Hear this!

ound is not understood by very possible, and being able to explain that to many people,’ warns sound the rest of the production. supervisor Tony Revell, whose “You have to develop cunning ways of credits include Strictly, the NTAs getting what you need without directors and Baftas. “Producers, directors shouting at you because… the microphone is or anyone on the visual side of in the way.” Sound, he adds, is as much television really don’t know what sound about cutting out what you don’t need as it Sinvolves or how it is created.” is capturing what you do: “It conveys the Building a career in sound, Tony believes, majority of the programme… [so] if some- is the same as it was when he began over thing goes wrong then people start shouting.” 40 years ago. “[You] need to do the work at As such, planning for when things go the coal face,” he says, and work your way wrong is essential – “If you can actually up from sound assistant to sound supervi- hear something is wrong and go about sor. A degree isn’t always necessary, either. fixing it, you are 90% of the way there.” Due to how specialised TV sound is, there Tony Revell However, getting into the industry isn’t aren’t many specific courses. “I don’t think I easy. “Look at credits at the end of pro- know who has done a degree,” he says. “It’s grammes,” suggests Tony. “Do the research. never come up.” It’s all about knowing Get in touch. Most people have got websites. The role of a sound supervisor is quite Talk to them and take it from there. simple, says Tony: “You have to interpret the what’s possible, says “Sit in with people and get to know production’s requests in a way that is feasi- [them]. It’s amazing what you pick up from ble to achieve”, by knowing what is or is not Strictly’s Tony Revell watching someone else do the same job!” Gove Ed 14 SOUND ADVICE Aspiring composers need to find talented collaborators, says Sarah Liversedge

elevision is a crowded industry. level to you [so] that you can hopefully go For every Hans Zimmer, David on a journey with them.’ Arnold or Danny Elfman, there are Aspiring composers should also look at dozens of aspiring composers organisations such as Basca – the British eager for the opportunity to make Academy of Songwriters, Composers and their mark in TV and film. Authors – which represent individuals It’s not a completely closed coming up through the system. Tshop however, says Sarah ‘They want to meet young Liversedge, Managing Director up-and-coming composers, of independent music pub- and they want to help and lisher BDI. ‘There are many support them,’ Sarah says. different [ways in which] ‘If you meet a composer someone can approach who is experienced… then somebody such as me.’ offer to help them. Ask them ‘If I think that, if some- if they need an assistant!,’ body is talented and she adds. ‘It’s all about aligning they’ve sent me a link of yourself with the right people.’ Sarah Liversedge their SoundCloud… I will While it might seem an remember it. I would normally say impregnable industry, there are [to] keep in touch,’ she says. However, opportunities for young composers. there is a fine line between being eager and ‘With music publishers like me, send me a link!’ being relentless: ‘Being bombarded isn’t neces- she insists. ‘On our websites we always have sarily the right approach.’ demo submission… There are so many produc- New composers emerge in different ways. tion companies out there – drop them a line, Sarah suggests that it is through networking ask if you can come in for a cup of coffee. that someone can make an impact. Show interest in their programming” ‘Make sure you work with people who you ‘It’s all those little things that count and

think are really talented and are at a similar gradually piece together if you have the talent.’ Gove Ed A ONE-MINUTE BBC One’s Strictly Come Dancing MASTERCLASS With sound recordist Simon Clark

If you want to break into sound, the best thing you can possibly do is network, network, network, and speak to us! Find out who we are. We’re all PEOPLE YOU available on websites like the IPS – Institute for Professional Sound – and AMPS – the Association for Motion Picture Sound. Get in touch and tell us about yourself. Tell us how SHOULD GET passionate you are about what you want to do.

TO KNOW Don’t get hung up on the technology. Doing our job on location with actors and directors and all the rest of the crew – it’s not actually a completely techy job. It’s all about IPS – Institute of Professional who you get on with and how you get on with people. Sound – ips.org.uk Write. When you watch the TV or you’re watching a film, write down the credit of the Amps – Association of Motion person who recorded the sound and find out about them. When you get in contact with Picture Sound – amps.net them, you can say, ‘Dear Simon, I liked your work on...’ and, because we’re all kind of egotistical, we’ll read it and think you’re absolutely wonderful. Basca – British Academy of Songwriters, Composers Don’t expect it to be glamorous. A lot of people think, ‘Great, I’ll be in the studio and Authors – basca.org.uk recording my favourite band.’ I spend most of my time standing in rain storms desperately waiting for the actor to remember their lines.

