2.1 Explain the working culture of the film industry

Often working in the film industry can consist of long hours across multiple weeks, with pay being at a minimum, especially is you are a freelancing or using funding from companies such as the BFI.  Freelancers work independently, which can allow complete control over a production as well as a personal creative input, yet the pressure is all on you to produce a successful outcome.  This can put a strain on individuals as often their passion is unable to support them financially, so finding a way to do what you love whilst being able to provide can be difficult, but is also very rewarding.  You are often required to travel long distances in order to get on set, which can be draining before any work has been done.  This is a prime time to catch up on sleep as well as use this period for food, as lunch breaks can stop the flow of production yet it is vital that energy levels are high in order to satisfy the demands of the working culture.  It can be tough working in such a competitive industry, as the pressure to stand out and impress can be the difference between a passion and a career in film.  The need to continue to develop your own skills can also be stressful, as employers want those who have the best knowledge on their chosen sector.  Despite these challenges, working in film promotes a creativity that is not present in many jobs, and every project you work on can be a chance to network with new people who could potentially help you to advance in the industry.

There are some key aspects of working within film that are important for you to carry out in order to remain professional and reliable.  Being on time is vital as contributors often give up a lot of free-time in order to aid your project, so punctuality is important to show your commitment as well as appreciation for their help.  Following from this, reliability on set will mean that you can be trusted, and are more likely to be hired to work on projects in the future.  You are learning all the time in film, but having the basic skills needed to get by is important, as will no knowledge of the industry you will struggle to advance.  Being able to communicate your vision clearly is beneficial, as on a set you need someone (usually the producer) to take a lead and make sure everything is running smoothly.  Along with this, accepting other peoples input and being able to stand back is vital, to promote a more collaborative working environment.

From the multiple masterclasses, it is clear how competitive the industry can be to get into, so knowing your direction will allow you to be more focused on your end goal.  The amount of pre-production needed was surprising, but from our own film development it is evident that this is key in order to develop an idea further, as well as promoting a more productive production process.  The variety of entrance routes into film was interesting, varying from Apprenticeships and University to starting by working at film festivals and working your way up.  Working to incorporate all of our groups ideas into a successful product that we are all happy with requires a lot of work and patience, as conflicting opinions can sometimes create tension between a group.  To overcome this it is important that the wider project is considered, viewing how each idea would work rather than dismissing a particular opinion.

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

Producer

The Producers role is to oversee everything that is happening on set, whether that’s composing the original idea, dealing with the financial aspects of the film, and ensuring that the crew and cast are aware of their role and are ultimately safe.  They are part of the whole process, including pre-production as well as controlling the post-production phase such as monitoring the Dubbing Mixer and Editing crews.  Many of these roles can be delegated to co-producers, but the success of the overall product is reliant on the producer.

Director

The directors job is to carry out the producers main vision, by instructing and controlling the Camera Operators in order to achieve an effective outcome.  They are also in charge of the actors and contributors, ensuring they deliver their lines to fit with the overall script, and making sure they are on time with their filming schedule.  They play a vital role in the overall production, as if the correct scenes are created then the whole project with be brought together.

Camera Operator

The camera operator is in control of getting the shots that the producer and director are aiming for, ensuring shots are in frame as well as in focus.  They also choose the correct lenses and settings to use, and make sure that the lighting in the shot looks appropriate for the main idea being developed.  A wide knowledge of camera equipment is needed as well as being able to set up a camera effectively so that it is prepared for shoot.

Sound Recordist

Sound is an important aspect of a film crew, as the quality of the sound often determines the quality of the production.  They are also responsible for reducing unwanted sounds so that the main focus is on the scene, as well as organising the microphones for the cast.  Boom operators must work closely with the camera operators so that the microphone does not intervene in the shot.

Researcher

It is the researchers job to develop the producers ideas, by gathering the relevant information in order to carry out the creative vision.  They are responsible for fact-checking anything that is included in the script, as well as working closely with costume to make sure the cast are in the correct attire.  Another role in which they can often play is looking for appropriate locations, and verifying that this would be achievable as well as safe.  It is important that they make sure the production can stick to the producers budget, and stick to the legal legislation’s.

