2.1 Explain the working culture of the film industry

I’ve learnt about the flexibility in terms of progression routes into the industry, the variance of roles and funding available within film, the importance of knowing what you want to do and what you want to make, and from the experience of production, the importance of being on top of everything and focused throughout the whole shoot.

2.2 Describe a range of key job roles and responsibilities in the film industry

Five Roles In Production

Director

Directors work to conceptualise ideas from start to finished idea for a programme or film, alongside the Producers and Writers. It is the role of the director to have a clear vision for their production, to ensure that everyone involved with the production understands and is on-board with this vision, and to be responsible for both the creative and technical aspects of the production. Directors must ensure they are working to the project’s budget and time schedule whilst creating a safe and creative environment for both actors and crew to work.

Required skills include:

• conceptualising ideas with clear style – visual thinking
• attention to detail whilst simultaneously seeing the whole picture
• methodical working style in high-stress environment
• knowledge of whole production and process, including healthy and safety
• communication and leadership skills – ability to interact appropriately with everyone involved in the production
• ability to take initiative and problem solve
• multitasking – take in a lot of information whilst staying on task and monitoring creative and technical standards of the production

In terms of employment, Directors either work freelance or are employed by broadcasters or film production companies.

Producer

A Producer carries an idea through all phases of production to distribution, and are ultimately responsible for the finished product. It is their role to find the idea, source financing, bring together screenwriters, directors, cast and crew and then ensure a safe and creative working environment. Producers normally have more skills in certain areas – often Producers will either be known as Creative or Business Producers – and their role will vary slightly in every single production; they will also delegate some responsibilities to other types of Producers, such as line, executive, associate and co-producers, but are ultimately responsible for production responsibilities. If the co-producer is the lead producer from another company they will usually be involved in financing, and have less creative input, and if the are a partner or corporate officer they will assist in production and post-production to enable the producer to work on their own responsibilities.

Required Skills Include:

• thorough knowledge of storytelling and all of filmmaking’s creative processes
• control of overall production planning
• communication/interpersonal skills
• initiative and problem solving skills
• decision making and sensitivity in high pressure environments
• sourcing financing and controlling budget and expenditure
• selecting crew, suppliers and contributing artists
• compliance with health and safety/filmmaking codes of practice
• supervision of post-production
• ability to see commercial opportunity in creative idea

Casting Director

Casting Directors must find the perfect cast for a programme or film, based upon suitability/ability, reputation, experience and box-office appeal, and are relied upon by Producers and Directors. It is their role to organise auditions and interviews with actors and co-ordinate with production accountants to organise the casting budget and offer actors the appropriate money for appearing in the production.

Required Skills include:

• extensive knowledge of film/television and actors
• communication and organisation skills
• good memory and attention to detail
• ability to recognise talent
• knowledge of health and safety

Casting Directors often work for the same directors for several years whilst building up sufficient connections and experience to be promoted.

First Assistant Director

The role of the First Assistant Director is to liaise between the director and the crew, and within production they are the director’s right-hand and lead the rest of the department – 2nd and 3rd ADs, crowd ADs and floor runners. Responsibilities with pre-production include script breakdown, location reccies, production meetings and helping to produce the shooting schedule. Once production has begun, the 1st AD enables the director to focus on the actors and framing of the shots by managing the running of the set.

Required Skills include:

• administrative and organisational skills – including budgeting and time management
• confidence, self motivation and ability to be flexible and calm in high pressure/stress environments
• knowledge of set etiquette and health and safety
• attention to detail
• communication and interpersonal skills
• confidentiality and discretion

Director of Photography

The DoP heads both the camera and electrical department, whilst also working closely with the rest of the department heads and the Director to craft the distinct aesthetic and feel of a production. They work to identify the appropriate cinematographic style of a script and then move to achieve this both creatively and technically; in terms of technical preparation, the DoP must carry out technical reccies, prepare equipment, decide on lighting, composition and camera movement, as well as working on blocking with the director during rehearsals. Cinematographer is a term sometimes used to describe DoPs who also operate the camera, which is common on smaller productions. At the end of a shooting day, the DoP will usually view the rushes with the director, and attend the digital grading of the film in post-production.

