Much like the industry of politics itself, the House of Commons is hard to gain entrance to. The airport-like security is intimidating, you need a friend on the inside and you’re a little nervous that you might not fit in. But, fittingly for Creative Access, breaking those barriers and taking over committee room nine last night in the heart of Westminster is exactly what we did. Joined by a mixture of undergrads, interns, alumni and curious individuals from our community, we gained exclusive access to a panel of cross-party MPs, a member of the House of Lords, a political correspondent, and a mayoral advisor to hear how they built their careers and challenges they have overcome to get here.  

‘This is your parliament.’ 

It was a strong opening statement from 2022’s MP of the Year and the panel’s chair, Catherine West MP. Previously a social worker in Australia, she went on to work for David Lammy MP and became leader of Islington Council, yet it was only on her third attempt to gain selection as Labour MP for Hornsey & Wood Green that she was successful. This was the start of a theme of the evening; perfect the skill of picking yourself up and trying again after rejection, and you’re likely to succeed. 

Her main tip for succeeding in politics? ‘Don’t think that anyone is better than you, because they’re not.’ 

This was echoed by Ugandan-born, Cambridge graduate and House of Lords member, Lord Verjee’s inspiring take that young people are a force for politics and deserve to be here. Being told that this is ‘the most incredible time to be young…you have so much power’ by the founder of Domino’s pizza in the UK was just one of those experiences that we didn’t realise we needed – but we did! He shared some more serious advice for young people interested in politics: ‘In British culture, we put ourselves down, so make sure you work on your self-esteem and your mental health.’ 

His biggest tip for succeeding in your career? ‘Dare, care and share’. Dare to be innovative and think big, care about what you do and let that passion drive you forward, and share with those around you, because there are benefits of generosity and it’s also an important part of being human.  

What we have in common 

Alan Mak, Conservative MP for Havant, was quick to get the awkward bit out of the way: ‘We may not agree on everything’. And he was right, but seeing this cross-party collective on the panel was inspiring, and allowed space to discuss what they had in common: adversity and overcoming it to get into this difficult industry. Mak’s parents moved to the UK from China before he was born, and he grew up in York. He chose not to continue running the family business and became the first person in his family to go to university, where he pursued a law career. It felt particularly exciting for us to hear this story, as his is an inspiring one to all those who seek more representation in this industry. Mak was the first-ever MP from any political party with British-Chinese heritage and the first ever MP of British-Chinese heritage to be appointed as a government minister.  

His top tip was that if you’re an aspiring politician, making sure you do some living first. He said his experience in different industries makes him the MP he is today.  

There was an intimate moment when Rajdeep Sandhu, Political Correspondent at BBC Scotland, spoke about the imposter syndrome she’s faced because of the lack of representation in the industry: ‘I’m often the only brown person in the room…but I remind myself that this is my job and I’m here as a journalist. I’m here to seek out the story’. Sandhu shared insight into her world as a journalist in Westminster and gained the admiration of the room with her story of the non-linear journey she took to get to Westminster.  

Sandhu’s top tip: ideas are your currency so make sure to make suggestions and share ideas in meetings.  

Nothing is linear – stories from CA alumni 

Sandhu spent years in different jobs before she landed her role at BBC Scotland age 25, including a year as a publishing intern through Creative Access. In a moment of admittance, she said a friend had encouraged her to apply for the role even though she ‘knew nothing about Scottish politics’ and spent ‘three weeks with basically no life’ while she prepared for the interview. Like the end of a great film, this hero got the part and she’s been a fixture around Westminster in the evenings interviewing politicians ever since.  

In response to a question from a Creative Access intern currently placed at a TV news programme, Sandhu also said that having a journalism degree is not essential for this career. You can learn the skills on the job and having a beat or specialist knowledge in another subject such as history or politics can help advance your reporting.  

Inspiring fellow panellist Njoki Mahiaini, advisor to the London mayor and another proud Creative Access alumna. Born to a Kenyan family in Harrow, she was extremely passionate about politics from an early age and aspired to be an MP – she emphasises that this is not the case anymore! A rejection from Cambridge university led her to Scotland, which opened the doors to Brussels, then NATO, then a thinktank and now the press office of the London mayor. It felt like a special, full circle moment when she spoke about how attending a Creative Access masterclass in parliament years ago led her to where she is in her career now.  

Her top tip? Don’t over-promise. Meet the responsibility of your role and just do it very well.  

