In our latest edition of creative industry trailblazers, we’re speaking to Creative Access alumni and member of our Steering Group Nitin Rishi! Nitin started off as a technical runner for TV and radio production company, Somethin Else in 2015 and now works as a freelance producer and director. He work has been broadcast across all major UK broadcasters and he’s produced programmes at major global events like the FIFA World Cup Final, as well as directed commercials for brands such as Porsche, D&G and Christies.

Here he gives his advice on the skills you need to break into the role of producer/director, and how you can move up the career ladder in TV and film too, as well as what inspires him creatively…

My first foot in the door was working as a technical runner for TV and radio production company, Somethin’ Else. This was through the Creative Access paid internship scheme, and it provided an invaluable foundation to build my skills and network.  

I tried to learn as much as I could about cameras and post-production and eventually progressed to in-house camera operator and editor.  

After two years full time, I went freelance as a shooting assistant producer to get more experience in the editorial aspect of production. I jumped between various editorial and crew roles to eventually work my way up to a producer / director in TV, whilst also maintaining an active presence in lighting, shooting and editing for both independent and commercial productions. 

A solid understanding of filming and post-production processes and techniques is essential. This includes a certain degree of technical knowledge so you can clearly communicate with your crew to ensure a seamless production process and a polished-looking finished product. 

Treat everyone you work with or alongside with respect and kindness and don’t burn bridges. You never know where your next project might come from. For example, the runner on your set today might be the executive on a show hiring you later down the road, so be a nice person and stay in people’s good books. 

When I first started freelancing, I was one of the camera operators on Sky Art’s ‘Brian Johnson’s Life on the Road’ I got to work with rock legends such as Led Zeppelin’s Robert Plant, Pink Floyd’s Nick Mason and, of course, AC/DC’s Brian Johnson himself. I’m a huge fan of rock music so this was a special project for me to be involved with.  

If you want to have a dynamic, varied career where you get to travel the world, work creatively to tell stories through pictures and sound, and temporarily immerse yourself in different worlds and subcultures, then you’ll be really well suited to this line of work.  

There are a few things I’d recommend: 

1. Make sure you always nurture and focus on your passion for filmmaking; always be learning and upskilling. Whether it’s refining your soft skills, like leadership and organisation or your hard skills, like learning how to use new cameras and mastering editing software.   

2. Ensure everything you do is executed punctually, properly and enthusiastically, no matter how menial the task. People will take notice and begin entrusting you with greater responsibilities.  

3. When you’re starting out always be prepared to go the extra mile. Work on as many different projects as you can but be conscious about taking on more than you can handle.  

4. Build and maintain a strong network in the industry; be sociable, helpful and be that person that connects people.  

Filmmaker and director Asif Kapadia: Every generation has a filmmaker that is able to bring documentaries to the mainstream and Asif Kapadia has been able to do this with his exceptional films like Senna, Amy & Diego Maradona. 

His films are accessible and meticulously put together, but also have a raw authenticity to them.   

We are also both British South Asians from North London so for me to see him break through the glass ceiling to become one of the most celebrated directors of his generation is very inspiring. 

Read more of our creative industry trailblazer series here.

Want to know what’s it like working for an immersive theatre company? Did you even know that you could? In the latest blog for our series ‘jobs you didn’t know existed’, former #CAIntern Jessie Francis talks us through her very exciting role as a creative assistant at the trailblazers of immersive experiences, Secret Cinema…

This is always a fun question, to answer. I am a creative assistant at Secret Cinema – an immersive theatre company that brings beloved films, television franchises and even occasionally music to life. In our shows, the audience are not passively watching the narrative unfold, but actively find themselves in the story, uncovering deeper layers of character motives, backstories, mysteries and secrets. Essentially, it’s a bunch of people creating the most elaborate fan-fiction you have ever witnessed.  

Being in the creative team, we are responsible for ensuring our shows encompass cohesive and innovative storytelling or world-building across the narrative structure, the set, the performances and some marketing assets. I also bring additional skills to the role through my illustration and video editing skills – so it’s wonderful being able to contribute to the creation of our shows through my many multi-hyphenate interests. 