Required Skills include:

• creative eye for detail, colour and lighting (artistic vision)
• knowledge of both technical and creative aspects of cinematography
• ability to give and receive direction
• communication skills – sensitivity when working with cast and crew
• health and safety knowledge

2.3 Potential progression routes into the film industry and wider sector

Learn

Universities give a number of courses that give that benefit your knowledge in film and TV, they provide in depth lessons on techniques while use the most modern of equipment.

The BFI can also give courses in the watershed and Christchurch studios, and also provides residentials in such department as animation, documentaries, sfx effects and short film construction where students can spend a number of days focused on developing skill and focusing on a project. Other sources of such as old vic theatre school, which produces articles about films.

Outside of education is a free alternative such as online tutorials from other experienced producers, which are most commonly based on websites such as YouTube and other educational websites.

Training is another way to learn in film, organisations like the BBC, channel 4 and ITV provide production apprenticeships. These areas may consist of a mentor to guide you through your training.

A completely independent route is learning through trial and error, many independent film makers that immediately start to make films often learn and develop from their past mistakes, this route is effective as it allows film creators to develop their own style  while creating a  sense of self reliance but can be very time consuming.

Master classes allow professionals from the industry to come and discuss their experiences within the industry to an audience, this is useful as it allows the viewer to engage with a lot more personal experience of what the film industry is like and how to break into it. 

Network

Online Networking

Online networking is becoming more and more prevalent and accessible, and can be a great opportunity to meet like-minded filmmakers, as well as source crew, cast and equipment. The BFI NETWORK offers online opportunities to network and advertises for BFI events. There are also a variety of local and national Facebook groups to network online as well.

BFI Networking Opportunities – Events and Professional Development

https://network.bfi.org.uk/news-and-features

Facebook Networking Groups

https://www.facebook.com/groups/bristolunitedfilmmakers/

– Casting Calls

– Equipment for Sale

– Crew

https://www.facebook.com/groups/bfifilmacademy/

https://www.facebook.com/bfifilmacademy/

https://www.facebook.com/BfiFilmAcademyBristol/

– group for national BFI alumni and members

– group for Bristol BFI members

– employment/training and network opportunities

https://www.facebook.com/creativeskillshub/

– opportunities for training and mentoring

Film Festivals – Volunteering

By volunteering at film festivals, it can be a great opportunity to meet other young aspiring filmmakers who are also volunteering, as well as potential opportunities to network with filmmakers who are attending the event to talk on panels or have their films screened.

Encounters, Bristol

https://encounters-festival.org.uk/

Into Film, Nationwide (Youth Orientated)

https://www.intofilm.org/

BFI Future Film Festival, London (Youth Orientated with multiple networking events)

https://www.bfi.org.uk/education-research/education/bfi-future-film

Bristol Radical Film Festival, Bristol (Political Film Orientated)

http://www.brff.co.uk/

Film Bath, Bath

https://filmbath.org.uk/

BFI List of Film Festivals for Young People

https://www.bfi.org.uk/education-research/bfi-film-academy-scheme/film-festivals-young-filmmakers

Watershed List of Film Festivals in the South West

https://watershed.co.uk/filmhub/membership/film-festivals/

BFI London Film Festival, London

https://whatson.bfi.org.uk/lff/Online/default.asp

BFI Flare, London (LGBTQ+ orientated)

https://whatson.bfi.org.uk/flare/Online/

Networking Events

You can also attend specified networking events to meet other filmmakers and potential representatives of funding bodies.

Creative England – Be More Bristol

http://creativeengland.co.uk/events/be-more-bristol

Creative England Live

http://creativeengland.co.uk/events/creative-england-live-2018

Film London, Networking Events

http://filmlondon.org.uk/industry

 

Work

There are lots of different ways to get into the industry for you to you work.

entry level jobs :

There are many jobs at entry level which you can get into such as Floor Runner, Set Assistant, Floor Assistant, Assistant Directors and Script Writers. You can also have Work Experience such as work experience in production. There is many trainee jobs such as a department trainee, Camera Operators, Costume and Set designers. Another way to get into the film and media industry is through being Admin for a company.

production companies :

• BBC
• Doghouse studios
• Bottleyard
• Aardman
• Films at 59
• Omniproductions
• Icon Films
• Farmstudios
• Happy hour productions
• Humble bee films
• Off-the-fence production
• Silverback film

Post-production houses

• evolutions
• Doghouse studios
• Wounded buffalo
• Films at 59

Internships

internships are based on gaining experience. You can get internships at places such as RIFE, as well as emailing a variety and asking for things which are not advertised. These are available at lots of times throughout the  year – for example, summer internships. Internships as a post-production runner, with the company BAFTA for example as Production and with Women In Film And Tv are available to name a few. These can be valuable when applying for different positions and give you experience which you won’t get anywhere else.