Bells and networking  

Alas, the bells rang, and the MPs had to leave for a three-party whip vote, and after more questions and a lot of networking, the night ended. We’d like to say a big thank you to everyone that joined us and to our wonderful panel.  

See you at the next one! 

On Tuesday evening, the Creative Access community was given exclusive, out of hours access to the Africa Fashion exhibit. Not only this, but the curator, Christine Checinska, held an honest, thoughtful talk on the how she successfully navigates being a creative of colour and the responsibility she undertook to tell the story of a continent.

Christine, who not only curates, but is an artist, designs and writes, spoke briefly on her three-decade background within the arts industry, which began with a 6-month internship at the Institute of International Visual Arts. The exhibition is a true testament to her and her team’s ability to invite gallery goers through a journey of all 54 countries in Africa; each medium, be it garment, photography or film, writing Africa back into history as being a pioneer at the forefront of techniques such as print, tailoring and pattern.

The exhibit is carefully crafted, beginning with a striking hot-pink two piece, working to “trouble expectations” and “shake stereotypes” of what we believe African fashion should be. As you walk through, you’re met with kente cloth, and fabrics which, with political figures printed on, which allowed individuals to literally wear their stances on their sleeve. The whole display, which covers two floors, is cyclical in structure, a nod to the unifying nature of fashion in Africa, and its constant resurgence in pop culture. Even the mannequins – the design headed by Rachael Lee, senior conservator – were specially made and took two years. They were based on model Adhel Bol, and made into several skin tones and hairstyles adding something unique to each look, representing the beauty and diversity of African people.

This V&A exhibition is surprisingly also the first of its kind, as no other exhibit has retraced African fashion, and endeavoured to tell the story from the perspective of not only designers, but the ordinary people, unaware that their fashion choices would be documented this way. A large bulk of the pieces are donated from people’s wardrobes, and Christine comments on the collectiveness this creates: “a coming together of difference” that makes up a conscious celebration of the scene. There is even one piece included by an unknown designer, a choice that honours the individuals lost to time, but still able to leave their mark.

When asked about making her own mark, and the pressure that comes with representing a mass as a curator in an industry that isn’t very diverse, Christine said “there are more curators of colour than you’d expect, they’re hidden in plain sight”.  She continued by saying she doesn’t think of herself as being part of the “decolonization camp” but rather works to discover what happens in between, understanding the importance of things such as creolisation and unity despite difference. Her nature is one of maturity, and willingness to “pass the mic to others”, understanding that your weaknesses are not always bad, but can often be complimented by others’ strengths to facilitate beautiful examples of creativity.

If you can, we’d really recommend you see the exhibit before it’s closing in April. Following this, it will tour the world until 2026 with opportunities for pop-up shows with local curators. Please do look at the V&A website also, as they offer amazing sessions for young people, as well as many other interesting exhibits to go and see. A huge thank you to Christine, Rachael and the V&A team for hosting our first masterclass of the year!

See you soon!

The global title read by presidents and entrepreneurs, the Financial Times hosted the last Creative Access masterclass of the year at its London offices yesterday. Likeminded individuals, hungry to learn about the world of journalism, gathered to hear from our esteemed panel spanning editorial, diversity and inclusion, photography, and technology.  

John Kundert, chief product and technology officer, welcomed our audience, speaking of the Financial Times’ mission to “hold power to account” and his appreciation of working for a company where he can bring his real, authentic self to work every day. This was a theme that reoccurred many times during our masterclass, leaving us with the takeaway that our unique experiences can often be the key to being noticed.  

When asked for their top tips on making the often-difficult step into journalism, our panel had lots to share. Nikou Asgari, who joined the Financial Times as an intern in 2018 via Creative Access after studying economics, advised getting as much experience as possible for portfolios. This might involve volunteering for smaller local newspapers or joining your university club but “if you want to be a journalist, do the journalism”.  

Murad Ahmed, technology news editor, spoke of post-graduate degrees and training, especially legal training, as saying the wrong thing can land you in hot water in journalism. He added that these qualifications often add a degree of seriousness, rather than writing just being an interest. If this isn’t feasible, smaller, more accessible steps might be taking a closer look at your Linkedin and making improvements there. Yasir Mirza, head of diversity and inclusion at the FT, said “connect with those in places you’d like to be in”. If you’re not sure where to begin with making your LinkedIn profile stand out, we’ve written a blog post on the best way to get ahead. 