Any part where I get to dive into story, or a character, or world development. I adore how research can inform a narrative and create a story that audiences can logically follow and understand; which then enables us to push the boundaries of surrealism and theatricality. So, whether you’re faced with Regency Lady Gaga performances, epic scale alien battle sequences or intimate conversations with characters in rooms, where you have no idea how you entered (or even where they are), the roots of the story and world are always grounding you and driving your experience.  

I will always be grateful to Creative Access for pushing job roles and careers that I never knew existed, because I didn’t go looking for this job at all. I didn’t even know to look for this job.  

I graduated from university in 2019 with a first in animation, and when asked what I wanted to do, I didn’t have a specific vision; but I knew I wanted to work in a story department, or in a writers room, or in story or character development. I was like Lily Allen in the beginning of her LDN music video: ‘Um I’m just wondering have you got any like sort of punky electronica grime kind of like new wave grime but kind of like maybe more broken beats like kinda dubby broken beats but a little bit kind of soulful… do you know what I mean?’. No one knew what I meant (I don’t think I did either.)  

I started off in 4Creative – Channel 4’s in-house creative team – on a 3-month traineeship (courtesy of Creative Access) where I edited and wrote scripts for trailers. I then went on to work as a scene build and prop design artist for Blink Industries x Netflix’s charming, spooky, queer animation series Dead End: Paranormal Park. I was job hunting for my next role prior to my contract ending, and on a whim, I applied to a Secret Cinema creative assistant role that was advertised on the Creative Access opportunities page. It turned out that many of the skills I possessed, and was interested in pursuing, made me the perfect fit for a company where everybody wears many different hats and brings so many varying abilities to their roles.  

It would have to be Secret Cinema presents Bridgerton. It was my first show, and I remember sitting in the writers room surrounded by talented creative directors, performance directors, actors and writers and just wanting to absorb all the knowledge everyone had, whilst simultaneously wondering how the hell I had got there. It was surreal and amazing.  

My only real advice would be to not limit yourself to what you believe you are qualified for. I read somewhere once that men apply for jobs even when they are underqualified, but women only apply if they believe they are overqualified. This has stuck with me, and so I applied for anything that caught my interest and didn’t get caught up in the details of what I had studied or been trained for. Skills can be transferable, softwares can be taught – YouTube and google are your best friends.  

At my core, I knew I wanted to be a storyteller and artist, and so although editing trailers, designing props for animation and creating immersive theatre all seem vastly different, they all share the core function of visual storytelling. So don’t limit yourself, and don’t feel embarrassed or flaky for career or industry pivoting. Everything you try and everything you learn will inform and equip you for whatever you do in the future – no matter how disparate it may seem from where you came from. I still adore animation, and would love to return to it one day, but I’m thoroughly enjoying my time in theatre – a medium I was so interested in as a child, and never thought I was talented enough for. And who knows, there’s probably a world in which both can be combined. 

Check out Jessie’s illustration and editing work here, and her blog here.

Sign up to our opportunities board and find your creative role here.

For our March masterclass, award-winning documentary filmmaker – and Creative Access alumnus – Matt Kay (Little Miss Sumo, Over the Wall) interviewed independent producer Damian Jones (The History Boys, Kidulthood, Blue Story) about what he’s learnt from over 30 years working in the film industry. Read on for both Matt and Damian’s top tips on how to navigate the industry, network and some great stories from projects they’ve worked on over the years.

Damian – who has been in the industry for 30 years – revealed that he didn’t study film at university, but knew that he loved movies and “there was nothing else” he wanted to do. His first job in film was as a driver, and after working as a runner and location scout, he realised there was only 3 jobs that interested him: actor, director and producer. He said: “I couldn’t do the first two but I thought producing I could do”. Since that epiphany moment, he has worked on 50 films spanning different genres, explaining that he’s “worked on such a diverse slate of films because the projects and stories have interested me.”