Apprenticeships

You can get apprenticeships at many big name TV companies, such as BBC, Channel 4 and ITV. In BBC, the apprenticeships are split into 4 sections, Production, Technology, Journalism and Business, and you can then choose what you want to do amongst these choices. In addition, there are lots of apprenticeships in independent companies or doing things. like Digital Marketing and social media.

Create

In our group, we discussed the creative ways which our film could be shared and made and the different platforms that could be used to share our work. One of the things we thought about is how we could share our content using the media. Online networking has many different types of platforms which people are able to share their films and different types of media they have made such as YouTube and Vimeo. Facebook and Twitter are also good ways of sharing work which will get noticed by people. Creating an online page similar to a portfolio is also a good way of sharing lots of work at once.

Doing courses and getting contacts of people with a wide range of skills is also a good way that you can do well in the film industry. One way that this can be done is by doing courses such as the BFI and keeping in touch with people who are interested in similar things than you. This will allow you to use these people in projects or in later life.

We discussed how getting a kickstart helps funding and hiring equipment allows you to save money which helps when working in the media industry because it allows you to have more money and also gives you more options to spend money on your project to get it shown. Working at film festivals also allows you to get more money and gives you another option to get your work noticed.

When distributing your work there are many websites such as rife which share media created by people which helps them get noticed. Also attending film festivals let’s you feature your films and meet new people. Watching films is a good way to get inspiration for your work and also gives you ideas that other film makers have used, let’s you have your own opinions and use them in your own way.

Learning from Masterclasses

Alice Cabañas

1. What is their job role? What does it involve?
Talent Executive for BFI Film Hub South West – one of 7 executives across the country
Based at Watershed
Look for new filmmaking talent and support/develop writers/directors/producers at early stage of their careers
Host events, labs, workshops
Oversee national lottery funds for short film and early feature development
– Assess applications with a panel and exec across the project

2. How did they start working in their job role?
Drama and French Degree (w/ film studies module)
Started producing theatre shows – got to take shows at Uni and did well
Got into arts marketing for money after Uni

3. What have they done in their career?
Started at St George’s
Moved back into theatre
Then moved in Festivals for arts and marketing/PR
Got into film festivals: encounters and worked way up to co-director of the festival
Went to work for British Council: short film focus to promote new UK talent internationally
Then got to current role: talent development and working as exec/mentor

4. What have you learnt about working in film?
Don’t sit around and wait for funding
– BFI Fuck the System article about filmmakers who made work regardless of getting funding
– Doesn’t mean BFI isn’t interested in you – just not at the right time
– Might be due to similar film in development
– Feel it is too close to past gems/successful films on festival circuit
– Take and ask for feedback: listen – might be pinpointing something in the project that isn’t quite working
For writer/directors you need to work out your voice and what it is you want to say
– Can only do that through your work
Networking/Talent Events “find your tribe”
– the people that you gel with and that you want to work with
– find people that will champion you and help you: find your mentors
Get use to talking about your work
People are happy to help when you ask
Watch as much as you can if you want to write/direct/produce
You don’t have to know everything, and it is okay to ask for help
− it’s okay to admit you don’t know everything
− know where your strengths are and where your strength aren’t
− if you don’t know the answer, you can say you’re not sure
− can learn on the up and down – both junior and senior people
− don’t burn any bridges
Need to be specific about why you’re working in film and why it is being done differently/turning it is on its head
− Authentic stories, character driven with a human centre, underrepresented voices that are unique and haven’t been seen enough of
− Don’t know what they’re looking for until you see it
− Look at what everybody else is doing and do something different
− Don’t respond without an authentic approach – don’t just jump on a bandwagon and try to say something about that
− Get bored: try to empty your mind
− The Favourite took 20 years from original inception (article)
− A story needs to be able to last that long