RTS Careers Guide 2018 www.rts.org.uk 15 Presenter Keep it raw, rather than falsely polished – you can be yourself and Centre still stand out, says Chris Stark of attention hris Stark is a strong believer need to be a shiny presenter to stand out.” You don’t need expensive equipment to

in making your own luck. It is this approach that has enabled him to be creative and stand out from the crowd, BBC When he was offered two branch off and explore other projects. says Chris. “You get more of a groundswell days a week on The Scott Mills Alongside his career in radio, he has gone behind you if you keep things raw rather Show in 2012, he did every on to front his own celebrity interview series than falsely polishing something that thing in his power to get for Channel 4 and a number of short docu doesn’t need to be.” noticed. He recalls: “I would turn up at mentary series for BBC iPlayer, as well as The industry is hard to crack, but you C8:30am and stay all day and help wherever DJing at venues around the country. should never give up, he insists:“There’s I could – no one asked me to leave!” “I use all these other platforms to make always a point at which you think you need He has since gone on to become a house [my brand] bigger,” he explains. “If you have to give up on the idea of working in this hold name on Radio 1 and has carved out one central source of content that you’re kind of job, [when you’ve] been knocking an exciting career, making fresh and inter producing, whether that’s putting stuff on on every door and no one’s been listening. esting content for the station. YouTube, or a podcast that you’re doing “It will be during work experience that “Try and find a way of being yourself once a week, use that as your focus and use you’ll meet someone who will try and help which inherently will make you different,” other things as assets for it. “Having that you. It’s those unexpected opportunities that he suggests. “I like to find the kind of bridge core, that one thing you’re doing regularly, make all the difference between people who between these megastars and what we do allows all the branches that come off it, succeed and those who perhaps give up. on a weekly basis, like going to the pub. You [and] little opportunities arise from those “You’ve just got to make sure you’re trying

can be yourself and be different, you don’t branches.” every possible door.” Holman Kate

16 YouTube is not about making money. If Smile a lot. Try and do work experience you don’t like what you are putting out everywhere. Be a runner. Be an and you’re only [doing] it for views, the excellent runner. Have something else audience can see that and they’re not to do if doesn’t work out. Try and work idiots. Quick as you grow, you can kill for your local radio station. Write for your audience just as quick your local newspaper. Use a vast Yianni Charalambous, YouTuber, presenter, Dave’s amount of eyeliner and good luck Yianni: Supercar Customiser Claudia Winkleman Pictures: BBC/Richard Kendal/Bryan Adams Pictures: Kendal/Bryan BBC/Richard UKTV

Decide what your USP is, what makes you different from anyone else. If you’re a vlogger, get as much experience as you can being on screen Anna Richardson, presenter, producer and journalist

Understand what you want, what you’re going for, understand the business and be passionate. If you don’t like what you’re doing, it comes over ‘’Holly Pye, director and agent ‘’

The Ganges with Sue Perkins What I learned coming off Bake Off was Top tips Top that… I didn’t have to have a mask on all the time. I can just be myself. Nadiya Hussain, Bake Off winner Wanting to be famous and recognised and rich isn’t going to work. Start from ‘I love people, I’m interested in stories’ and you stand a really good chance Sue Perkins, comedian and broadcaster The ability not to panic under pressure helps – especially when you’re hearing all manner of stuff in your It really helps for you to know where Alex Brooker ear doing live TV the camera is at all times. Move so that Alex Brooker, co-host of you’re not blocking it! Channel 4’s The Last Leg Simon Reeve, travel documentary maker

RTS Careers Guide 2018 www.rts.org.uk 17 Journalism

Follow your curiosity, says Louis Theroux – but don’t forget your audience

ou don’t need to be a ‘traditional’ TV star to make a career in television. Look at Louis Theroux. ‘I was not a conventional pres- ence,’ says the documentary maker, who is now entering his 24th year in television, with over 50 films under hisY belt. His opportunity came in 1994, when he joined Michael Moore’s series TV Nation. ‘I went into the interview with Michael, saying “I’ll do anything” and I genuinely meant it: writing researching or doing anything.’ That is his first tip for tomorrow’s Therouxs: focus on making good TV. ‘Let’s say that you want to be a documentary presenter – you don’t go in saying, “I really want to be on TV”. It comes across as a little bit over-

weening. Actually, what you want to do is make BBC great TV shows.’ Making headlines Louis’ opportunity came when he was sent to documentaries – however, he is quick to add, relationship with your interviewee. ‘It’s not just meet apocalyptic cults to get a date for the end you must not forget about the audience. getting your questions answered,’ he insists. The of the world. ‘I am curious about the world, but I am also interviewer needs to create a subtext of goodwill Despite his inexperience and nerves, he not out there just to scratch my own itch of and trust, and offer the subjects a sense that they believes it was his curiosity that made the inter- curiosity. These things need to work in concert: are being listened to. views work. ‘I thought, maybe if I’m curious and I the needs of the subject, my own curiosity, and ‘You can make these things sound really com- just want to meet these people and… talk to the sense of getting a story that we can tell in an plicated but, in the end, it is just a case of trying to them, maybe that will carry me through this.’ engaging way onscreen.’ be a relatively nice guy while getting the ques-

