February’s masterclass took us to the Royal Festival Hall for an evening dedicated to demystifying creative careers in the arts. Delivered in partnership with Southbank Centre, the session explored the many routes into the creative industries and what it really takes to build a sustainable career in the arts.

Chaired by Creative Access alum Courtney Caton, internal communications & engagement manager at Southbank Centre, the panel featured:

• Cameron Christie, producing assistant
• Edith Kwakye, contemporary music programming assistant
• Joseph Granata, events & stewardship assistant
• Kyesha Nelson, commercial events officer

The session opened with remarks from Katie Dent, head of people & culture, who spoke about Southbank Centre’s commitment to access, progression and nurturing talent from a wide range of backgrounds.

A clear message emerged early on: there is no single, “correct” pathway into the arts.

Edith studied politics, writing her dissertation on grime music, something she still references in interviews today. Alongside her degree, she was DJing and building grassroots connections, not yet recognising that this cultural fluency would later become central to her programming career.

Joe began in architecture before realising it wasn’t for him. After drama school, he joined Southbank Centre in a front-of-house role. During a COVID-era training programme, he developed confidence presenting to large groups and collaborating across teams, experiences that eventually led him into development and fundraising. “Experimenting and trying as many things as possible is a good way to start,” he shared.

Kyesha’s career spans hospitality, fashion and commercial events. Her advice to the Creative Access community was clear: “Keep pushing yourself forward and advocating for yourself until someone opens the door and lets you in.” And when showcasing the transferable skills you’ve gained from working part-time jobs in interviews, Courtney reminded us how important it is to back yourself and trust in the skillset you bring to the table: “It’s not embellishment if you did it.”

The panel spoke candidly about insecurity, comparison and the pressure to have everything figured out.

Joe reflected on feeling anxious about not knowing his exact career path: “I felt like I should know what I wanted to do… What I’d say now is, it’s okay to make mistakes. Don’t be afraid to go for opportunities, even if they don’t work out.”

Courtney described graduating and thinking, “Now what?!” – a familiar feeling to many in the room. Her advice: “Be open to the opportunities where they come up… you have to stay open. It’s the best and worst thing about the arts.”

When considering what you actually want to do, Cam encouraged attendees to ask themselves three questions:

• What am I good at?

• What do I enjoy?

• What do I want to get better at?

Then, once you’ve got more clarity, reverse engineer the careers you admire. Hiring managers, he noted, are looking for people who can bring something new to their organisation. But, above all, they’re looking for passion and willingness to learn. Let your curiosity shine through and be open about the things you want to get better at.

For members of the Creative Access community navigating career transitions, the conversation around transferable skills was particularly powerful.

Joe’s move from visitor assistant to development team member was made possible because he understood event logistics, audience engagement and cross-department collaboration. That practical knowledge gained during his front-of-house work became invaluable in his new role.

Kyesha emphasised that administrative skills are universal: “One constant skill you gain from whatever level of education you’re able to attain, admin is a constant. Think about how you can bring that into your work and present it as expertise.”

From hospitality and customer service to university group projects, the message was clear: you likely already have more relevant experience than you think. The key is learning how to articulate it.

Courtney advised practising how you talk about your experience and avoiding overly specific jargon, instead, speak the language of the person sitting across from you and the culture of the organisation you’re interviewing for.

Building a creative career isn’t only about formal job titles, it’s also about relationships.

Edith reflected on how her DJ career and collaborations within grassroots music communities shaped her understanding of audiences and scenes. “I didn’t realise the cultural fluency that gave me.” Cam echoed the importance of authentic connections through building relationships with people who share your passion and bringing each other along as you grow. Courtney encouraged members to nurture the networks they’re building now: “Find common interests, build authentic relationships around shared passions, and continue to check in with the people you’re coming up with.”

The panel closed the conversation by bringing two essential themes together: valuing yourself and understanding what employers are actually looking for.

Edith spoke openly about imposter syndrome and the importance of not discrediting your cultural fluency or lived experience: “Stand firm in what you bring.”

Cam reinforced this with a clear reminder: “Understand your worth; never gift your time.”

While unpaid opportunities can sometimes offer exposure or experience, sustainability matters. If you do decide to work for free, think carefully about reciprocity, what are you gaining in return? And remember: it’s okay to say no.

From a hiring perspective, confidence in your value goes a long way. Across roles, the panel agreed that employers are looking for:

• Curiosity and enthusiasm
• Authenticity and genuine interest
• Creativity and strategic thinking
• Resilience and energy
• A willingness to ask questions and learn

We ended the night with an exclusive view of two exhibitions at the Hayward Gallery: Yin Xiuzhen: Heart to Heart and Chiharu Shiota: Threads of Life.

We’re also excited to be running the Creative Access x Southbank Centre mentoring programme – an incredible opportunity to gain tailored guidance and grow your network in the arts. Applications close on Friday 20th March 2026 at 12pm, so be sure to get yours in before the midday deadline. Click here to apply.

To everyone who joined us – and to our generous partners at Southbank Centre – thank you for an energising, honest and practical conversation about what it really takes to build (and sustain) a creative life in the arts.

The first Creative Access virtual masterclass of the year sparked a lively and inspiring conversation, filling a cold January evening with warmth, honesty, and laughter. The trailblazing panel drew on experiences across the creative industries, from creative entrepreneurship and live events to filmmaking, theatre, and writing, offering insights, stories, and advice that resonated with all who attended. 

Aimed at aspiring, junior and entry-level creatives, this masterclass explored the realities, challenges and opportunities of building meaningful creative networks, particularly for individuals from under-represented backgrounds. 

For invaluable insights into building thriving communities at the intersections of creativity and identity, keep reading on… 

The panel: 

• Ajay Pabial, renowned social entrepreneur, artist, founder and CEO of Art Clubbers CIC – an award-winning arts organisation transforming the creative landscape 

• Lucia Aide, Thrive trainee, Creative Access and founder, theConn3ct – a platform dedicated to curating experiences rooted in community, connection and creativity 

• Priya Biring, co-director, Wondering CIC – a community interest company that transforms lives through filmmaking 

• Zhui Ning Chang, a Malaysian editor, writer, and theatre maker based in London 

• Bil-Marjyah Rahman, community and partnerships programmes manager, Creative Access (chair)

Reflecting on what community and belonging means to them, Lucia shared it’s all about having the “safety and freedom to show up as yourself”, inspired by her family – particularly her mother’s experience as an Ugandan immigrant to the UK. 

For Ajay, it’s the three P’s that encompass belonging: people, place and planet – and the spaces where every facet of his identity as a queer, Asian East Londoner can comfortably overlap. 

Zhui Ning described belonging as “the recognition and acceptance of the entirety of yourself”, expressed in ways that centre solidarity and don’t “close doors for other people behind you.” 