5. What progression routes have you found out about?
Soak up as much work as possible, huge industry with many hidden roles
– trainee finder
– screenskills programme
– volunteer at Encounters
– there are lots of opportunities now for younger new talent
– Study film as a language: both shorts and features

BFI Network are trying to centralise where all information
− Funding Finder: scroll to the bottom to see anything they are aware of
− Social Media platforms – such as South West Talent Connect or commissioning opportunities/news
− @NetworkFHSW twitter
− Will be setting up regional newsletter announced on social media platforms
− Only fund 18+ out of education

6. What opportunities for your own progression have you found out about?
− BFI Funding schemes and programmes
− Volunteering at festivals
− Utilise all opportunities for younger talent – follow networks such as BFI and other groups that post about such schemes

Elias Williams

1. What is their job role? What does it involve?
Run online media platform for young men of colour
Involved in creating film events with cables and cameras
Currently applying for a filmmaking project

2. How did they start working in their job role?
Did politics and international relations in London for a year
Younger brother did film at Uni and then decided to do BA Filmmaking at Bristol
− Made loads of shorts with films in the lead up to the interview
− Highly recommends film school and potential future contacts

3. What have they done in their career?
Did writing and directing and got opportunity to make a short film in second year
Created a media platform in second year
− Try and think of ways to create your own media platform which will help you to get your films out there
Decided to apply for Master’s in History
− Couple of modules directly related to films
− Interested in history of documentary
Doing funding application process with another graduate – exciting and less daunting to work with another person

4. What have you learnt about working in film?
Networking is key: setting up Mandem media platform allowed networking
− -Useful to build up esteem and confidence either via events or meeting other local creators
− Try online networking
Art doesn’t have to be paid for: keep it as a passion always
Filmmaking is a collaboration but if you want to create your own idea, it is down to you to do much of the work
− the onus will be on you
− have a knowledge of everything
Keep an eye on current affairs and what is big in the news to garner wide interest
Inspiration process to development depends on type of person
− all forms can inspire

5. What progression routes have you found out about?
Highly recommend Uni degree/course in film
− isn’t essential, depends on what you want to do and how much knowledge you already have
Don’t have to be a writer/director, there is so many other jobs
− don’t pigeon hole yourself too much, sound, cinematography can lead to writing/directing
Cables and cameras successful at bringing together filmmakers to screen their films at Cube
− good opportunities to attend and socialise after

6. What opportunities for your own progression have you found out about?
Film School/Film degree could be useful if I felt a needed the technical learning, support, contact hours and equipment
Look for own unique ways to share your content – i.e. create a media platform

Nick Shearmen

1. What is their job role? What does it involve?
BBC Commissioner
Consultant Work in Film

2. How did they start working in their job role?
Drama at Uni and worked at theatre – directing and stage management
Needed income – did bits and pieces of arts journalism
Went rock climbing with Brian Blessing then pitched an idea to Bristol and Elias did several weeks free research for BBC
Eventually was took onto contract at BBC
Met Peter Simes (exec producer) who did Toni Harrison poet series

3. What have they done in their career?
Worked in factual television for 35 years – most genres
Consultancy and development work
Commissioner at BBC for 4 and a half years
Interviewed for BBC trainee scheme
Do trainee seminars occasionally

4. What have you learnt about working in film?
Special knowledge can help with your career
− i.e. knowledge from articles about mountaineering
Lessons from your own mistakes hit the hardest
Making films is always a learning experience
− Create as much as you can and that is a learning process in itself
Only by talking to people you understand how the industry operates
− Working in the BBC enabled networking and understanding how the system worked
− Hidden systems and connections only learn about by working in the industry
In factual/documentaries it’s so important that you shoot and edit
− need to know basic technical stuff
− get good sound!
− increasingly about solo filmmaking
Always asking questions is a really good thing, you never stop learning in this industry
− always evolving and always changing
− reflects well on you to ask questions and shows honesty
− “Managing up and Managing down”- both have value
Film Festivals are where accountants meet creators
Music is a key part of tone and emotional narrative
Find a mix that makes something different: don’t let it become too different and always looking for opposites
− Three Identical Strangers took 5 years to make: don’t need to react to latest trends
− Let it peculate