That curiosity is the backbone of his Most important, he says, is building a tions answered.’ Gove Ed

18 you are willing to sit in your underpants on a Saturday alone, editing a video week after week, I feel like, no matter what you want to do, you will do it.”

Just dream big “If you get upset [that] someone went to a good school, then use that as inspiration to fight against it. I remember feeling really bad, but then I was like, ‘You know what? Fuck it! I’m going to be the first person from Bowring Comprehensive School to be editor of something!’”

I did a lot of work experience “When I was at university… I worked at the Discovery channel, The Scotsman, The Edin- burgh Evening News, I worked at the BBC. I realised that I did not want to be an individual part of a documentary because, on that, I was junior researcher or runner or

Pictures: BBC/Paul HampartsoumianPictures: BBC/Paul something.”

Discontent pushes you to go on The inability to find happiness in what you achieve leads to success and probably PUSH ON UP depression. You literally obviously can do it. Why en Zand won the Young Talent There’s no excuse to can you not? What is it of the Year Award at the RTS have a boring video about me that is differ- Television Journalism Awards “Don’t give people the ent? Nothing. 2016. His career began while opportunity to switch off. Just realise that you are still at university, when he You have to get straight adequate, you have the launched a travel website, into the action! More actual- Benjamin Zand right to ask that question. Informed Explorer, and began producing ity! Make sure you have things There is nothing about you as Bvideo content. going on around you. Don’t inter- an individual that means that you As editor of BBC Pop Up, he travelled the view somebody sitting in a chair. don’t. If you place confidence in hard world making current-affairs documenta- Interview someone going into a war! work, you can be confident no matter what. ries. His most recent series, Ben Zand: Cults, Gangs and Gods, launched on BBC iPlayer in I am a guy who is just obsessed Nobody is going to offer you a job the early 2018. with success first time they see you Born in Liverpool and without any con- “Very early on, I identified where I wanted At networking events, don’t try and get a nections in journalism or the BBC, Ben has to get to. Because I identified that, when I job, try and make friends. forced his way up through hard work and came to the BBC I was very quickly like: That way, when the opportunity arises, talent, and along the way he has picked up a ‘Who does that?’ ‘What departments do you are in the position that could poten-

Ed Gove Ed lot of handy advice. that?’, ‘How can I speak to those people?’ If tially get you a job. ASK LISTEN ASK AGAIN

Have an objective. Get some training. If We’ve got to be really clear about our Think about the most engaging way you’re interested in a region, whether it facts, and it probably means that we’re to tell a story, what will make a viewer be the Middle East or North America or going to have lots of really boring turn up the volume. Start your piece Europe, read a lot. That’s how you get an journalism, because ultimately it is just with this to catch the consumer from edge to understand what’s happening the facts that matter the outset Jeremy Bowen, BBC Middle Matt Frei, Channel 4 News Esme Wren, head of business, politics and East editor specialist journalism, Sky News There are two things. Do [Work] out your own your reading. Really do The audience want… someone who is style. What is it? your work. Don’t busk always going to be asking questions. Is it quizzical? Is it stuff. And listen carefully Whatever [their private] views are… is forensic? Is it: ‘Sorry, when you are talking going to be secondary to making sure I missed that, could to someone that they get to the questions and hold you say that again?’ Victoria Derbyshire, The Victoria power to account Emily Maitlis, Newsnight, BBC Emily Maitlis Derbyshire Programme, BBC Tom Bradby, ITV News at Ten

RTS Careers Guide 2018 www.rts.org.uk 19 Line of Duty creator Screenwriter Jed Mercurio took time out of filming series 5 to share his advice for writers who want to see their work on screen

ow is a great time to get into writing for TV. There have never been more opportunities for scripted programming. To stand out from the crowd, an idea should seem original and distinctive. NWhile the breadth of programming has increased, the traditional formats have remained dominant. Your writing should fit the standard models for a mini-series, a serial or an episodic series: 30 minutes for comedy, 60 minutes for drama. Write a pilot episode that showcases your idea plus a few pages describing how the series will develop and what format it will follow – either a continuing story (serial) or stories of the week (episodic), and whether the story will conclude at the end (mini- series) or set up further instalments (return- ing series). Only send your script to a producer/ commissioner who might respond to your writing. The simplest method is to target people who’ve recently produced or commissioned programmes that resemble yours in style or tone. Even if your idea doesn’t make it, you’ll have a script to serve as a calling card for your writing. Once you’ve written one script, write another. And another. Professional TV writers have lots of ideas in develop- Write ment because you never know which one’s going to catch someone’s eye – and because it can take months or more for producers and com- missioners to make up their now minds. Mercurio Jed Target people who’ve recently produced or commissioned programmes that resemble yours