And what if you have experience, as well as a strong LinkedIn profile, but you’re still dealing with lots of rejections? Our panel sympathised. Esan Swan, Creative Access alum and now picture editor at the FT, admitted to taking a hiatus from applications, before returning with a clearer head and renewed energy. “Sometimes you need a break” he said. It can be gruelling to hear no’s, but it’s part of the process, and it’s important to make sure you don’t take it personally. Abbie Scott, our chair and deputy managing editor at FT, revealed that after being involved in Nikou’s interview process, she was one of 1400 applicants for the role. Competition is tough – but if you are often not getting to the interview stage, there are a few things you can do to increase your chances.  

Murad and Abbie spoke of countless times where candidates had clearly not done their research on the newspaper, or even worse – mistakenly referred competitor newspapers in applications instead. Vital advice would be to triple check your cover letter and CV, as well as making sure each one is personalised to the role you are applying for, as sometimes it can be obvious when someone has used one for several roles. The message here is that although rejection is difficult, it’s important to recognise that with each no, you’re closer to cracking the formula.  

Part of that formula, is the word that many fear and even one that CEOs often admit they don’t enjoy… Networking. As someone who utilised going for a coffee with experienced peers and reaching out to those he admired on LinkedIn, Murad believes in the significance in paying it forward. “Use the people who believe in you”, Abbie continued. Think not just about connecting with those above you, but with your peers, who might also be struggling with networking.  

For those who find it particularly difficult, Yasir shared his personal experience. As an introvert, he found himself dreading having to go to events and introduce himself. “Go with a specific ask” he advised our audience, “have 1-2 people you need to speak to, and once you’ve done that, feel free to get out!”. Esan added that it doesn’t always have to be a serious big thing; it can be as simple as asking someone for a quick coffee, or a virtual call. Creating these simple targets for yourself can make a nerve-wracking task a lot easier to get through, and can also give you a sense of achievement for completing them. With practise, networking does get easier. 

Our audience was eager to know about any mistakes our panel made, and how they learnt from them, and this question provoked lots of interesting responses. Esan warned us to make sure we do our research, brush up on your knowledge of the details used by a newspaper, how they edit, and “take risks, do things you’re not always sure about”. The panel all agreed on the benefit of proactivity. You are the best person to prioritise your career, and you must be striving to know more, on a journey to satisfy a curious mind, Yasir added.  

Murad told us not to “tell yourself you’re lucky to be anywhere” tell yourself, “I got here on merit and worked hard”. Often, coming from an underrepresented background can provoke feelings of imposter syndrome, and a lack of confidence in your abilities, but Murad is a testament to the power we hold when we simply believe in ourselves.    

You are in charge of your career. To make your first steps, think about not only what you want, but how you want to get there, and who can help. Being your authentic self is just one component of this formula, but after last night, we’ve learnt that it’s in fact, the most important one.  

We’d like to extend a special thanks to the team at the Financial Times, and our varied and experienced panel for their time. Please keep an eye out for our next masterclass in January 2023, and if you missed this one, the recordings are available to watch here.

For Creative Access’ latest masterclass, Warner Music UK hosted a stellar panel of speakers working in different arms of the organisation to discuss the rich variety of roles on offer behind-the-scenes in the music industry. 

Our chair Jeremiah Gogo is the head of data & A&R analytics at Atlantic. He delivers research and analysis projects to help inform marketing, A&R and streaming decisions.  

Arina Logacheva is the senior A&R Manager at Parlophone. She was previously the first female A&R at Sony Publishing Scandinavia.  

Maláika Carr-Haji is a marketing manager, Warner Records, where she has worked since 2019. Maláika is also a content creator and tastemaker.  

Priya Jaspal is the head of streaming & digital at Warner’s distribution arm, ADA, working across multiple platforms including Spotify and TikTok.  

Rotimi Skyers is digital and marketing at Warner Music Group’s Rhino label and formerly he was at Universal Music Group. 

Different paths – how can you land a role in the industry? 

When asked about how they got into the industry, each of our panellists had differing career journeys but agreed that networking and demonstrating your passion for music will get you far. Both Jeremiah and Priya went down the more ‘traditional’ routes of getting internships at record labels (coincidentally – both at Universal at around the same time!) and then worked their way up from there. Jeremiah and Priya emphasised the importance of being ‘in the room’ and embracing every opportunity you’re given. Priya built on this to explain: “Put your hand up to every task. Learn and do as much as you can. Spot gaps in what you think people need – how can you make somebody’s life easier?” 