Priya reminded us that community is active and ever-evolving: 

To build spaces for people who don’t necessarily identify as ‘creative’ in a traditional sense, be intentional! A clear vision allows those who align with your ethos and values to find you. Lucia believes we all have a “creative bone or muscle”; it’s about building spaces where people feel comfortable enough to exercise it. 

Transparency plays a vital role in enabling someone to show up as themselves, especially if they typically feel intimidated in creative spaces. In an industry that can sometimes feel transactional and surface-level, honesty is at the core of theConn3t. When hosting events, the team’s role is to be both attentive and authentic, welcoming people into the space and helping them feel at home.  
 
If you’re struggling to find community spaces or projects that feel like the right fit, build your own. That’s how Art Clubbers came about, says Ajay, who developed the skills he needed in his day job and rallied his friends and community networks to put on the show in Peckham that started it all. From there, the focus became ensuring that the work remained relatable and relevant to the communities being serving. At Art Clubbers, “everybody brings their voice to the table.” If something isn’t working, don’t be afraid to listen to the people in front of you, and adapt where needed. 
 
Got an idea? Don’t get stuck on the research or the theory – go out and do. For Priya, difficult experiences in the film industry led to opportunity and a fresh perspective. Filmmaking is an inherently vulnerable process, like “reading someone’s diary”, so Wondering CIC is prioritises responsibility and gives people the opportunity to tell their own stories, rather than acting as a voyeur to someone else’s experience. 

If you’ve got a got an idea you believe in, be practical about building partnerships and understand what the other party stands to gain so you can use it to your advantage. Surround yourself with people you trust and stay true to your principles, so you can rely on them when challenges come up. 
 
When you’re building something from scratch, it’s important to define your purpose. As part of the team that launched khōréō magazine (a platform for writers of migrant experience and backgrounds), Zhui Ning understands the importance of creating and maintaining safe spaces for both community members and staff. Community spaces aren’t just about the individual: “everybody has a part to play – not just the person running the session”. 
 
On a practical level, clarity around shared aims helps attract people seeking the same thing. Agree on a code of conduct and be consistent about upholding ground rules. Set timelines and host regular check-ins to ensure everyone remains aligned. Most importantly, Zhui Ning reminds us, have fun with it! “Don’t just connect on the broad mission; the small things matter too.” Whether that’s sharing a meal or trying a new activity together, spending time in each other’s space is key. 
 
Remember, project management is 80% admin and 20% fun. In the early days, Ajay relied on grant funding to build an impactful portfolio of success stories, which later helped to secure commission-based work. This required a lot of resilience, so being able to rely on the friendships, business partnerships and community connections he’d built along the way was vital. 
 
Figure out what’s important to you, whether it’s long-term impact or immediate results. Sometimes, a business or project becomes unsustainable and comes to its natural end. Post-pandemic, Zhui Ning unfortunately had to fold their theatre company when the team realised they no longer had the resources to “do justice” to the work they wanted to produce. But the relationships and community they built “continue to exist in ways that are equally as valuable”, even if the work itself has ended. For Ajay, endings can be celebrated too: “Sometimes, it’s a success in itself to pause and close… Don’t worry about the long-term. Make your impact now.” 
 
Balancing your own needs with the needs of your community can be as exhausting as it is rewarding. Building community and community spaces is a joyful, fundamental practice that requires patience and resilience. As Lucia puts it, “balance looks different every day.” 
 
Thank you to everyone who attended and asked such brilliant questions during the Q&A. A huge shoutout goes to our fantastic panellists – Ajay, Zhui Ning, Priya and Lucia – for sharing their experiences and wisdom with us.  
 
Watch the full conversation here. 
 
Interested in joining another Creative Access masterclass? Register with us today and keep an eye out on our opportunities board for upcoming masterclasses.  See you at the next one!

Our latest Creative Access Masterclass pulled back the curtain on Fane, the live events and production company shaping some of the most exciting cultural moments happening on UK stages today. 

If you’ve ever attended a beautifully curated conversation with a bestselling author, an evening with a screen icon, podcaster or public thinker, there’s a good chance Fane was behind it. Known for its thoughtful, talent-led approach, the company specialises in creating space for meaningful dialogue, blending entertainment, insight and storytelling in front of live audiences. 

With a portfolio that spans global names, literary giants, cultural commentators and rising voices, Fane has become a major force in the live events landscape. The team produced over 500 shows this year alone, balancing high creative ambition with meticulous logistical planning. 

Against the backdrop of the Barbican’s Frobisher Rooms, the Fane team offered an exclusive, behind-the-scenes look at how these events come to life. Our panel included:

• Renae Prince, associate producer
• Deena Mavji, programming manager
• Olivia Atley, senior marketing manager
• Sally Zarzour, young Barbican alumna and panel chair

Renae captured Fane’s mission simply: 

But behind that simplicity is a complex and highly collaborative process. Every event begins with an idea, which is often sparked through cultural trends, talent relationships or team passion projects. This happens before moving into planning, pricing, creative approvals and long-term scheduling. 

From assessing audience demand through social media insights, to crafting copy, artwork and marketing plans, the journey can take months. Occasionally, though, things move fast: the team revealed that the event featuring highly acclaimed Tony, Emmy & Grammy award-winner Cynthia Erivo, alongside BAFTA Scotland’s award-winning actor Ncuti Gatwa, celebrating her brand-new memoir SIMPLY MORE!, went on sale in just four weeks. Fane’s immense success comes to fruition from its esteemed relationships with venues, talent teams, publicists, designers, and the close-knit team members themselves.

Producing high-impact events 

Olivia described producing as understanding “what makes a show a show”: the details, tone, atmosphere and narrative that shape the audience experience. Clear communication, patience and thorough pre-event preparation all matter, especially when balancing multiple events at different stages of development. 

Deena highlighted the importance of staying flexible and organised, using digital tools like spreadsheets or Asana to keep fast-moving projects aligned. Meanwhile, marketing plays a crucial role in capturing audience attention: 

The panel also discussed Fane’s active approach to widening its reach beyond London, diversifying audiences regionally and spotlighting a broader range of voices across its stages. 

Reflecting on the last five years, our panel noted major shifts post-pandemic. Olivia shared that audiences are now more selective, choosing experiences that truly resonate with them. Deena added that the industry has pivoted away from relying solely on big names as audiences now respond more to authenticity, passion and strong content than to celebrity status alone. 

Despite the challenges of recent years, the appetite for live culture is growing. Theatre attendance rose 11% from 2023 to 2024, pointing to a renewed desire for in-person connection. Fane has continued to balance both digital and live formats, keeping accessibility at the forefront while still celebrating the energy of live performance. 

Panel favourites: standout Fane events of 2025 

When asked about their most memorable shows of the year and countless options to pick from, our panellists lit up.