BBC in style or tone 20 ‘’ COMPETE TO WIN

Don’t be afraid of a little competition, says Bafta looking for the next challenge, however he is New Writer 2016 winner, Ryan Brown. running up against a common problem for young Historically, it’s been possible to get your screenwriters: an overcrowded industry. break with a killer script and the right oppor- ‘I find in the UK that it is very much the same tunity, now young writers need an ‘in’. [names],’ he says. ‘I am, literally, having Competitions, says Ryan, are key: ‘I don’t meetings where people are saying, this is see how you would do it without them. fantastic but, with you being a new writer, Maybe that’s just my experience, but I I think you need maybe a few more cred- cannot see how an unrepresented its for someone to take a chance on you.’ screenwriter could [break in].’ On top of his writing, Ryan is still But don’t get stung by the entry fee. holding down another job to make ends Many competitions – including Bafta’s meet. ‘I don’t know how many writers – do charge for submissions to cover costs. survive,’ he marvels. ‘You make a little bit of Some are less legitimate and can charge as money and you try and make that last as long much as £600 an entry. Be smart. Ryan Brown as possible. Now, with a writing credit for BBC comedy ‘I can’t wait for the day where I can just take

Coconut recently added to his CV, Brown is six months to write!’ Gove Ed

Top tips

I start the writing process by having all There is no secret ingredient. It is just: these funny stories. I put them all on make sure you’ve done enough post-its and put them on a wall and research to do this properly [mix] them around until I [feel] a story Jack Thorne, Harry Potter and the Cursed Child, and a character come out National Treasure Phoebe Waller-Bridge, Fleabag You can do all the planning and Marnie Dickens outlines, but you just need to sit If you just construct goodies and down, write and let it go baddies, it’s very two- Daisy Goodwin, Victoria dimensional. If you’re going to make your hero… truly heroic, the Phoebe I have this exhaustive process Waller-Bridge person they deal with has to be as of doing character breakdowns complex as they are Sally Wainwright, Happy Valley of every single person – at times, you go ‘gosh, I can’t choose a [character’s] favourite colour again!’ Marnie Dickens, Thirteen

RTS Careers Guide 2018 www.rts.org.uk 21 Freelancing MANAGE YOUR BRAND 0 Think about what you put online. Would you want an employer to see this? 0 Do not show up late or cancel at the last minute –it’s a tough reputation to lose 0 Set up your phone voicemail so that people know they have reached you 0 Do the job you’ve been hired to do before you offer to help with Survival something else! guide How to make a success of self-employment – and who to turn to for advice and support

hether you land your if you’re completing your own tax return; first job with one of l If you need to chase a bad debt, act our broadcasters or quickly and professionally – Bectu supports with an independent members with monies-owed cases; company, remember l Get connected by taking part in events that television produc- and trade shows and exploring sources of tion should reward not just those who own help. There’s lots of useful advice and train- Wthe assets but every single person who ing to take advantage of (some free or sub- contributes to the production, from the sidised) and great contacts to be made, runner upwards. including online; And there’s the rub. Despite the profita- l If your role requires insurance make sure bility of the sector, and recognition that the you’re covered and, if you have kit, be sure UK is a world leader in the field, massive to cover this, too; interest in working in TV means that it can l Develop a professional persona. You don’t be hard to get started and get paid for the need to sacrifice your personality to be busi- work you do. Building a sustainable career ness-like but remember a good reputation is the ultimate challenge for the new entrant. among colleagues – being a good time- The best advice to new entrants coming keeper, delivering what you promise and into this dynamic area is to be your own considering others – will help you succeed; critical best friend: l Be mindful of your online reputation, too. l Value your skills and your commitment Don’t say anything in that space that you and others will, too; wouldn’t want an employer to see. l Don’t work for nothing (all this does is We in Bectu, the industry trade union, encourage exploitative employers) – the love television and have the highest regard law states that workers should be paid at for the people who make it. We also know least the national minimum/living wage; the level of commitment required to get l Put a time limit on any project that isn’t established, and the personal sacrifices helping you to make the progress you want; needed to get ahead. Long hours and lack of l Get it in writing! If you’re an employee personal time are familiar concerns. Low you should receive a contract within eight pay, or no pay, is another key challenge for weeks. If you’re freelance and don’t receive the new starter. But Bectu exists to help. a written contract, set out Whether it’s the long-standing legal right your own understanding to paid holidays or the conclusion of an of the terms and send important new agreement covering TV this to the employer drama (from 1 December 2017), Bectu con- – this will help to tinues to press the case for a better, fairer clear up any misun- workplace for both staff and freelancers. derstandings later; To find out more about the benefits of l Keep a record of Bectu membership visit www.bectu.org.uk/ all the work you do welcome. Take a look at the free advice in our (and tax and NI paid, Freelance Survival Guide: www.bectu.org.uk/fsg