All roles within the film crew work closely with one another in order to create an overall product, each relying on separate aspects.  For example, the director must be aware of the producers main idea in order to be able to direct the camera operators to achieve the correct shots.  The lighting team must liaise with the camera crew to ensure the shots are effectively lit, which can be confirmed by the director and producer so that it fits with the scene requirements.  The researcher and producer work closely so that the producer is aware of what can be achieved, and if their vision is realistic and accurate.  Sound can’t work without the director/producer, as they need to be informed about what sound needs to be picked up and what they need to minimise.  This can then be further changed by the editing team, who will be able to mask what is not required.  They also follow the producer/directors lead on the style of editing, and the message that wants to be conveyed.

2.3 Potential progression routes into the film industry and wider sector

My Personal progression routes into the creative industry would be focused on making documentaries, specifically as a Director/Producer, addressing sensitive topics and themes that are often hidden from main-stream media.  In order to achieve this, I plan to research a number of different courses that will enable me to develop relevant skills needed.  The NFTS film course would be an ideal route to take after the BFI Film Academy, where i can work with professionals in the business to build on what I have already learnt.  It will also provide a networking platform for me to meet like-minded individuals who i could work with in the future.  Channel 4 also run production apprenticeships in London, Manchester, and Glasgow, which would be a great opportunity to work within an established and well-known company, as well as earning money, making it more sustainable.  Falmouth’s Film BA(Hons) 3-year course also appeals to me, with is very practical learning opportunities as well as the access to professional film kit.  The films that have been created there have one a number of recognised awards at film festivals, highlighting the success of the course.

In terms of local companies that i would be interested in working with, Rife’s vision and movement is inspiring, with the role of a content creator being very appealing.  This would give me an insight into the local industry, with the ability to network and find new people who i could work with in the future.  Bottle Yard studios is the largest film and TV studios in the West of England, which has created shows such as The Crystal Maze, Tipping Point, and Broadchurch.  In terms of my production ambitions, this would be an ideal setting, as they not only do dramas but documentaries as well.

For creating my own content, there are a range of options.  Many sites loan out equipment, so this would be a useful resource in order to increase the quality of the films that i create, instead of investing in expensive kit.  It is possible to make small to low-budget films independently, but accessing funding such as from the BFI is a key resource that can increase the value of your film as well as being able to do a wider range of effects, as well as hiring actors and locations.  When making a documentary, for example about adult ADHD ( Something i am keen on creating), i would need to have access to a number of cameras for various different shots and angles, and they would also need to be portable as a lot of filming would be done on-the-go to make it more raw and genuine.  This would require a considerable number of crew, with good quality sound equipment as much of the documentary will be spontaneous to simply follow whats happening.

I plan to join the BFI Alumni, as well as Bristol United Filmmakers,  providing a networking platform for me to work with a range of talent to create content, as well as allowing me to learn from more experienced filmmakers to gain advice on film and my future career paths.These online groups are easy to acces, and could lead to key collaborations that will break me into the industry.

My next steps are to start making more content, in order for me to find what i really want to make, as well as next year applying for the NFTS, in order to gain experience.  I will continue to look for film apprenticeships, as this way of learning will suit me well.  I will also continue to network with people online, establishing groups and possibly creating films with the people that i have met at the Film Academy.

Learning from Masterclasses

Max

Max works as head of film production, working with The Old Vic theatre school and Christchurch studios, as well as working on a number of different programmes such as Planet Earth, The Great British Bake Off, Tribal Wives and Top Gear.  He told us in-depth about how he started his career in producing later on in his life, and his university story that led him to achieve his MA in Film Production.  He also informed us about the differences between the degree and working in the film industry, with his main piece of advice being to do your time in the industry if you want to make it.  Timekeeping and showing your personality is key, as he believe that in order to employ someone to be part of a crew, only 50% of it is down to skill and industry knowledge.  There are various different routes into being part of a professional film crew, and an interesting point he make was that in order to work with lighting, you need to have been an electrician first, as part of the job is also rigging up systems and handling wires on set.  The role of a producer interests me, and it was great to have an insight into the real-life situations that producers face.  While working on Tribal Wives, the whole team were living in the Amazon rainforest for a period of time, which was something i hadn’t considered as part of the job.  This meant that working closely with the researchers was an important factor, as the spreading of disease needed to be accounted for, whether that’s injections before they flew or drugs that they needed to take during filming.