Meanwhile, Arina has been in the industry for 10 years and said she had spent time volunteering at music festivals, working in radio and taking part in mentoring programmes, before getting told her opinionated nature would be perfect in an A&R role. She said that if you want to work in A&R, the best thing to do is start yourself: this could look like going out there and managing an artist or putting on club nights. “You need to speak the same language as the artist”, she says. The most important part of being in A&R is being able to connect with people at every different level.  

Both Maláika and Rotimi didn’t start off working in the music industry at all. Maláika had always worked in retail, but she spent time outside of work talking about music online and establishing herself as a tastemaker. This led to her applying for an internship at Warner, and despite not having the ‘work experience’, her passion for music meant she was offered an assistant role instead. She advised to think about what you’re currently doing that shows you actually have an interest in the industry you’re coming into. “When I turned up for my internship interview, I spoke about things I was currently doing – I had a playlist, I was on a show on Linkup TV, I was also trying to get a show on Rinse FM – even though my CV was just retail and I don’t have a degree, the things I was doing in music were what got me the job,” she said. 

Rotimi who studied architecture at university, stated that he “didn’t take the standard path”, explaining that he did “everything under the sun” from working at McDonalds, to carpentry, to doing exhibitions. He then fell into his data analyst role and applied for an internship at Universal. Similarly to Maláika, they said he was applying for the wrong job and they offered him a job in digital marketing instead proving the importance of putting yourself forward for opportunities even if you might not be considered the right “fit”. Rotimi explained that it is vital that if you haven’t got the experience, do your research before an interview: “You get one shot, go for it”.  

Researching your role and the industry is something Jeremiah agrees with. He says that you should “get to know the tools that the industry is using”, stating that in data, Chart Metric is a great tool, sign up for a free trial and play around. This can help you stand out amongst other candidates.  

“It all comes down to the human element” – what’s it like working in music? 

Our speakers all agreed that data and new technology such as streaming and TikTok is playing a huge part in the ever-changing landscape of the industry. Jeremiah and Arina noted how important data is for A&R and marketing, but they insisted that while data helps, you still need to use your gut and emotional intelligence to discover new artists and get the deal signed.  

As for marketing artists now with the rise of TikTok, Maláika explained that whilst there is an over-saturation of new music and you’re competing for everyone’s attention, her job is to “champion the artist and their story, and their music”. For example, with Pa Salieu, Coventry was integral to his campaign and she had to ensure that came across, as well as ensuring that they used photographers and videographers who could capture black skin. “We work in a business, but we work with artists every day. Once they’re at a place where their happy to bring out music, my job is to support them in any way I can,” she said.  

Like Jeremiah’s role, Priya’s job is pretty new and only came about in 2014 post the growth of streaming. While she’s aware that people don’t really understand what her job is, she describes its 3 different pillars:  

1. Sales pitch – trying to sell the artists to Spotify, telling the story in an authentic way and getting them on playlists 

2. Marketing – pitching for billboards and campaigns  

3. Data – you don’t have to be a data expert but you need to understand trends in data and think about what the artist needs in their campaign to feed into their streaming story  

She explains that her role bleeds into data and marketing, highlighting the collaborative nature of working in the music industry. Similarly to Maláika’s story about Pa Salieu and the importance of understanding your artist, when Priya led streaming on Central Cee she stated that it “all comes down to the human element”. She went on to say, “we have to lean into what he wants and just advise him on what’s currently happening in the industry.” 

Rotimi works on historical artists: his job is to repackage and retell these stories. Much like Maláika and Priya, he says that the “beautiful” part of his job is to “make sure the stories are still being told with love and care”. He works on everything from big artists like David Bowie’s catalogue, to Kate Bush’s syncing with Strangers Things, to Warner’s Black British catalogue who weren’t supported enough in the first run, explaining that now he can give these hidden gems a second life.  

What challenges have you faced in your career? 

As with any job, there are challenges. Maláika explains that being from an under-represented background in music can be difficult at times: “There’s being a woman, there’s being a Black woman. Also depending on your class, that factors in.” She states that it’s harder as a junior being around men as “your voice might not be heard”, but she highlights the importance of seeing female role models in leadership positions in giving you hope of what you can achieve.  

Rotimi said: “Being Black and where I’m from, you get pigeon-holed because you’re in an office with people who aren’t like you.” He continued that he’s had people question his vocabulary, but he advised the importance of utilising your knowledge and recommended networking – “there will be people in the building who can relate to you”. This partners with Maláika’s advice of finding the power of your voice and knowing the importance of it so that no matter what room you’re in, you’re adding value. 