5. What progression routes have you found out about?
Networking: meeting as many different execs as possible and discussing ideas
Find a good mentor/exec that will back you: can help enormously
Follow social media up with a face to face meeting
Television production is similar to film at entry level
− Looking for people who are creative and self-motivating
− Important to have some sense of self and be sure of what you want to do
− Clear ambition is memorable
Write to exec producers about having a meeting of tv show you like
− Standing out from everybody else
− Watch as much TV as possible as well
Get on board as a runner and constantly offer people your work and be creating work
− the more you can be clear about your goals/aims, the better
− really important that you know what you want and be working towards that
− Running at Films 59 or Films for Evolution which is useful to know significant people within Bristol Film Scene
Ask if a company you’re invested in, will sponsor you to go on short training courses
− BBC has its courses
− Use paid position to take yourself further
− In the end, it is a business
Apply for everything and see what you can get
− if you’re doing a film course then get work in the industry
Film School over Degree Course

6. What opportunities for your own progression have you found out about?
Running at film companies to gain as much work experience as possible
Follow up any social media interactions with face to face meeting
Get whatever company you’re working for to sponsor courses
Go to film school rather than do a film degree course

Varun Raman

1. What is their job role? What does it involve?
Write and direct with another person
Lots of projects not off the ground
Works a part time job at Watershed
Made a few shorts – one got into big festivals
Working on 3-4 feature scripts at the moment

2. How did they start working in their job role?
Manchester Uni – Physics to do aeronautical engineering but dropped out
Met a mutual friend in 2nd year in Freshers week to do student radio together
– who is now co-writer – Tom
Graduated from Uni and Tom got fired, wrote radio play, started writing short scripts and made a few short films 0 budget

3. What have they done in their career?
Made another film after meeting two actors NYA course
Shot in locations, never put online as practise films
Met Tom Shortcroft cinematographer in Bristol – decided to shoot on 35mm film passionate and made Transmission
– Got into 90 film festivals
– Got in Fantasia, Montreal and premiered there
Now 30 years old and writing lots of scripts
Recently won Film Empire diversity mentorship who have put in contact with HBO and Marvel etc

4. What have you learnt about working in film?
Mentors are important
Relationships built over the years: never know where people will end up
– Maintain contact for future opportunities
Must be resilient and passionate
– Deal with the idea that no one will care about you unless you have done something that is interesting to them/takes off
Don’t know how things will work out
− Be delusional to a point
− Good to learn lessons
Deal with the idea of having a part-time job
− There are directors who don’t even own houses/aren’t rich despite working with big starts (James Gray/Grey)
Good to seek people out with similar interests and sensibilities
− People who are invested in your work will introduce you to more helpful people
− Give out scripts – “I’m a fan of your work, would you read my script/give out your short?”
− Can’t be everywhere at once but be doing something
If agents want to sign you, they will want to see 3 feature scripts in a similar vein
− More you progress, the more you develop specific voice/brand
− Much easier for agents to represent you as they know exactly who to entertain you
− Can always branch off with links
No such things as absolute, only trends
− System has changed, bear in mind when attending talks like these
− Absolutes can be misconstrued
− Tone and rhythm are important as well as plot and character
− Show don’t tell can be dialogue
Film is an art, but it is also a business
− When producer/funder reads your script, they see that every character that speaks, location, v effects, run time have costs
− Everyone will want to work with you again if you are on budget, on time and your content makes profit
− Write within the budget and feasibility available to you
Make own opportunities
Depends on your progression what you want to be
Look at what kind of stuff the production company you are pitching to produces
Can look at trends but they will always get outdated so respond to current cultural moments
− Make it familiar but different
Alan Bennett “writing is like talking to oneself”
− If you’re bored of work, do something else
− Sometimes an idea is not ready to be written straight away
− Don’t force something through but get the first draft down
− as long as you know the bridge and basic plot mapping
− Music is incredible for inspiration
− Can swap and jump between ideas but always be writing
People want your weird perspectives

5. What progression routes have you found out about?
Make films with your friends – best way to demonstrate esp as writers and directors
Find an agent
Write to producers of shows you like to set up meetings
Look at mentorship schemes

6. What opportunities for your own progression have you found out about?
Writing and then making own films to build as much work as possible
Once established as a filmmaker/screenwriter, look at finding an agent
Contact creators of content that I admire to set up meetings/see whether they will offer advice or even consider your work
Look to find a mentor either through targeted mentorship schemes or through people that you work with