• Deena – ‘Most wanted’ with Gillian Anderson at the Barbican: A moving and candid event where Anderson read anonymous letters from women, exploring personal fantasies and untold stories. 

• Olivia – Margaret Atwood, celebrating the launch of her new book ‘Book of Lives: A Memoir of Sorts’: A sassier evening than expected, and a powerful full-circle moment for Olivia after studying her work in school. 

• Renae – An evening with Barack Obama & ‘Always winning’ with Ashley Walters: Obama’s event was a surreal milestone. Walters’ appearance, meanwhile, offered vital representation for audiences who, historically, may not have seen themselves reflected in traditional theatre spaces. 

And on the horizon: a very special Judi Dench event on 16 December… 

The team offered thoughtful, impactful advice for people from under-represented starting out in the creative industries:

Deena: Stay open to unexpected paths, a mindset that led Deena to Fane through Creative Access. 

Renae: “Be more confident.” Self-doubt will hold you back long before the industry will. Mentors can be transformative, and tailoring your CV and cover letter to the role you’re applying for is essential. 

Why does it take at least four weeks to launch an event? 

Because aligning talent schedules, venue availability, artwork, copy, and client approvals is complex and compressing that timeline is very tough. 

How do you handle working with controversial guests? 

Rigorous research and transparency. Accountability comes first. 

How do you navigate creative differences? 

Through clear communication, exploring multiple options, and always identifying the core audience. 

How is event funding secured? 

Fane usually fronts funding. For independent creators, clarity on your identity, your aesthetic, your value, your audience is essential. Networking opportunities, like Creative Access masterclasses, play a huge role. 

How do I re-enter marketing or the creative industries? 

A strong cover letter can stand out more than a CV. Keep putting yourself out there, trust your instincts, and ask friends for a second opinion on your applications before sending them in. 

These were just some of the standout moments from an insightful, energising session at the Barbican. Big thank you to our amazing panellists and chair, the Barbican for hosting us, and everyone that attended!  

To join future Creative Access masterclasses and hear directly from leading voices across the creative industries, make sure you’re registered with us and keep an eye on our opportunities board. 

For October’s masterclass, we took part in Royal Academy of Arts’ ‘Drop in & Draw‘, a lively life-drawing session hosted in collaboration with the inspiring 2bornot2b Collective. They are a POC-led art collective dedicated to uplifting POC and visibly marginalised bodies in art. The workshop celebrated creativity, movement, and expression, inviting participants to experiment freely while honouring diverse forms and identities.

The session featured four models, with the focus shifting between one or two at a time. We began with quick two-minute poses, each sketch demanding speed, intuition, and attention to gesture rather than perfection.

We were encouraged to rethink how we hold our tools – not in the usual tight grip, but the overhand ‘violin bow’ technique, allowing lighter, more expressive strokes. ‘Pop your head up for two seconds,’ the facilitator reminded us, ‘and really see what you’re drawing.’

Each pose came with a creative prompt to loosen our minds and hands:

• Sketch using abstract structures
• Switch to your non-dominant hand for a challenge
• Reduce the body to geometric shapes – a circle for the head, a single line for the body
• And later, think about space and depth – instead of drawing the body, try drawing the space around it

The final session brought everything together. Over 20 minutes, models entered the frame one by one, building a ‘still’ that evolved in real time – each addition shifting the composition and energy of the piece. It was described as ‘a drawing built over time,’ a living sculpture of form and connection.

We were also given the incredible opportunity to visit the Kerry James Marshall: The Histories exhibition. Marshall, known for his powerful, figurative paintings that unapologetically centre Black life, reimagines Western art traditions through a Black lens.

Spanning 45 years of work, the exhibition explores eleven distinct cycles – from portraiture and landscape to historical scenes and contemporary political commentary. His pieces chronicle moments of Black history from the Middle Passage and slave rebellions to the Civil Rights and Black Power movements, transforming the genres of Western painting in the process.

If you haven’t yet visited, the exhibition runs until 18 January next year – and if you’re 25 & under, tickets are half price! Find out more and book tickets here.

Big thank you to everyone who attended, Royal Academy of Arts for hosting and 2bornot2b Collective for the incredible creative workshop!

Have you ever wanted to know how TV ideas are born, how to craft the perfect pitch, or what really goes into making the sizzle reel that sells a show?
At our latest Creative Access Masterclass, we partnered with ITN Productions, the award-winning production company behind some of the UK’s most compelling documentaries and factual programmes. The evening gave our community a behind-the-scenes look at how it all happens. Across four sessions, ITN leaders shared their insights on development, pitching, editing, digital, and career progression – offering practical advice and candid reflections from inside the world of television.

Session 1: Development & Pitching

Led by Daniel Gilmore (Head of Development) and Olivia Evans (International Development Producer), this session explored how ideas are generated, researched, and pitched before they ever reach the screen.
From podcasts and social media to casual conversations, Olivia explained that inspiration is everywhere if you stay curious. Daniel emphasised the importance of knowing your audience: every broadcaster has different needs, and tailoring your pitch accordingly is essential. The pair also discussed dealing with rejection, having faith in your idea, and keeping your enthusiasm alive.
When asked what it really takes to build a career in development, Daniel advised: ‘Have faith in your idea, be able to deal with rejection… always be passionate and enthusiastic.”

Session 2: Editing Sizzles & Taster Tapes
Patrick Holland (Development Coordinator) guided participants through the art of the sizzle which are short taster reels that can either make or break a pitch.
“Don’t save your killer quote until the end.” – Patrick Holland
Patrick reminded us that impact needs to land early, with music, visuals, and motion playing a crucial role in grabbing attention. He also stressed the importance of proof of concept, from sourcing archive material to creating mood boards. The attendees were encouraged to always get feedback before sending a tape out.

Session 3: CV Clinic
For the third session, Zara McFadden (Talent Executive) led a practical workshop on how to craft a CV that reflects your brand and stands out in the creative industries.
“Don’t be frightened – you’re going to be changing your CV all the time. Running your CV is a job in itself.” – Zara McFadden
Zara shared advice on layout, clarity, and tailoring each CV to the role you’re applying for. She highlighted the value of including showreel links, technical skills, and well-chosen personal interests, while warning against over-padding or overlooking spelling and grammar.

Session 4: Short Form & Digital
In the final session, Rubina Pabani (Head of Short Form/Digital) explored the opportunities and challenges of making digital content.
“Rejection is always good for you.” – Rubina Pabani
Rubina encouraged attendees to focus on audiences first and see rejection as part of the creative process. She also spoke about the art of casting, the power of conversation, and the creativity that comes from starting small in the digital space.
Practical tips included design, pitching and casting – giving relationships time to develop and choosing characters who make you laugh or tell compelling stories. Rubina emphasised using available resources and learning skills independently, from colour grading to sound design. Even ideas that start from nothing can grow into impactful content, and diverse stories are more important than ever.