Part of being a good producer is trusting the talent that you work with, be that the director, the scriptwriter, or the actors. He said, “I do have an overview of everything. I regard myself as being able to do all aspects – as long as I’ve hired the right people to execute“. However, he emphasised that there is also a lot of opportunity for creativity too; being a producer is not only about organisation.

Matt has been in the industry for 10 years, starting his career with a paid Creative Access internship at Sky. When asked by an audience member why he was drawn to documentary-making, Matt said he had studied fiction film at university, but documentary simply felt like the easiest way into filmmaking as “life is happening all the time around you.” On his first documentary shoot, Matt went to Egypt and happened to be there during the Revolution creating an amazing story for his film. He quickly fell in love with the form and has stuck with it ever since. He focuses on socially-conscious stories and was shortlisted for an Oscar for his documentary, Little Miss Sumo.

Ever-changing technology and the use of social media has shaped the industry since Damian began working in the 1990s, and even over the past 10 years of Matt’s career. Damian said he advises writers and directors to “just do it” and start creating films – even if it’s just on their phones. Rapman started out creating short films on YouTube with his friends, but eventually there was a bidding war between independent distributors for his film Blue Story. Matt also referenced Munya Chawawa, who has been creating comedy videos on his Instagram page for years, and has just won an RTS award and is nominated for a BAFTA. Matt said this is also how he gained experience in the industry, by creating his own projects. He recommended not doing this in isolation and ensuring you keep building your network and collaborate with other people at the same time.

Social media can also help you to establish connections in the industry, but Damian also recommended joining film clubs, such as the BFI, where you can meet people as passionate about film as you are. He also encouraged anyone starting out to go to as many events as possible connected to the creative industries – even if not specifically film events – as you never know who you will meet. Damian and Matt both acknowledged that it’s not always easy to progress in the film industry, but that it can happen through a combination of hard work, building a network and collaboration.

Damian feels that the industry has opened up a lot and become more inclusive over the course of his career. Unfortunately, as Matt stated there is still not enough diversity in film. However, if you’re from an under-represented background trying to get into film, Matt told the audience to see it as “your advantage not disadvantage. Your unique experience and story will benefit you in the industry”. He called on the audience to:

At times, it can be difficult to balance the financial side of filmmaking with the creativity. Damian explains that when he started out, he did not know a lot about financing a film and budgeting, and urged the audience to not worry about the specifics before they start their career, as they will learn on the job. He recommended filmmakers seek funding from the BFI, British Pathé and Film Four, but warned: “Make sure you’re pitching to someone who makes your kind of films! Like you would with any job, you need to know what the company is.” He also added the importance of taking criticism on board when you are putting projects out there, but don’t let the no’s get you down – you have to keep trying.

Ultimately, though, filmmaking can be fun. Matt said the thing he loves the most about his job is being able to travel the world and meet interesting people; he was flying to Australia after the masterclass! Both Matt and Damian emphasised that filmmaking is hard work – with long hours, high pressure and responsibility – so it needs to be enjoyable: “You have to love what you do.”

Make sure you keep an eye out for Matt’s upcoming documentary on Lewis Hamilton for Apple TV and Damian’s upcoming “very silly comedy” with Sex Education’s Aimee Lou Wood and Nick Frost!

If our film masterclass has you feeling inspired to step into the industry, check out our film roles here, or watch Matt and Damian’s conversation in full below.

This month we were joined by Sarah Brown (Creative Director, Drama) and Claire Armspach (Head of Drama Development) from STV Studios – a leading independent television production company – for a deep dive into Drama Script Development.

Sarah and Claire worked on the script development of the BAFTA-winning drama Elizabeth is Missing. During the masterclass, they revealed what happens behind the scenes during drama development for the small screen and shared a host of invaluable tips for the audience.