Overall, our panel agreed that in the music industry you have to have confidence in your own opinion and trust yourself, but that this can be built upon simply by having a passion and love for music and telling stories. 

A massive thanks to our panel for their honesty, advice and for sharing their inspirational career journeys with us. Keep an eye out for details on our next masterclass on 5^th December 2022 which is being hosted by the Financial Times!  

On Thursday 30th September, we were joined at MullenLowe’s offices by four brilliant Creative Access alumni who are storytellers across publishing, TV and film, content strategy, and news reportage.

To quickly introduce the panel: our chair, Raveena Ghattaura, is an experienced broadcast journalist currently working as a reporter and presenter at ITV News Anglia. She is highly skilled in covering breaking news stories, self-shooting/editing and creating news content for online platforms.

Esther Akinola is an enthusiastic advocate for diversity in influencer marketing, storytelling and creative marketing. She’s worked with Twitter, Facebook, PMI and Netflix. Esther completed her Creative Access internship as a multimedia journalist at The Sun Newspaper in 2016.

Serena Arthur is fiction editor at Trapeze Books, Orion (a division of Hachette UK), where she is editing and publishing books. She joined Orion in June 2022 after just under three years at another Hachette division – Headline – where she started as an editorial intern through Creative Access.

Callum Akass joined House Productions as Development Executive in March 2021 to work across their TV and film slates. He was a Creative Access trainee in 2016 at Blacklisted Films and Leopard Pictures (Argonon group) and gained his first TV credit as script editor on Mackenzie Crook’s Worzel Gummidge for Leopard, before joining Urban Myth Films to script edit the 8-part series The Lazarus Project for Sky.

How does storytelling come into your job?

An editor at Hachette, Serena makes a clear distinction between enabling storytelling and being a direct creator or writer. The former is what she does as an editor; she shapes stories and the way that they enter the world in those final steps before they’re in the hands of readers. On the other end of the creative spectrum, she writes her own poetry, and has found that the two things have a symbiotic relationship when it comes to her understanding of stories and the relationships she has formed with writers through publishing. It’s a huge bonus to approach stories from these two different directions.

Adding to this idea of being an ‘enabler’ for stories, Callum thinks that as someone who develops scripts he thrives on working in the shadows rather than the limelight, and explains how cathartic and satisfying it can be to bring about the final state of something like series Sherwood (BBC) or Lazarus Project (Sky) from that more supportive role.

Raveena has a very direct relationship with storytelling as a news reporter, as it’s her job to pull the concise narrative from events and present this to a wide audience. The approach needs to be accessible and easy to grasp because she wants people of all demographics to be able to connect and take something meaningful from the story in question.

How did you reach where you are today?

Esther says: I don’t know where my degree is. The biggest lesson she has learned as she progresses in her career is to successfully pitch herself to interviewers and prospective clients, something that’s critical as a self-employed content strategist.

She describes how important it is to stand out from your contemporaries, especially in an area like branded social media where people are often talking about very similar things, and to present your ideas through something like a pitch deck. Even if interviewers aren’t explicitly asking for a portfolio – bring something along! The insight that this gives people shouldn’t be underestimated.

Callum, on the other hand, focuses on how important it has been for him to build relationships with those in the industry. This doesn’t need to mean talking to people with decades of experience. At the beginning, Callum says he participated in a monthly writing group with peers that was helpful when it came to comparing experiences and understanding what other people were up to. In this way they began to form a collective knowledge and wider perspective on how the industry operates that you might not have by yourself. In his words, ‘not much writing got done.’ It’s always worth reaching out to people for a tea or coffee with this in mind.

But… what’s the job really like?

Serena talks about her transition from editorial assistant to editor and what these two roles entailed. Being an editorial assistant can often feel like being a project manager, and is heavy on administration and maintaining crystal clear internal communications between teams so that projects progress as they should – all while learning the publishing process from the work happening around you. Now an editor, she says that anyone expecting to hide behind a pile of manuscripts might be disappointed. The role is highly social! This includes being in close contact with agents, authors, and other departments.

For Esther, this one is difficult to answer because her role title has been something different at each stage of her career. She thrives on this because it means constantly challenging herself and developing more knowledge through this. Esther adds that you can be excited by the chance to grow the skills you already acquired aren’t currently being used, rather than feeling frustrated.