A huge shout out to ITN Productions and to Dan, Olivia, Patrick, Zara, and Rubina for such an inspiring evening. And thank you to everyone in the Creative Access community who joined us!

Have you ever used a remote to change the volume on your TV? Watched a video with subtitles? Looked for a low point on a curb to move a suitcase between road and pavement? Listened to an audiobook while washing up? 

You might not know it, but these are all examples of technologies designed with disabled people in mind that have since become part of everyday life, with an impact so profound that their invention can easily be overlooked or taken for granted. 

The Victoria and Albert Museum’s Design and Disability exhibition, showing until February 2026, showcases the radical contributions of disabled, Deaf and neurodivergent people and communities – not just in meeting the access needs of daily life but in finding comfort, creativity, self-expression and sheer joy – all while breaking new ground as a more accessible gallery experience. The eclectic objects include high fashion, disability activist memorabilia, modded video game controllers, and the Squeeze Chair by Wendy Jacob (a luxurious chaise longue that calms its sitters with deep pressure stimulation). 

For our August 2025 masterclass we were thrilled to hear Catriona Macdonald, exhibition manager at the V&A, delve into the work that goes into exhibitions like this one, followed by a private evening view of the exhibition itself. 

The timeline for producing an exhibition like Design and Disability starts long before installation. In this case, work by curator Natalie Kane started at least five years ago and Catriona joined around two years into the process. There is a six-month period in which the feasibility of a show is researched and compiled, including extensive audience testing, culminating in the Business Case, a document Catriona neatly sums up as: “Here are our aims, and here is how we are going to achieve them.” 

Catriona’s deep involvement in the exhibition, from initial feasibility planning through to the installation period, offers unique insight into the realities of exhibition-making at this level. In her role, Catriona is responsible for successfully delivering exhibitions in time and in budget, managing risks on both fronts whether at home at the V&A or for touring exhibitions. As you might imagine, the role involves communicating with an incredible variety of internal and external stakeholders, from specialist teams in the V&A to contractors and artists beyond.  

After this has been successfully reviewed, a global view of the exhibition is created through a programme and schedule of work (a good old Excel spreadsheet does the trick) and there is the finalised budget, a risk register, curatorial presentations, a clear narrative scope to the exhibition with support from the Interpretation team, a brief for external or internal designers, all tenders that will be required… and, of course, a list of objects!  

When the exhibition is in its development phase, the object list will be closed with loans and transport of the objects planned. At this point Conservation & Technical Services staff will come on board to figure out how exactly to display objects.  

The installation process before the exhibition opens can be complex and items are often fragile. Some high value objects even come with their own couriers. In the case of Disability and Design was completed over two weeks, and Catriona worked closely with artists to understanding precisely how work should be displayed as intended, down to the precise positioning of a cushion on a piece of furniture.  

The impression Catriona gives of managing the exhibition is one of an incredible balancing act. On one hand, placing accessibility as a central principle in how the exhibition is designed and how it can include disabled communities as much as possible – all while meeting the high curatorial standards of any V&A exhibition, and the complex technical and logistical requirements that make any of this possible.  

But what exactly makes Design & Disability different? Accessibility is baked into the very core of the exhibition experience, with careful decisions made regarding layout, entrances, a dedicated onboarding area, audio and BSL guides, earcup headphones, induction loops, wall colours, tactile edges for doorways and furniture, a tactile map, and seating areas throughout the space.  

Spaces are created for reflection and pause, including the blue bench with “I need more time // rest here if you agree” which Catriona describes as encapsulating the entire show and working as its manifesto. It’s common in galleries for there to be a lack of opportunity to simply rest and inhabit the space; that’s not the case here. Disability advisory groups were a crucial part in crafting an exhibition that puts disabled people and communities first. 

The “lights up” day which takes place each month, in which lighting is increased to be inclusive of visitors who require this, is a perfect microcosm of the decision-making behind the exhibition. The higher light settings were designed with equal thoughtfulness to provide an intentional experience to every visitor rather than merely hitting a light switch, and the duration of the increased light was balanced with a need to protect certain objects from damage. 

“Legacy is a particularly important thing for this show,” Catriona explains. While introducing audio description guides and plain English guides – both of which are the first of their kind in the museum – training was provided across the department so that other staff now have the skills to include these elements in their projects. The lighting gear acquired for the “lights up” days is now in the museum and can be used again. Catriona stressed that feedback from visitors that find these features beneficial is highly valued and helps shape and make the case for what should be included in future exhibitions.  

Catriona also spoke candidly about the personal learning she gained through this process. Strong disabled representation in the team was even more valuable than expected, as working alongside mainly disabled practitioners created a shared context and basis of understanding that meant there was no contest over prioritising access. It was also a reminder to meet artists where they are and being ready to break convention to help individual working styles – for example, picking up the phone rather than sending a high volume of emails. 

If non-disabled visitors leave the exhibition with one takeaway, Catriona wants them to become comfortable with feeling uncomfortable and to sit with this sensation for a while. “Disabled people should not be thought of as a monolith,” she tells us. “Every disabled person’s experience belongs to them.”  

Thanks to our friends at the V&A for inviting the Creative Access community to a fantastic evening, and a huge thank you to everyone who attended the talk and private viewing! We look forward to seeing you at our next masterclass. 

Our latest Creative Access Masterclass took place online with acclaimed author and journalist Sathnam Sanghera in conversation with award-winning multimedia journalist, Media Storm podcast co-host, and former Creative Access intern Helena Wadia.  

With a career spanning memoir, fiction, non-fiction (including the Sunday Times bestseller Empireland), and documentary presenting, Sathnam is an incredible storyteller. He has worked as a news reporter, written widely as a columnist, and also serves on the advisory board at Creative Access. 

On class, ethnicity and DE&I in the creative industries: “In truth, I think [being a person of colour] it’s given me opportunities, and I think we really need to be more nuanced in the DE&I space, especially as DE&I is under threat. The fact is you are just as unlikely to see a white working-class person on Fleet Street as you are a Black writer.  

Increasingly, we need to recognise that actually certain people of colour come from very privileged backgrounds. Some of the poshest people I know are British Asian but the word ‘Asian’ incorporates a huge demographic… So, what does the word Asian mean? What is the significance of colour? We’ve got to paint in less broader strokes now and be more focused about where the disadvantage is and where we need to do work.” 

On what you can learn from journalism: “I think for most people, it’s good to do different types of writing… I’m so glad I was a news reporter because it taught me so much about news gathering and fact checking. I’m so glad I didn’t become a columnist until my late 20s; I think you need to know a bit about the world and accumulate experience. I know I sound like a dad, but you also need to learn how to write, you need other get the crap out of your system… It’s good to try different forms of journalism and it enables you to work out what you like doing and what you’re good at; and journalism is about explaining complicated things clearly.” 