or unpaid). This is vital Sharon Elliott, Bectu BBC Inside No. 9

22 WORK-LIFE BALANCE IN 3 STEPS

0 Don’t work unpaid. Volunteering can only be legal MANAGE YOUR BRAND with registered charities. Students may be unpaid INVEST IN YOUR OWN only if it is part of their course Think about what you put online. 0 0 Freelancing is tough. Budget for working nine TRAINING - BUT DO Would you want an employer to see this? months out of 12 Do not show up late or cancel at the YOUR RESEARCH 0 0 You are entitled to 5.6 weeks paid holiday a year last minute –it’s a tough reputation to lose (this includes bank holidays). If untaken holidays Set up your phone voicemail so that FREE Carbon Literacy 0 remain at the end of your contract, you should receive 0 people know they have reached you a lump sum. Do not view this as additional pay, though. Training – wearealbert.org Do the job you’ve been hired to do Production Safety 0 Take holiday within your contract where possible 0 before you offer to help with Passport – bit.ly/HiiveSafety something else! 0 Remember that training courses do not guarantee you a job – but they are useful

FILE THIS 0 File anything from HMRC that YOUR FINANCES IN 5 STEPS comes in a brown envelope Keep every callsheet contact Track your salary and invoices in a spreadsheet, 0 0 or unit list and open a separate bank account just for income Keep a list of jobs you have – make sure you’re aware of what the National 0 applied to Minimum Wage is 0 Set aside 25% of your income for tax and National Insurance (NI) – unless your company deducts tax and NI at source 0 Keep your receipts. Many of your expenses are tax PEOPLE TO KNOW deductible when it comes to doing your tax return Bectu – the industry trade union 0 Make sure you’re paid appropriately. Some people 0 – www.bectu.org.uk will offer you a lump sum. Are you being paid for the Hiive – Professional Network for the hours you’re working? 0 For advice on tax issues relating to TV, email creative industries. www.hive.co.uk 0 People looking for TV work: Runners [email protected] 0 Facebook Group. bit.ly/tvrunnersFB RTS Careers Guide 2017 www.rts.org.uk 23 JobJob hunting hunting

1 Writing a CV

Your CV is your life on paper. Try and make it look good

Format it properly. If it’s difficult to read, it won’t be read

Make sure your contact information is correct and accurate. Phone number and email are essential

You don’t have to write a personal state- ment. But if you do, make it punchy and interesting. Don’t be trite

Be careful of adjectives. ‘Hard-working’, ‘enthusiastic’ and ‘passionate’ don’t mean anything

Include your key skills and assets: awards, qualifications, languages, visas, editing sys- tems, whatever.

Keep it factual, recent and relevant

Keep it short – one page ideally, two pages maximum

Don’t lie. Liars are easy to spot and TV is too small a world for a big mistake like that

Also, don’t exaggerate. Everyone bigs up their experience, but if you were only there for a week, don’t say you were there for months

Make sure your references know who you are. And that they don’t think you’re rubbish.

Pay attention to detail. A spelling mistake or bad grammar could put you out of the running

Put your name in the document title so that it’s easy to find

Remember, hiring managers receive loads of CVs. They’re looking for a reason to stop reading yours. Don’t give them one.