Working in TV and film, Callum that sometimes having early starts and longer hours means that he tries to follow advice from his old boss – make the most of the quiet moments. Find time to switch off from your area of expertise completely, even if you’re itching to catch up with the latest drama or comedy film.

A huge thanks to Raveena, Callum, Esther, and Serena for their thoughts and sage words!

Are your finances affecting your wellbeing? Do you know how to budget? What’s the best way to pay off debt? For our July 2022 Creative Access masterclass on finance, we were joined by two brilliant panellists to tackle these questions and more.

Peter Komolafe is a financial expert and a content creator. Peter has been on a journey from foster care and being homeless to the executive team of a multinational Fortune 100 company in Canary Wharf. He is qualified as a Financial Adviser and a Mortgage Adviser, and has held key roles at numerous financial institutions.  Peter’s passion for the financial markets and his mission to demystify the unnecessarily complicated world of investing has led him to create Conversation of Money, a cross-channel platform with over a million viewers and listeners globally.

Interviewing Peter and bringing her own wisdom to each topic is Emma Munbodh, the Deputy Editor for The Times Money Mentor. Emma started out in the field as a Creative Access intern for MoneySavingExpert.com founded by Martin Lewis and has since been a journalist for more than a decade. Emma was formerly a money editor at the Daily Mirror, and has worked at The Independent, London Evening Standard, and Closer Magazine.

As Peter kicks off, he outlines what got him interested in talking and thinking money. His first motivation was experience, he says; at different stages of in his life, he has experienced poverty, homelessness, and massive debt. Now that his circumstances have changed, he wants to bring pragmatic information about personal finance that have helped him get to where he is to a wider audience. So what are the key points to take away?

Goals are a starting place, not just something to work up to. Peter encourages anyone who wants to gain better control over their finances to firstly identify a clear goal. Maybe this means paying off credit card debt, creating an emergency fund (3+ months of income to fall back on if needed) or maybe it’s saving to buy a house. The more specific the goal the better, as this allows you to set the figure you want to save and a realistic timeline to get there. Then it’s about working backwards to understand what balance you need to strike between spending and saving to get there.

Asked about what can be realistically achieved on a lower income, Peter says that you shouldn’t be put off planning for the future but it will take more time, and require discipline around spending. He quickly illustrates the way that income can be broken into three chunks: essential, discretionary, and savings. This is a simple way to visualise where your money is going and what you can afford to spend in your day to day while keeping faithful to long-term goals.

Find the right tools for you and start using them. The benefits of the digital age shouldn’t be overlooked, Peter points out. There are a lot of free resources out there, including on social media platforms, sites like MoneySavingExpert.com or Times Money Mentor, and video content like Peter’s own YouTube channel. Some banking services – including Monzo and Lloyd’s – offer the possibility of a ‘rounding up pot’ feature that brings all your transactions to the next pound above and automatically deposits the extra into your savings account. There are tonnes of useful tools out there and Peter stresses that it’s important to do your research and find out which products suit you.

Open up the conversation. The panellists agree that money can be a taboo conversation. But Emma is very direct in saying that, economically speaking, we’re in very strange times and this requires tackling the conversation head on. ‘Talking about money has never been so important; we’ll all be impacted by inflation and the cost of living.’ One approach for more honest and productive relationships when it comes to talking money is the idea of an ‘accountability buddy’. If you’re feeling overwhelmed at the thought of managing your personal finance, why not get someone else involved? Sharing your goals and checking in on your progress can be a great way to alleviate anxiety and form solidarity with someone who’s in a similar boat. Peter adds that your savings aspirations in themselves can be motivating and improve your relationship with money, because they allow you to look towards the future in a positive way.

Peter and Emma cover an enormous amount of ground in their conversation not covered in this article. What exactly is an emergency fund? How do you stay on top of your different income channels if you’re a freelancer? To side hustle or not to side hustle?

Watch the full discussion on our YouTube channel here to catch up on the whole conversation, including live questions from the audience.

A huge thanks to both Emma and Peter for joining us and sharing their financial wisdom!

It was brilliant for the Creative Access team to be back in one of our favourite UK cities Leeds for our northern careers showcase at ITV Yorkshire, with a fantastic panel of speakers including Rawan Elsa, archivist and publishing assistant at Peepal Tree Press, Rhianne Deans, editorial/clearance co-ordinator at Emmerdale, Shamima Noor, communications co-ordinator at Fuel Theatre, Sonny Hanley, controller of content services at ITV and Ayodele Ogunshakin, story liner at Coronation Street, hosted by Ian Cottrell, director of channel operations at ITV.  