On challenging narratives in his book, Empireland: “I didn’t study a single Brown author until my final term of university – not a single Brown character or author. Salman Rushdie I was finally allowed to read and Hanif Kureishi, and even at the time I didn’t realise because it takes a while to understand your own life, right?  

I got to my 40s and I was researching a novel about this Indian guy who came to London in the 18th century and I thought oh my god, I don’t know anything about the British empire and yet it explains everything about me! It explains why my parents came, it explains why there’s a lot of British Asians everywhere, it explains why people love curry in Britain, it explains why we drink gin and tonics, it explains our racism, our multiculturalism, our politics, Brexit, and suddenly I saw it everywhere, so it just kind of blew my mind. Also, I couldn’t find a book that explained it clearly… I just wanted a book that explained it in a neutral way and I guess I kind of wrote that book.” 

How to use social media to your advantage: “Your generation has an advantage that I never had – social media. Who are the most enthusiastic users of social media? Journalists! Every journalist has social media. I think X is increasingly not useful and toxic, get on Blue Sky. Journalists are always looking for ideas, they’re needy people, so read their stuff, reply to them, ask intelligent, non-aggressive questions. That is amazing in a world where every journalist gets trolled, just to have an intelligent response. There’s a great opportunity to connect with journalists using the internet who were in my day, unapproachable people.” 

Navigating writer’s block: “I don’t believe in writer’s block because I write for a living and if I get a block, my family starve, so having to write for money is a really good solution… Also, the world doesn’t need more content, no one’s begging you to write a book!  

In a way you’ve got to really want to write. You know sometimes people ask, ‘what you should you say to encourage writers?’ but I don’t need to encourage writers, because if you want to be one then you’re going to do it anyway. It’s like being a footballer, it’s an uncontrollable urge, and if you don’t have that urge, maybe you should do something else.” 

How to grow your career at your workplace: “You can only achieve what you can dream and what you can envisage… so work out what you want to do and be ambitious and then talk about it, tell people, because that puts the thought in people’s brain and then people connect you with that. Theres a lot of timidity amongst young people, people of colour, working class people, who’ve never had anyone in their family do anything that they want to do. So,  you almost have to create your own dreams and manifest… manifest with purpose and specificity. Find people who have the job you want and talk about it.” 

On the writers he admires: I probably admire book writers more because in a way, you want the people you admire to be doing things you can’t do yourself. So Hilary Mantel; there isn’t a single sentence Hilary Mantel wrote in Wolf Hall that I feel I could write. As writers, we should read stuff that’s better than what we write. So, I try to increasingly read novels and increasingly those novelists are women. I do feel women are the best writers around at the moment. 

These are just some of the highlights of this brilliant conversation – make sure you head to our YouTube and watch the full conversation here. 

Interested in joining another Creative Access masterclass? Register with us today and keep an eye out on our opportunities board for upcoming masterclasses.  

Wonder what it’s like working for a major label representing the likes of Burna Boy, Fred Again and Dua Lipa? At our latest masterclass, the Creative Access community headed down to Warner Music UK’s offices for an energising panel exploring the many routes into the music industry – and the stories behind the people who’ve carved out careers across A&R, creative direction, sync, strategy, and brand partnerships. 

With representatives from Warner Records, Warner Classics, Warner Chappell and WMX, the panel was packed with practical insights and real talk about how to find your voice, own your identity, and thrive in a fast-paced, ever-evolving creative space. 

• Femi Bello – creative director, Warner Records 

• Jonathan Farmer – senior manager, music artist & brand partners, WMX 

• Thomas Horley – creative sync & marketing director, Warner Chappell Music 

• Kara Mukerjee, strategy & innovation, Warner Classics 

• Emily Green (host) director, A&R and catalogue, Warner Chappell UK 

For many of the panellists, breaking into music wasn’t linear – it took resilience, side-hustles, and a lot of DMs. 

Femi Bello, now creative director at Warner Records, began her creative career directing a friend’s music video “by accident” and quickly realised she was more excited by this world than the path she’d set out on at university. “Where I’m from, there weren’t opportunities like this,” she said. “I left university after my first year when I realised I didn’t want to be stuck in a 9 – 5 I didn’t love.” 

“I was hustling, sending 20 DMs a day during the pandemic. That’s how I got an internship,” she added. “Look at your interests and what sets your heart on fire. It’s okay if it’s not cohesive – find the thing that excites you.” 

For Thomas Horley, now director of creative sync & marketing at Warner Chappell Music, getting his foot in the door meant saying yes to everything. “Every job I’ve ever had, I was already doing it three months before.” 

He added, “Put yourself out there. Sometimes in this industry, you have to use a machine gun to swat a fly – show your passion and your instinct.” 

The panellists spoke candidly about how crucial it is for artists and execs alike to understand who they are, and what they stand for – particularly in an industry that can blur the lines between identity and commerce. 

Jonathan Farmer, senior manager of artist & brand partnerships at WMX, emphasised the importance of authenticity when it comes to brand collaborations: “If an artist doesn’t know who they are, it can be easy to be misled by money. If the brand and artist aren’t aligned, the partnership won’t work – especially now, with Gen Z audiences being so switched-on to what’s real.” 

Femi agreed: “Creative direction is being the eye to the ear. Sometimes it’s like being a psychologist: listening, figuring out the truth, and helping to build a strategy that feels authentic.” 

The panel also reflected on what meaningful inclusion looks like within the music industry – and the efforts being made within Warner to foster long-term, systemic change. 

“There’s no one person who can represent everyone in the UK,” said Emily Green, director of A&R and catalogue at Warner Chappell. “We need a huge array of people and identities in this industry.” 

Warner’s employee resource groups (ERGs) offer safe, collaborative spaces for marginalised groups. As Jonathan, who co-chairs the Kinfolk ERG for Black staff, put it: “The Black experience is so diverse. We want to be able to showcase the full diaspora.” 

Kara Mukerjee, who works across strategy and innovation at Warner Classics and is deeply embedded in DE&I work across the sector, said: “We’re trying to change the narrative around disability and neurodiversity. These are vital to how people express themselves – this is where our industry comes from. We do the same thing for our staff as we do for our artists.” 

Kara has also just launched Lila Music, a new initiative focused on the representation & support of South Asian artists & music professionals in the UK music industry! 

Imposter syndrome was a common thread throughout the evening. But instead of shying away from it, the panellists offered constructive and generous ways to reframe those feelings. 

Femi shared a breakthrough moment: “Imposter syndrome is often about focusing too much on what you don’t know, rather than what you have to give. Everyone has something to learn, but also something to offer.” 