Alice Cabanas

Alice is a Talent Executive for the BFI Film Hub South West, based at Watershed, and her main  role is to look for new film-making talent and aid creators in their progression in film.  She started by completing a drama degree, as well as producing theatre, leading her into arts marketing at St. Georges.  She also worked for the British Council, internationally promoting British films to help filmmakers in England reach a larger audience.  Since then she has done a number of film-related workshops, as well as controlling the lottery funding on a committee and seeing through the projects chosen in the South West and working at the Encounters film festival as the Co-director.  Due to her experience in the industry, she had a lot of advice for upcoming filmmakers, starting with the importance of finding your own voice/ what you want to say, as well as finding the right people to follow these ideas with you.  In terms of improving skills, she advised to watch as many different films and documentaries as possible, which will not only allow you to understand the industry, but to inspire your own creativity.  She emphasised that it is okay not to know everything, as the more you do, the more you will improve, as well as asking questions in order to get a wider understanding and develop your skills.  Volunteering at film festivals was one of her key tips, as despite not creating, it allows you to understand the behind the scenes of a film festival as well as meeting creators who may give you some great advice.

Varun Raman

Varun is a writer and creator for drama and short film, and has been in the industry for 10 years.  He started his career making videos in his living room on 0 budget, as well as creating shows at University. He has worked on radio plays and has written a number of short films and scripts, but it was while at the NYFA he met a cinematographer who worked on the film Transmission, which premiered at Fantasia.  This connection allowed him to develop his own skills in the industry and find his own route in film.He believed that patience in the industry is key, as it can take years to be seen or for one of your films to be noticed.  The importance of continuing to practice skills was a very important piece of advice, as well as the need to deal with knock-backs and for this to inspire you to improve.  Networking was emphasised as a key way to fins people who have the same passion as you, and not burning bridges will allow you to always have the people who helped you to the top.  In terms of getting into film, he believed that apprenticeships was a great way to develop the skills whilst still earning money, as although film is an art it is also a business, and you can’t always live off what you love.  He also believed that getting bored allows you to spark new creativity, as this boredom inspired a change in direction, and for him it has helped to come up with new concepts and ideas.

Elias Williams

Elias is a content creator and filmmaker who also runs an online media platform called mandemhood.com which he created for similar talent to share their work.  He has also created a number of film events and has worked with Cables and Cameras on lots of their work.  He started by studying politics in London, but was inspired by his brother who studied film so went to UWE to study BA Filmmaking, creating small films with friends as he went along.  He was interested in making history documentaries as they were both his passions, so applied to do a masters in History.  One of his main pieces of advice in order to get into the film industry was to go to film school, where not only you can access the professional equipment but also meet like-minded people who you could end up working with in the future.  Elias also emphasised the positives of apprenticeships in film, such as the numerous opportunities with Channel 4 in London, Manchester and Glasgow.  The Cables and Cameras events bring a number of filmmakers together, and he strongly advised to go to these.  Another key piece of advice he recommended was that even if you don’t get funding for your films, as it is hard to do so, you should still continue to make low-budget films.  This will build up your portfolio and will provide a direction of where you want your films to go, as well as networking with other people who you may work on the films with.  He said how important it is to find a new way to break into the industry, as often there are a number of creators who try to copy the mainstream.

Nick Shearman

Nick is an award-winning executive producer who studied Drama at University, and has worked in theatre as well as arts journalism.  He was recommended by an actor to research for the BBC, and was offered a job by them.  While there he networked with an executive producer, who got him further into the industry, and believes this was a key way in order to establish himself.  He has now been working in the factual industry for 30 years, and in his time he has interviewed and commissioned for the BBC, as well as running various training seminars for creators.  He stated how everything is a learning process, so by speaking to multiple people and continuing to create films, it will allow you to get a wider knowledge on how the system works and be clear what you want to do.  Being self motivated is important in film as often you will be doing all the roles in a production, especially in the early stages of your career.  He mentioned how being a runner on films is a great way in, as despite mainly making teas and coffee’s for the actors and crew, being on a professional set will allow you to see how production works behind the scenes.  The last thing he mentioned was the Indie training fund, a non- profit organisation which runs courses for production companies and freelancers across the UK.  This allows you to learn from the professionals in a more intimate environment in order to improve your business.