Export it to PDF. It’ll stop it looking weird due to reformatting BBC One’s Hard Sun

24 2 Your cover letter

There are no fixed rules for writing a cover letter. Everyone who reads it will If you’ve made be looking for slightly different things, but there are some clear dos and don’ts videos, put them online DO think about what you are after DO come across as human What are your best points? What impression are Some places prefer formal cover letters, some you trying to give? Why are you doing this? don’t. If you aren’t sure, keep it formal, but don’t and send links sound like a robot. You’re ‘excited’ to apply, you DO meet the job description are not ‘most keen to express an interest’. It’s wordy, boring and will make people tune out If you can’t do the job, don’t apply for it. If you can, then prove it DON’T waffle on DON’T be generic DO find out who you are talking to Cover letters should be brief. No more than one Do you love TV? Are you passionate? A team If you were told who to address your application side of A4. Employers want to get a feel for what player? Willing to work long hours? Excellent. to, brilliant! If not, do your research. Pick up the you are like, they don’t want your life story. Because that’s what’s expected. If you’re not, phone if you have to. As a last resort, using ‘Dear They’ll call if they have questions. Also, put it in you’re in the wrong industry [Production Company].’ r your email. Not as an attachment. DON’T repeat your CV DO mention your availability DON’T crack jokes This is your chance to explain why you’d be If they want someone who can start on Monday, Everyone loves a funny co-worker, but a jokey perfect for this job. Don’t waste it on reiterating say you’re available on Monday. If you’re not cover letter is a fast track to the No pile. People what your CV already says. available, don’t apply. Simple in the media are busy. They don’t have time to care about your bad jokes, and, even if they do, DON’T use a stupid email address DO write from scratch! no one has ever hired a runner on the basis of a good one-liner. The same goes for emoticons, IIt doesn’t matter if katylovestoparty123@ Write a new cover letter every time. Copied and gimmicks, origami cover letters, kissograms, myemail.com. [email protected] should pasted templates don’t do the job whatever. Don’t risk it be the one sending this email.

3 So you’ve got an interview

Dress to impress-ish. First impressions matter, Don’t ‘we’ everywhere. By all means, tell your- so no torn jeans or tracksuits. But don’t overdo it, self that you already have the job,‘’ if that helps it’s TV, not banking. Think back to your work your confidence. But don’t start telling your experience and dress slightly smarter than the interviewer what ‘we’ will do. It’s annoying people you met in the production office Be clean. Don’t stink. How does that still Beware the ‘quick chat’. A ‘quick chat’ is an need saying? interview. Don’t be fooled. It might be in a coffee shop. Your interviewer might be cool and young Do you have anything you’d like to ask us? This and friendly, but they are not your friend. is just as much a part of the interview as anything. Remember that Have some questions prepared that show you have read the job description, researched the Come prepared. Bring a copy of your CV in case company and could imagine yourself working for they don’t have one to hand, and anything else it. It is also your chance to show your interviewer they have asked for. Write down your availability what sort of things concern you and that you just in case, and have your contact details or could envisage yourself doing this job business card, if you have one, to hand Where have you been? Don’t turn up late. If Know your stuff. What has the company been you’re running late, call and give warning. These working on? Did you like it? Don’t be afraid to things happen. It’s not the end of the world, but say no, but be prepared to explain why. Know don’t just leave someone hanging what you wrote in your CV and cover letter and be able to expand upon it Mind your vibes. Being interviewed is a test to see if they want you – so don’t be creepy or odd. Excited? Tell them about it. If you don’t seem Even a whiff of snobbery will have you out of the keen then you won’t get the job. You can be sure running. Being nice to everyone is vital, including of that. Don’t bring me down. receptionists, PAs, cleaners and security.

RTS Careers Guide 2018 www.rts.org.uk 25 Training Get in training

Take your pick

BBC Production Trainee Scheme Shine Four Weeks

The BBC Production Trainee Scheme offers an This four-week scheme is open to anyone over 11-month contract to young people interested in 21 who is interested in a career in TV. Trainees TV and radio. Trainees are mentored by senior spend one week among Shine’s office runners, BBC staff and will be given three different work then the rest of the time will be spent working on placements over the year. Past trainees have a production. And there may be a job at the end worked on shows including EastEnders, Doctor of it for the best candidates! Who CBBC and The One Show. shine.tv/jobs bit.ly/BBCPTS Channel 4 Production Trainee Scheme Channel 4 Nations and Regions Apprentice Aimed particularly at groups underrepresented Based in Glasgow and open to anyone aged 18+, in the television industry, this 12-month contract this role throws apprentices into the deep end to places trainees at one of C4’s production com- work with the Nations and Regions coordinator panies around the country. By the end, trainees organising events and working with production will have the skills and connections to forge a companies outside of London on behalf of Chan- career in the industry. nel 4. This paid opportunity lasts for 12 months. bit.ly/C4prodtrainee bit.ly/C4nations IMG Advantage scheme The Edinburgh International Television Festival – The Network This 12-month scheme places individuals across the technical, editorial and management divi- The Network is a free intensive introduction to sions of sports production company IMG. It is working in the TV industry. Each of the 50 Net- open to those with a degree qualification or workers will spend four days at the Edinburgh relevant work experience. International Television Festival, learning practical http://www.advantagetraineescheme.com/ TV making skills, will receive an industry mentor and get access to exclusive alumni events and Sky Sports News Apprenticeship job placements. bit.ly/EITFnetwork This two-year course offers school leavers the chance to work in the hub of Sky Sports News. UKTV Apprenticeships Scheme As well as working on the planning, graphics, production and digital content of the programme, Offering an alternative to university, the UKTV apprentices will have the opportunity to shadow scheme places its apprentices in departments reporters and work on location. across the company including creative, commu- bit.ly/Skyschemes nications, social media and even PA to the CEO! Apprentices leave the 18-month scheme with a tailored diploma qualification and a host of industry experience. https://whitehat.org.uk/apprentices