Thomas added: “I’m happy to ask the ‘stupid’ question. I know that if I’m in the room, there’s a reason I’m there.” 

Jonathan encouraged attendees to demand support from those around them: “Identify a good leader and ask for what you need. If you’re in the space, know that you were selected for a reason.” 

Kara echoed this reassuring our audience: “Your opinion is unique”. “One of the most flattering and engaging things you can do is to ask a question”, she continued. “It shows you’re thinking”. 

The panel also tackled the challenges of making ends meet in the creative industries – particularly for artists and early-career professionals. 

“Don’t feel ashamed if you need to work another job to pay the bills,” said Emily. “That’s normal.” 

Femi worked in hospitality while building a directing portfolio. Thomas spent years working in pubs before breaking into sync. “What kept me going was knowing I didn’t want to go back to accountancy,” he said. “The passion will sustain you.” 

Jonathan reminded attendees that skills developed elsewhere – especially as artists – can be valuable in other roles. “Content creation, community building… those things don’t take away from your dream, they can feed it.” 

“The hairs on my arms still stand up when I hear great music,” said Thomas. 

“For me, it’s about being there at that pivotal moment in an artist’s journey,” said Jonathan. “That’s everything.” 

Kara said it’s the “constant collaboration” between music and technology: “Getting to work with artists every day is always inspiring but getting to marry that with new tools and learning new skills every day… The whole world is a playground!” 

And for Femi: “It’s about remembering what you loved doing as a child. For me, that was watching music videos – it was my escape. Now I get to help others tell their stories through creativity. Working with artists, we’re changing lives.” 

A huge thank you goes to our partner, Warner Music Group, for hosting this incredible masterclass, as well as to the panellists for being so generous with their time and advice. And of course, thanks to the audience for coming along, asking amazing questions, and networking the night away!  

Want to come to the next free Creative Access event? Register with us.  

In our latest masterclass, we were joined by Aki Schilz, director of The Literary Consultancy – the UK’s longest-standing editorial consultancy. A writer, businesswoman and creative facilitator, alongside her role at TLC, Aki set up the Rebecca Swift Foundation, is the co-founder of Being a Writer, and launched the #BookJobTransparency campaign.

Aki led an interactive session on how to build a career that centres equity. Read on to find out about her career journey and how to create work that makes an impact…  

Feeling adrift in your career? It’s a sign that something isn’t quite aligning. Aki encouraged our audience to take a holistic approach to career planning, using a self-reflective SWOT analysis. Instead of just looking at career opportunities, she advised participants to ask themselves four key questions: 

• What are your superpowers? 

• What sparks your curiosity? 

• What do you value most? 

• What impact do you want to have? 

By considering these factors, creatives can carve out careers that feel both purposeful and fulfilling. 

Aki shared her personal career trajectory, demonstrating that there’s no single path into the literary world. Coming from a family of teachers and avid library-goers, books were a natural part of her life. She studied languages at university before pursuing a master’s in creative writing. 

However, after she graduated, she entered the workforce during a recession and found that her degrees hadn’t equipped her with practical career skills. She worked temp jobs as a secretary and PA in the NHS, transitioning into SEO copywriting and internships before landing a role as an acquisitions assistant at Jessica Kingsley Publishers. 

While working, Aki continued to engage with the arts, writing dance reviews through a youth arts charity. She later came across Free Word and proactively reached out to every company based in their building. The only person to reply was Rebecca Swift – who she would later go on to work with at The Literary Consultancy.

Aki encouraged attendees to look for common threads in their past work to help understand what role or career would be a good fit for them. For her, it was creativity, literature, access, culture, change, and, more recently, wellbeing.  

She also emphasised that failures are not discussed enough in the creative industries, saying: “Some of my failures haven’t made me stronger – they’ve just been challenging. It’s important to acknowledge this candidly.” Failures can include job rejections, unsuccessful funding applications, bias in the industry, burnout, or projects not going to plan. The key, she said, is learning from these moments while recognising that they are an inevitable part of a creative career. 

However, when looking to progress your career, Aki said: “Empower yourself to ask for promotions and bring proof to those meetings!” 

Aki highlighted how gatekeepers often present small, incremental changes as major progress: “Gatekeepers like to feed breadcrumbs and tell you that it’s change.” 

True change, she argued, requires more than just representation – it demands structural transformation, co-ownership of ideas without exploitation, and continuous evaluation. 

She also challenged the literary world to rethink the idea of the ‘default reader’, examine unconscious biases, and practice radical empathy. At the heart of her work is the principle of literary citizenship – a commitment to making the industry more equitable for everyone. 

Aki shared her own manifesto for working ethically in the creative industries: 

• Transparency 

• Accountability 

• Curiosity  

• True and equitable collaboration 

• Creativity and risk-taking 

She then asked the audience to consider their own vision for creative citizenship by reflecting on four key questions: 

1. What makes you feel safe in the workplace? 

2. What makes you feel valued in the workplace? 

3. What makes you feel confident in the workplace? 

4. What lasting change are you committed to making? 

Aki recommended: 

• Exploring job boards like Creative Access, Arts Jobs and Arts Professional

• Researching organisations that receive funding from bodies like Arts Council England, Creative Scotland, and Arts Council Northern Ireland to identify potential employers 

• Knowing your employment rights, including ensuring you are paid fairly 

• Gaining experience wherever possible, such as taking on a role in university societies or volunteering  

“Sometimes we’re asked to be a bit of an avatar of ourselves,” Aki noted. She shared these practical tips for interviews: 

• Prepare thoroughly and don’t be afraid to bring notes 

• Take a moment before answering questions – it’s okay to ask for clarification 

• Remember that nerves are normal and won’t count against you 

For those nervous about re-entering the creative industries or disclosing a disability after a career break, Aki reassured attendees: 

• Legally, there is no obligation to disclose anything 

• If you choose to disclose, you are entitled to reasonable adjustments 

• Instead of focusing on gaps, reframe your experience: “What are the assets I’m bringing?” 

• Identify your fundamental needs, especially if you require flexibility or specific workplace accommodations 

Aki encouraged career changers to rethink how they present their CVs: 

• Instead of chronological order, highlight three key skills at the top 

• Use a personal statement to explain your career transition 

• Provide specific examples of the impact you’ve made in previous roles 

• Identify light-touch ways to fill any skill gaps – such as online courses or volunteer work 

Huge thanks to Aki for sharing her time with us and prompting our audience to better understand their career paths, and of course thank you to our audience for bringing their unique perspectives to the session! Looking for some more career inspiration? Head to our opportunites board to find your next role and join us at our next event.

It was a lively and informative Creative Access virtual masterclass, bringing together aspiring, junior and mid-level creatives from across the UK. Chaired by our marketing & communications manager, Rochelle Chinn, the panel featured seasoned industry pros at various career stages in music, PR, TV & film, and comms. They explored how to overcome geographical barriers in the London-centric creative industries, covering everything from how to find opportunities to the importance of networking in a shifting creative landscape! 