Ian introduced sharing how he started out at ITV in 1999 with a degree in IT and was the first person in his family to go to university but didn’t know what to do next. Fast forward to 22 years later and he is now in a senior position at ITV Yorkshire.  

Meanwhile, Sonny knew what he wanted to do from the age of 9 – he wanted to grow up and make films. Luckily, he grew up in Leeds and felt that pursuing a career with ITV Yorkshire was a perfect fit for him. He shared how he started out making programmes and then switched into technology before moving into operations. He’s had three careers at ITV and has been at the organisation almost as long as Ian, for 18 years!  

Rhianne works on Emmerdale, one of ITV’s flagship shows filmed at ITV Leeds. The show has been going for over 50 years and we were even lucky enough to have a tour of the studio after the event. Rhianne’s role includes writing synopses of the scenes for press or for actors, collaborating with script editors and making script changes to ensure the scripts fit within allotted time. She got into the industry through an internship at Arrow Media through Creative Access, and before joining Emmerdale, she worked on Channel 4’s All Creatures Great and Small.  

Leeds local, Shamima works within theatre communications. She has been working in theatre for 5 years after starting her career with a traineeship through Creative Access in 2017 at Leeds Playhouse, after which she then worked for a few dance and theatre companies. Shamima grew up in Leeds, studied there and stayed on in the area to develop her career, proving that you can live outside London and develop a rich career in the creative industries. She works for a London based company and goes down to London about twice a month.  

Rawan is currently undertaking a PhD, alongside her work as an archivist and publishing assistant. She has a fascinating role and has spent the last few years archiving letters, documents and manuscripts for Peepal, an independent publishing specialising in African literature. She describes herself as wearing many hats, as she also runs an online book club making literature accessible to people beyond the UK.  

Ayodele worked at a summer camp in the US after university. She initially thought it was a bad decision, but the experience of working with children proved critical in her getting a role at Blue Peter. From there she moved up to studio assistant and after going to a Creative Access workshop on how to become a storyliner, she got her first break as an assistant storyliner on Coronation Street. She describes being a storyliner as an “odd position”. She works in a team of other storyliners, answering to the producer.  

“What have you done that’s outside the box? Utilise that!” – Rawan  

Our panel all cited the importance of transferable skills and experiences when trying to break into the creative industries. Shamima explained that in her first internship at Leeds Playhouse, they were mostly looking for passion for theatre and good personal skills. She’d worked on her student paper, been a student outreach officer, written a lot outside her degree, and handled the social media channels for societies she was a part of at university. She was able to marshal these skills into a CV and cover letter, which then got her the role.  

Rawan echoed this explaining: “experience is invaluable”. Even though her degrees are important and she’s enjoyed her academic journey, it was the internships and volunteering at places like Elizabeth Gaskell’s House that displayed her passion for history. Alongside this, she states that she identified people she admired and spoke to them on twitter, went to careers fairs and networking evets – all of which helped her land her roles.  

When it comes to specific roles, such as storylining, Ayo recommended watching lots of TV as ‘research’. She took on a runner role to expose her to the innerworkings of the TV industry, but she says: “Don’t discount the non-TV experience you have”. Lots of TV work is about teamwork and that can come from university, volunteering and roles outside the sector.  

“When people are open to a chat, they might be open to helping you find work, so take those chats seriously” – Ayo  

Networking is a key skill for finding work, mentors and even likeminded peers within the creative industry. Rhianne empathised that networking can be awkward, admitting that she used to be really bad at it, but she told our audience that they’d be surprised by how many people want to share their knowledge. People are busy so you shouldn’t feel worried about following up and reminding them. She also advised the audience to not confuse being formal with being professional – you can be jokey and show your personality which can then engage people and make you stand out.  

Shamima agreed explaining that these events are nerve-wracking, but you find your own rhythm. “Ffrom the start it was clear to me taking part in events was going to be key. After-parties after each event you should go to show you’re committed.”  Similarly, Ayo recommended thinking of networking as ‘connecting’ with people instead, which takes the pressure off the interaction.  

“You’re not just there because of luck. You’re there because you’ve excelled. If you trip up, pick yourself back up again” – Rawan 

On this note, our panel then began to discuss how imposter syndrome can manifest itself and how they overcome it. Rawan had some wonderful advice for our audience, she explained that she looks in the mirror and recites positive affirmations about herself to reassure herself. She suggested writing them down and even sticking them around your room when you’re feeling low.  