26 Broadcasters, producers Find even more training schemes online Bafta Scholarships and professional bit.ly/BAFTAscholarships BBC Extend Hub organisations run a bit.ly/ExtendBBC BBC Three Talent Pool wide variety of training BBC Writers Room bbc.co.uk/writersroom schemes. Here’s a Channel 4 Apprenticeship Programme 4talent.channel4.com selection Channel 4 Industry Talent Schemes (Writing) bit.ly/C4Writing Channel 4 Training Schemes bit.ly/C4schemes Creative Access www.creativeaccess.org.uk Creative Skillset Production Coordinator Programme http://creativeskillset.org/pctp Creative Skillset Trainee Finder www.creativeskillset.org David C Spencer, The Media Mentor twitter.com/themediamentor Diva Apprenticeships divaapprenticeships.com EndemolShine UK Brightbulb endemolshineuk.com/brightbulb Edinburgh Festival Ones To Watch bit.ly/EITFtowatch Indie Training Fund indietrainingfund.com InterMedia, LGBT Media Network intermediauk.org Journo Resources journoresources.org.uk Mama Youth Project mamayouthproject.org.uk Media Parents mediaparents.co.uk Media Trust [email protected] Mediargh Jobsite mediargh.com MonologueSlam monologueslamuk.com My First Job in TV twitter.com/myfirstjobintv Pact indie Diversity Training Scheme bit.ly/Pactscheme Project Noir twitter.com/projectnoirhub Royal Television Society Bursaries (see pages 28-29) rts.org.uk/bursaries RTS Futures rtsfutures.org.uk Scene TV scenetv.co.uk Sky Academy skyacademy.com/get-involved/ Think Bigger Training Opportunites thinkbigger.uk.com TriForce Creative Network tcn.com TV Watercooler Jobs Site Database tvwatercooler.org Pictures: Michael Kurtz/Getty Images/CSU Pictures: Michael Kurtz/Getty

RTS Careers Guide 2018 www.rts.org.uk 27 About us Love TV? So do we

The Royal Television Society is committed to helping young people make their way in television

RTS Bursaries RTS Futures

RTS bursaries offer financial sup- RTS Futures is the strand of the port to those from a low- RTS dedicated to helping young income background to study adults get into the broadcast a television-related university industry. course. We offer events and masterclasses with Recipients are awarded grants of £1,000 accomplished industry professionals. per year of their course, as well as being Recent events have included a self-shoot- paired with an industry mentor. ing masterclass hosted by TV survivalist Ed Stafford, a behind-the-scenes look at how The scheme is open to students who wish First Dates is made and a session on TV to study undergraduate degrees in televi- comedy delivered by the makers of Mrs sion production or broadcast journalism at Brown’s Boys and 8 Out of 10 Cats Does Creative Skillset-accredited universities. Countdown.

There are also a number of grants open to We also run a range of practical work- those studying computing or engineering shops, covering everything from interview – highly sought after skills in this industry. technique to basic camera skills, as well as our annual Christmas Quiz and For more information, email Summer Party. [email protected] RTS Undergraduate Visit www.rtsfutures.org.uk to keep in Bursary recipients the loop.