Read on for invaluable insights on building a thriving creative career outside of London… 

The panel: 

• Rochelle Chinn, marketing & comms manager, Creative Access 

• Ash Sodawala, account exec, Citypress 

• Luke Oliveira-Davies, creative producer & founder, Polari 

• Will Marshall, freelance composer 

The biggest misconception about a creative career outside of London is that it’s not possible to have one! There’s thriving scenes and hubs all over the UK, particularly in cities like Manchester, where Ash grew up, studied and now works thanks to Citypress locating its headquarters there.  

An excellent way to virtually network is through WhatsApp groups. Luke says, “I know they can be overwhelming for some people and for that reason I do have them all muted, but I browse in my own time. Look at what people are talking about and engage when you can.” 

Be prepared to impress someone with a great portfolio. Will recommends showcasing your best work on a website through SquareSpace or WordPress – and Instagram is great too. And, if you haven’t got any professional experience to showcase yet, just showcase work you’ve done voluntarily, at college, university or passion projects. 

Will’s top tip for perfecting your portfolio is get someone who knows you and your work to give you feedback.  

Your regional location can be an advantage if you use your lived experience to enhance your work. Ash says, “Growing up in Manchester and going to university here makes me an expert of the area, which I use all the time when I’m advising my clients on the cultural landscape and what will land.” 

Increase your chance of success with cold emailing by making it warm. Rochelle says, “When you’re reaching out to someone and asking for their time, be specific with what you’re looking for. Instead of saying ‘Can I pick your brains?’ Say ‘I loved your work on this campaign and would love to learn more about how you did it.’” 

When opportunities in your career are scarce, don’t wait for one, go create one, Will says. And if you’re not yet comfortable getting yourself out there, acknowledge that self-promotion is a skill within itself, and it’s something you can practise. 

If you’re feeling uninspired where you are, Luke advises listening to podcasts on how people built their careers, attending online events, and watching videos of masterclasses. This way you can connect with peers online who you can talk about your craft with. Rochelle echoed this, saying it’s important to consume other mediums outside your craft to find inspiration. As a writer, she finds films the most inspiring way to get her to pick up the pen. 

If you’re having trouble staying motivated when you’re receiving rejections, keep going. Know that you are improving all the time, and with enough practise you’re going to be the best version of yourself in an interview. 

Something you may be surprised by is that you might not end up in the career you thought you would be in. You’ll have more success if you stay open to alternative routes or even industries. Ash originally wanted to get into the publishing industry, and thought PR would be a good way to sidestep, but now, really sees herself building a career in PR. 

A very transferable retail skill for the TV & film industry is confidence. Luke says, “I gained more skills working in Wetherspoons and River Island that I bring to the TV industry than I got in my degree. Working in TV is all about people, and being adaptable, so retail is a brilliant place to start.”  

One common mistake that entry-level individuals make is basing where they live entirely on their career prospects, with the assumption they will only get a role there. Ash advised thinking about where you want to live, finding out what’s going on locally and focusing on establishing your base there.  

Don’t underestimate the power of making connections because creative work is often based on referrals. Will came from Fife, a village in Scotland with a population of hundred or so people, and as a working musician he says, “Do what you can as well as you can, because people will want to work with you again and word of mouth is key.” 

Thank you to everyone that attended and asked such brilliant questions in the Q&A, as well as our fantastic panellists who shared so much wisdom. See you at the next one! 

You can watch the full video here.

Are you a budding creative looking to secure your first role? Do you want the opportunity to expand your skills in admin, research and more? Have you got an exciting new experience to add to your next application? Sign up now to attend our next online group CV consultation happening online on the 27^th March. 

PR – it’s an arguably misunderstood profession in the creative industries, having long been portrayed in sitcoms as the job for extroverts and glamorous party-goers keen for media coverage. But what do we really know about the public relations industry? 

Perhaps this mischaracterisation is partly to blame for the industry’s lack of diversity:  9 in 10 UK PR practitioners are white and 25% are privately educated (CIPR). We know that if you don’t see yourself represented in an industry, you’re much less likely to consider it as a career path.  

However the industry is changing, and it seemed fitting to host our first Creative Access masterclass of 2025 with our fantastic employer partner Teamspirit, and spotlight the world of PR and marketing through all the unique ways in. With an engaging panel of industry pros at Teamspirit and Harvard, they helped break down the barriers and illuminated the pathways into the exciting but sometimes misunderstood industry of PR. Read on for our panellists’ top 5 tips for breaking into the PR industry… 

We were joined by: 

• Sandy Downs, account director and head of DEI, Teamspirit 

• Alex Waring, junior strategist, Teamspirit 

• Sofia Cerchiai, senior PR account executive, Teamspirit 

• James Drinkall, creative services project managerTeamspirit 

• Joanne Oni-Awoyinka, account executive, Harvard 

• Sophie Wesley, account manager, Harvard 

Top 5 tips for breaking into the PR industry: 

1. Emphasise your transferable skills 
   PR thrives on diverse experiences, so whether you’ve worked in retail, customer service, or managed creative projects like TikTok videos or a blog, you have something valuable to offer. Highlight moments where you communicated effectively, solved problems, or led a team. For example, a part-time job in customer service or managing your university’s social media can be a huge asset. 

2. Showcase creativity in your applications 
   Stand out with a CV or portfolio that reflects your personality and creativity. Think PowerPoints that tell your story or an Instagram account that highlights your design skills. Tailoring your application to the company’s work and showing genuine enthusiasm can make all the difference. Creativity shows initiative and a passion for the industry – qualities PR agencies value deeply. 

3. Network strategically 
   Networking is key! Use platforms like LinkedIn to connect with industry professionals, reach out with genuine interest, and don’t be discouraged if you don’t hear back right away. Building relationships with PR professionals and journalists can open doors to internships and job opportunities while keeping you in the loop on industry trends. 

4. Learn and keep learning! 
   Many PR professionals got their start through internships or by diving into online courses. These experiences build knowledge and demonstrate your commitment to the field. Stay curious and proactive by exploring free resources and tools to expand your expertise. Mention these in interviews to highlight your eagerness to learn and grow. Check out PRCA and CIPRfor further resources and learning! 

5. Adapt and stand out with AI and creativity 
   As AI transforms industries, focus on the human skills that make PR unique – empathy, storytelling, and connection. Use AI tools to streamline tasks but let your creativity shine in building relationships and designing campaigns that resonate on a personal level. Being tech-savvy and innovative will set you apart. 

The evening was a testament to the power of creativity, resilience, and connection of our brilliant panel and community, and the night continued with networking.  A huge thank you to Teamspirit for hosting us in their offices! 