Script developers usually only see a small percentage of their work make it to the small screen. Although this can be disappointing, Claire’s tip is to love the process, “You have to see the show as a bonus!” Elizabeth is Missing was the drama that allowed Sarah and Claire to achieve most scriptwriters’ dream: to get to see their work on the small screen. They started the masterclass by retelling their journeys of how they reached this level of their careers. Sarah landed her dream job after working as a researcher, Assistant Producer (AP) and producer in factual TV. She realised her dream role was in scripting for television. She had to work as a freelancer before she started her script development journey through an entry-level job at the BBC, where she was able to build her career. In the small team at STV Claire is the Head of Development. Claire knew she wanted to work in television and as a child, she dreamed of being a drama developer. She soon realised her heart was in development rather than production, so she took the advice to “take any job you can” and started work at the BBC where she was able to take a script development course. From there, she built up her experience working on different shows such as Holby City after joining STV around 11 years ago.

Sarah and Claire started by sharing their experience of where they find their ideas. Script developers usually get their ideas from three main sources:

• Writer generated
• In-house generated: this means watching trends or other drams for inspiration. A piece of advice that has stuck with Claire is to “notice what you notice” when watching other dramas on TV.
• Pre-existing intellectual property: This is when the format is bought from writers in other formats such as books. In the case of Elizabeth is Missing, the story came in the form of an unpublished manuscript. Claire and Sarah decided to option the script based on their own taste and judgement. (A decision they thanked themselves for later – no doubt!)
  

Sarah then introduced the next step in the script development process: choosing a project to take on. She let the listeners know that it is essential to love the material – as developers will be looking at the script for a very long time! When choosing scripts, she often asks herself fundamental questions about how well she connects to the characters, whether the script will move audiences and whether it will sell. If you’re looking to get into the industry, you have to familiarise yourself with what is being made and what has been made previously – “most broadcasters want something that is the next turn of the wheel – not the remake of something that has already been made.” Using the example Elizabeth is Missing, Claire and Sarah felt that people would fall in with the characters but watch for the mystery – and they wanted to be the one’s to bring the book to the screen.

The producers then covered how to choose a writer to work with. Sarah and Claire look for writers with individuality; writers that have their own voice. Sarah gave valuable advice to budding writers to never “waste your time trying to say something that has already been said”. Being a writer is difficult but it’s important to be open and engage with notes, “it’s important to not lose your compass or lose who you are.” When discussing and answering questions about presenting work in the industry, Claire and Sarah both agreed that although other writing programmes are useful, they would recommend Final Draft as it is the programme the industry works in.

The next decision lies with deciding on a format. When trying to develop a script, the aim is to get the project into formal, paid development. When working with a book adaptation like Elizabeth is Missing, it is important to recognise what has to be changed and what has to stay the same. You have a responsibility to the audience and the author to deliver the story they are familiar with.

Sarah and Claire then shared their expertise on being a ‘loyal opponent’ or a good editor. Sarah offered great advice to remember that “editing is like being the midwife at the birth – not giving birth yourself” – it is a supporting role. The key to success is being honest about the problems of the script. While editing, Sarah has found herself in the role of a mentor, sounding board and councillor. She told listeners “the main thing is to remember to be human and that you’re all on the same team – with one goal of making this show the best it can be.” The drafting process can be long and take a lot of work. Claire added that the editing process can be a lengthy one, “script editing is like chiselling a rock to let the statue emerge.”

If you’re wondering how to get started in the script development industry, Sarah optimistically told listeners that there has never been more of a choice in getting into the industry than there is today. The UK is home to over 300 drama indies who are looking for staff. A good way to get your foot in the door is becoming a Development Assistant – it’s the perfect way of getting the experience and the contacts! Claire gave listeners fun advice to watch lots and lots of TV but watch it critically, and question which shows are working well and whose work in particular you admire. She encouraged listeners to look at work they admire and learn from it. Both Sarah and Claire shared their thoughts about how the script development scene in 2020 is very different from when they joined the industry. They acknowledged that there are now fewer opportunities at the BBC; there are more indie companies out there hiring and looking for new, diverse talent.

This session was very informative and we learnt so much about the script development process. We want to say a great big thank you to Sarah and Claire for sharing their knowledge, we know our community will benefit from it! If you haven’t already watched it, don’t miss Elizabeth Is Missing.

You can watch the whole masterclass in full via this YouTube link.