28 Sam Clarke – An RTS success story

Sam Clarke’s working day is anything but ordinary. From cycling across Vietnam and Cam- bodia to film for Challenge Cancer, to trek- king in Iceland with the CoppaFeel! charity, Sam’s role as production executive at film production agency GoFilm has taken him all around the world. “I’ve worked on quite a few exciting projects since winning the award,” says the 2015 Undergraduate Factual student award winner. He cites a challenging project with an intense filming schedule in India for the British Asian Trust as one of his most memorable experiences on the job – “I feel very privileged to have been part of the experience.” After graduating with a first-class degree in TV and film production, he built up an impressive portfolio working as a freelance cameraman at equestrian and cycling events around the UK. When Sam heard about an opening for an “adventure cameraman” at GoFilm, he got in contact and landed the role of production executive – and the rest is history: “A very busy, hectic and fun history.” His diverse role combines producing, filming and editing, both in the office and out on an adventure – “One day I’ll be directing interviews, the next week I’ll be making things look pretty behind the camera.” His RTS award-winning documentary Birdman played a huge part in impressing the team in his interview at GoFilm, he reveals. Sam adds: “[It] gave me the confidence in my ability to produce

work that I could be proud of. As long as I can produce work that I’m proud of, then

Join the RTS Sam Clarke I’ll continue to do so for as long as I can.” Holman Kate

To access all of the Royal Television Society’s events free of charge, sign up as full RTS member for £65 per year by direct RTS Student Television Awards debit (or £82 per year by cheque

or credit/debit card). Hampartsoumian Pictures: Paul The awards recognise the best camerawork and sound across all television created by students across genres. Full members enjoy a range of benefits the UK and the Republic of Ireland. RTS Student Television Awards that include: affiliate membership to The Anyone at college or university who success stories include the 2016 Editing Hospital Club, a private members club and bar for people in the creative can pick up a camera is invited to Craft Skills winner Philip Wood. His industries; membership of On The 7th submit their work. Submissions are documentary Chasing Dad was picked Anatomy of a Hit’/ a Hit’/ of Anatomy members club in MediaCity UK; plus accepted from both individuals and up by BBC Three, and he was later discounts at restaurants, stores and groups. nominated for Best Newcomer at the attractions across the UK. . Students can enter their work into ‘Oscars of Documentary’, the Grierson Visit: www.rts.org.uk. six categories: Animation, Comedy Trust Awards. and Entertainment, Drama, Factual, The 2012 Animation category winner, News or Short Feature. Ainslie Henderson, went on to win a Humans… ‘ Humans… event RTS All pieces entered are also eligible Bafta just a year after collecting his RTS for Craft Skills Awards, which award. recognise the best editing, Visit rts.org.uk/studentawards2018

RTS Careers Guide 2018 www.rts.org.uk 29 drian Lester has built a career acting in theatre, film and TV. He starred in Interview BBC One drama Hustle for eight years, going on to direct an episode in 2012. More recently, he played Robert Carver in Riviera on Sky Atlantic, where he also directed two episodes, and he starred alongside John ASimm in ITV thriller Trauma.

I’ve always loved acting, I just caught the bug. It’s become an old saying now, but if you can make a living doing what you love, then you’ll never have to work a day in your life. That has certainly been what it’s felt like for me. The hardest thing to deal with is what happens when you’re not able to work, and you either have to take another job or just be frustrated and wait. There’s all sorts of disappointments waiting for you, and I think the measure of professionalism in our career is how you handle disappointments, not how you handle success.

Actors have to seal themselves in a little bubble, so that they can live in a world of imagination. They draw on emotions and ignore the cables, the lights, the cam- eras, the runners and so on. The director has to do almost the complete opposite. While shooting a script out of sequence, they need to have a clear vision of what element of the story’s being told at which time, and how we need to tell it.

I’ve always been a bit of a director, I just didn’t know it. By the time I’d been working on Hustle for five or six years, the techni- calities were in my bones, I knew the language of the show, and I really wanted to have a crack at directing. It took me a while to convince myself that I should push for it, and then, in the pushing, it took me a while to convince the producer that I was working with that I was serious, and that I wasn’t just going to muck it up. I won’t ever forget the trust the team placed in me.

Switching between acting and directing in the same production is a very complicated dance. You’re switching on and off, in terms of your bubble as an actor, and your awareness as a director. For me, it’s like playing a large role on stage, because you are constantly in and out of that awareness of being Code of in the bubble and yet being onstage in front of an audience, repeating what direction you’ve been given, what positions you have to hit, but, at the same time, disappearing conduct inside your own emotional thought process.

Sky Don’t just be good at your job There are just two things that will help you on set, whatever – be good to your colleagues, job you’re doing: One, be good at what you do. Two, be there for the says Adrian Lester people that work with you. If you can be counted on and you can do your task well, then you should have no

Adrian Lester in Riviera problem. Pippa Shawley

30 Pippa Shawley RTS Careers 2018 Guide @RTS_Media @RoyalTelevisionSociety @RoyalTelevisionSociety www.rts.org.uk

@RTS_Media @royaltelevisionsociety @royaltelevisionsociety Royal Television Society