If you’re an employer and want to collaborate on a future career-in-focus event, we’d love to hear from you.

If you loved learning these top tips, why not take a deep dive into other Creative Access masterclasses!

South Korean survival horror show Squid Game captivated audiences worldwide on its release back in 2021, featuring a dramatic contest between regular people it felt ready to be adapted for reality TV. Fast forward to 2023 when Studio Lambert brought the idea to life with Squid Game: The Challenge, featuring the largest cast in reality TV history and a record-breaking single cash prize of $4.56 million USD (now showing on Netflix). 

At the Creative Access masterclass in December 2024, we heard from experts at Studio Lambert, the very production company that had a hand in its making. The panel shared what it took to bring Squid Game: The Challenge to the screen, insights about working in unscripted TV, and nuggets of wisdom from their own career journeys so far. 

• Stephen Yemoh, executive producer: Responsible for overseeing the creative vision, from selecting games to driving casting decisions. 

• Anna Wood, line producer: Managing logistics, ensuring that over 800 crew members and nearly 500 contestants were housed, fed & moved safely across the sprawling set. 

• Esme Holliday, games researcher: Designing and testing games that would balance playability with visual and dramatic impact. 

Bringing the tension and drama of Squid Game to reality TV is no mean feat. Executive producer Stephen nicely summed up the production’s all-in approach when it came to staying true to the original: “Be bold. Don’t try and cheapen it; do everything you can to make it feel exactly like what people have seen in the drama.” 

In practice, this meant implementing an incredible level of attention to detail across all elements of production. Games researcher Esme remembers this forensic creative process well: “We counted thousands of marbles used in one of the games to ensure consistency. “We tested cookies to make sure they were the right level of brittle and would stay that way over the day.” In terms of designing games, there was a level of direction from the drama’s visuals, but a core focus of Esme’s role was to make these into fair and entertaining games that people could actually play. On two occasions they ran games tests with 456 supporting artists! 

The ‘squid’ technology (a pun on the usual ‘squibs’ designed to imitate blood) that provided a clear visual cue for when contestants were eliminated was another element that had to be iterated again and again. The nozzle designed to deliver the ink was redesigned at least thirty times before it behaved exactly as needed on set. Even choosing t-shirts that the ink would easily show through was essential in making this element look right. Stephen points out that the ‘squid technology’ was one of the many things that made the drama feel real for contestants, a key part of creating highly watchable reality TV. Unlike their actor counterparts in the drama, contestants reacted with shock to eliminations because of a sudden effect, versus post-production VFX added after in the editing suite. 

Esme spoke about both intense pressure and memorable fun moments on the show, like adjudicating the Red Light, Green Light game: “I remember telling creative director Tim Harcourt and Stephen Lambert himself to be quiet when we were doing Red Light, Green Light because I was logging eliminations from the game in real time which production were then using to book people’s flights home! I said, everyone in this room please be quiet, I’m trying to concentrate! Of course, not realising our creative director and owner of the company were behind me.”

The masterclass underscored how varied and unconventional career paths can lead to TV. Anna Wood was candid about sharing her snakes and ladders career path prior to TV: “I’ve had six jobs before TV – from hospitality to corporate work – but every experience taught me something useful.” Starting later than many of her peers, she leveraged her transferable skills to build a successful career. 

Esme echoed this adaptability, describing her early roles in production: “I’ve done eight researcher jobs now, and every one taught me something different. Keep sending your CV out, take opportunities, and nestle into companies that help you grow.” Esme grew up in a tiny village in Cumbria and always knew she wanted to work in media but didn’t always know what that meant. Now she feels like she’s done almost every role there is to do at Studio Lambert. 

For executive producer Stephen, TV started with a dream of becoming a footballer as a younger teenager. After it was clear his talents on the pitch wouldn’t give him his career, he started thinking: why not work on football instead? He was at a Sky Sports live recording where someone on the production team joked to the audience that “we’ll get the work experience to do a dance for you” during an ad break, and later worked right into the production office and asked: “How do I become the dancing work experience person?” Amazingly, this became his entry point into the industry. 

The key is in the name – it’s unscripted! Producing unscripted TV is unique because the cast behind its drama will behave in unplanned and unexpected ways, which sometimes makes character development a moving target. Stephen spoke about the way that his team mapped out every contestant onto a board, reacting to the evolving game to focus on characters that made for the most compelling television. They would receive a call that certain characters were eliminated and then shift their editorial focus. “It’s really annoying!” Stephen admitted. “As a producer, the one thing you want is control – but this show gave you no control.” Some of the most promising contestants were knocked out almost immediately, failing to survive tasks. On the other hand, new protagonists rose up from seemingly nowhere as the show reached its closing stages. The twists and turns of the game led to genuinely gripping drama. In Stephen’s words, “sometimes the reality gods fall in your favour.” 

Another unique part of a reality TV show like Squid Game: The Challenge is the inclusion of hundreds of supporting actors that are not trained and professional talent. The enormous cast are ultimately the ones responsible for creating the human drama that makes the show compelling. Anna described how the show was an immersive experience even for the contestants. From sleeping in shared dormitories to dining under the watchful eyes of masked guards in pink, players living in the Squid Game world for the duration of filming.  

There were casting teams in the USA and UK to find potential participants, starting with an open call for applications before a lengthy screening process that included mental health assessments and physical evaluations; given the high-pressure environment of the show and the high cash prize, it was important to watch out for people who would be particularly vulnerable. Care extended beyond the filming, with an aftercare structure to support participants based on their needs. “We had a really big system that we put in place – with a lot of time, effort, money and people to make sure that everyone who is in the show was looked after as much as possible.” 

• Leverage transferable skills: Anna’s experiences in hospitality and corporate roles honed skills like organisation, teamwork, and problem-solving, all of which proved invaluable in her TV career. She encouraged attendees to think broadly about how their experiences could apply to production. 

• We’re stronger together: The panel agreed on the importance of finding like-minded people to help you in your career Esme highlighted the importance of finding mentors and supportive teams: “You’ll meet people who believe in you, and those connections can lead to future opportunities.” Stephen pointed out that most people working in TV production started as a runner and know what it means to be starting out. 

• Be persistent and flexible: Esme shared her own ups and downs: “Even as an experienced researcher, I’ve had weeks off between jobs. It’s part of the industry, but if you keep pushing, opportunities will come.” She also shared how useful it has been to turn to other work like hospitality to fill in those gaps and keep herself going. 

• Rejection is part of everyone’s career journey: Stephen had sage advice on the topic of rejections: “Don’t fear hearing ‘no.’ It’s rarely personal, and often just a matter of timing.” 

We continued the evening with networking! Thank you so much to the Studio Lambert team for having us and sharing incredible insight into the world of TV. See you in 2025!