Aspirational uni grad turned award-winning Web Series Producer, Kashif Boothe gives us an insight into how his Creative Access internship led him to find his perfect role in production, with his growing web series, Nate & Jamie.

My name is Kashif Boothe, I’m 26 years old and I currently work in broadcast at Discovery Channel. This isn’t something I thought I would be doing when I graduated from Roehampton University back in 2013 with a Film degree. My journey within the TV industry hasn’t been a conventional one, when I got my internship with CA at RAW TV in 2014.

I heard about Creative Access when I was desperately seeking a job after graduating from university. I was a recent graduate working lots of overtime at Sainsbury’s and hating it. I would be on the internet for hours applying for work experience and internships and eventually stumbled across an ad for a Runner position at RAW TV.

After my three month internship ended, I worked at RAW TV on off for two years. I went on to work at Jamie Oliver’s production company and spent the remainder of the year working on factual TV shows before moving into scripted. In Spring 2015, I started working as a Production Runner on the ITV period drama Mr Selfridge and the following year as a Development Assistant at Idris Elba’s production company.

It was great working towards my career goals but I felt like I forgot why I wanted to work in television. I took a break from the industry and decided to start making short documentaries that eventually lead to me writing and producing my web series Nate & Jamie.

I self-funded the first season whilst freelancing and working nights in retail on the weekends. I shot the first season with DSLR cameras and with other freelancers who were eager to produce indie content. In January 2018 it won a Screen Nation Award for Favourite Web Series ensemble. The series has led to a spinoff web series entitled ‘Imperfect’ and Season two of Nate & Jamie is premiering on October 11th on my YouTube channel ‘Kashif Boothe Entertainment’. My plans for the show are for it to be picked up by a production company or to receive funding for season three to produce a full-length season.

It’s great having conversations about diversity but without Creative Access I haven’t seen what production companies or networks are actually doing to solve the issue. I’ve worked at production companies where I’ve been told to make a note of all the BAME and LGBT applicants because they failed their diversity report or it was an afterthought to find a BAME producer after a show was picked up by a network.

My family have been supportive of my career in the creative industry especially my Mum. My Dad however, doesn’t understand what I do or that I’m a freelancer. He knows I work within the media industry but never can explain what I do adequately and would prefer I had standard a 9-5 job, but that’s not for me.

That might sound cliché but that’s the best thing I’ve learned. I was told on numerous occasions that I needed to be very chatty or be more of an extrovert to get to where I wanted to be. That’s not me, I’m an introvert and when being myself I am able to bond with the right the people, which will lead to my next opportunity.

Thanks Kashif for sharing your story and advice, we look forward to seeing the next series of Nate & Jamie.

You can follow Kashif on Instagram at @kashifbootheentertainment and check out his webseries Nate & Jamie.

Our former intern, Isher Sahota, current Director of BBC One’s Doctors shares his amazing CA journey with us and reflects on the key steps he made to succeed in TV and film-making…

Bold, diverse and new stories. They’re all the film and television industry says it wants, but the reality of gaining commissions and credits as a writer or director is far from straightforward. The only thing that can prepare you for being a director is directing. It seems so obvious but the only thing producers can go on when considering to hire you is looking at work you’ve directed.

It taught me the craft of working with actors and a production team, and pulling off projects with little to no budget. I met someone through student theatre who wanted to make films. We then started a company and began pitching for commissions to make music videos and online content for brands and companies; with our profits we made short films which were passion projects.

I had had a meeting at Creative Access, and was given great advice on my CV. I was recommended a role in factual development, which is something I never would have thought of myself (I had initially thought my way in would be scripted development) but I loved working at Dragonfly and coming up with documentary ideas for all the major broadcasters.

My job at Dragonfly led to further roles at ITV in factual, but it was always my dream to get into drama. It’s off the basis of my short films that I gained a coveted place on the fantastic New Director’s Scheme which is run by the BBC’s Writersroom. By September this year I will have directed 10 episodes of BBC One’s Doctors, which has been an invaluable experience. The fast paced nature of the show means you gain a lot of experience very quickly in all aspects of the directorial process, from script, casting, pre-production through to shooting and post.

Moreover, the challenging schedule has developed my directorial method, giving me confidence and enabling me to work in an instinctive, decisive way. The support of the production team and various departments around you is magnificent, and I have been lucky enough to collaborate with wonderful guest and regular cast. I am also a writer. I was lucky enough, thanks to a Creative Access introduction, to find a perfect collaborator in the form of an agent at the brilliant Casarotto Ramsay and Associates. My agent has similar tastes to me, gets what I want to do and shares phenomenal contacts and advice. It’s my dream to get an original TV series and a feature film idea in development with a top production company.

What got me noticed by a top agency among countless unsolicited scripts, I think, was my background. I wrote a TV script for an original comedy-drama series about Indian gangsters set in the underground world of the Punjabi-run illegal alcohol trade. I had insights into this unknown world because I grew up in Southall, the little India of West London.

My only advice would be to surround yourself with brilliant people who you respect, and who respect you, and keep making films together.

You can follow Isher on Twitter and Instagram at @ishersahota and check out some of his fantastic work here

Here at Creative Access, we aim to ensure that all of our interns achieve their potential during their placements. Through our monthly masterclasses and mentoring sessions, we take pride in the knowledge that our interns are equipped with the vital skills needed to succeed in the industry.

Alumni, Dominic Grant has been no exception. Dominic holds a particularly special place in our hearts, as our very first ever Creative Access intern, having secured an internship at Marv Films back in July 2012. He now permanently works for the Kick Ass director Matthew Vaughn and recently finished working on Vaughn’s latest film, Kingsman: The Secret Service. We recently caught up with Dominic to find out what it was like working on the Hollywood production…

What were your main duties on the set?

During my time on Matthew Vaughn’s Kingsman: The Secret Service as Key Production Assistant, I had the opportunity to work through pre-production, production and post production.

During pre-production I was present and filmed all of the auditions and cast readings including Taron Egerton, Colin Firth, Jack O’Connell, Daniel Kaluuya. I had the opportunity to take charge of script distribution and logging, script revisions, storyboard distribution, crew office set ups, studio liaison and the standard PA tasks.

During production I was able to spend a lot of time going between the production office and set. I was able to see exactly how things work on set, how both crew and actors are managed, and – most importantly for me – the work of the Producers on and around set.

What was the most important thing you learnt whilst working on Kingsman?

I learnt about the clarity and attention to detail required to organise location shoots (which are not fun when you are in the middle of nowhere, at an airbase, at 4 O’Clock in the morning in December!).

During post production working as a Post Production Assistant I learned an incredible amount regarding the finer and more technical aspects of film making; the workflows and procedures editors follow, the negotiations producers have with distributors and financiers, the relationship between Director and Editor, the role of a Post Production Supervisor… the list goes on!

What surprised you the most?

I was amazed at the work the sound engineers do for a film and how it brings the footage to life. I saw the fascinating world of colour grading and VFX which absolutely blew my mind! Those guys are wizards!

What was the most exciting thing you got to do?

From a production perspective, I really got a chance to experience roles higher than my own because production office responsibilities were split between just myself and my Post Production Supervisor. I tried my hand at Travel and Accommodation coordinating, organising Actors and ADR sessions, setting up for reshoots and additional photography, organising small VFX shoots etc. Absolutely invaluable!

Any final words…?

All in all, the experience on Kingsman is one I will never forget and has taught me so much. I will always be thankful to Matthew Vaughn for showing me the real world of auditioning and script readings and how to get the most out of your actors; Producers Adam Bohling and David Reid for teaching me how to be efficient and militant-minded in getting jobs and people organised and throwing me in at the deep end with a number of big tasks responsibilities; Production Manager Iain Mackenzie for approaching me and offering me the job on Kingsman and then inviting me to stay on for Post Production; the legendary Production Coordinator Karl Caffrey for really trusting in me to take on the responsibility needed, offering me brilliant advice on just about everything industry related and otherwise.