Rhianne and Sonny both work at ITV and have both found their networks within the organisation a great source of comfort when they have been feeling insecure in their positions or have had a bad day at work. Sonny told our audience to remember: “They chose you! If you don’t believe that, just go ask your manager.” 

Ayo actually did do this once during a period of low self-confidence at work. Her line manager told her that she was doing well, despite thinking otherwise. She told the audience to remember that that’s what your line manager is there for.  

“The perfect candidate doesn’t exist” – Sonny  

As for moving up in your creative career, Sonny said it is vital to step outside your comfort zone. “No one knows their job 100%, I’ve been here for 18 years and I still don’t know anything”, he said. He continued that therefore, when he’s hiring, he always hires 80% – he knows that no one is going to have every single skill needed but if the confidence and passion is there that will see you through.  

Rhianne agreed and explained that of course knowledge and skills are important, but the most important thing is how you fit into a team. If you work within an organisation that has many teams and you want to take a sideways step, Rhianne recommended utilising the network you have within the company and getting to know the roles and the team dynamics to help you. 

“There’s no set time frame! If you want to do it, it’ll happen” – Rhianne 

Finally, our audience asked our panel about the age-old problem of rejection. Rhianne stated that unfortunately, rejection is part of the industry and you do have to grow a thick skin however, she continued, there are lots of people who want to help you so make sure you keep making those connections. While Rawan suggested that “rejection can help you take a step back and reassess what you really want.” 

Thank you so much to our wonderful panel for their insights into their respective fields and highlighting the breadth of roles on offer in the creative industries in the North, as well as to our audience for coming along and asking such important questions!  

This Wednesday Creative Access partnered up with the one and only National Theatre to deliver a masterclass discussing how to navigate a career in theatre and the future of theatre both on and off stage. We were joined by Juliet Gilkes Romero, writer in residence at the National Theatre, Sara Bakhaty, Deputy Director of Marketing and Sales at the National Theatre and Ola Animashawun, who is a National Theatre associate, as well as connections dramaturg and co-founder and creative director of playwriting consultancy, Euphoric Ink. We were spoilt by their wealth of knowledge! The discussion, chaired by Lisa Jonas, assistant director of Business Planning and governance, provided an insight into a career within theatre and how the industry is growing from strength to strength after a long, hard two years of stagnation. 

We began by exploring the various routes our panel took into the sector, and with all members, this journey was not a linear one. Juliet came from a journalism background and maintained her love of writing by also joining writers’ groups, completing a masters and surrounding herself with like-minded people who were just as passionate about writing as she was. “There’s no straight line to this,” she says as she encouraged our audience to build resilience, “and there’s nowhere to hide on stage.” The importance of remaining true to yourself is a theme that continued through this masterclass, as we learnt just how your integrity can act as a magnet, or a beacon, shining to those who are willing to take a chance on your work. As a dramaturg, Ola’s role is vital in the process of bringing a script from paper to stage play. They are experts in the study of plays, musicals or operas and it is their job to provide the cast and crew with vital knowledge, research and interpretation for their works. He also sits on a board that discusses the wider programming at the theatre and is vocal about creating a strategy to address diversity within the sector. Having started out as an actor, Ola eventually found the right role for him, becoming an advisor, instead of being on stage. Sara also struggled to find the right fit, moving from a career in retail, initially into advertising agencies and latterly into theatre marketing. “It became apparent I had no passion for the things I was selling”, she told our audience, “then this role came up and it felt like a real natural transition.”  It is truly never too late to begin that change, and with the rise of the squiggly career, the working journey is no longer a straight line; instead, it’s quite common to change role, company and even career to find something that fits just right.  

Juliet shared an inspiring story about a play she wrote “At the Gates of Gaza”, which took seven years to go into production. She went on to talk about the play’s first bad review. “I wanted to shave my head and hide under the covers” she continued but stressed the importance of remembering the people who did support her and the impact her play had. She then shared a poignant quote from author Hilary Mantel; “The most helpful quality a writer can cultivate is self-confidence – arrogance if you can manage it,” finishing on the note that you may have to believe in yourself way before the world does. Ola agreed, encouraging us to “keep the faith”, especially with freelancing and the issues that can sometimes arise. The instability means it’s necessary to have a fallback option, but this shouldn’t deter you from theatre if it’s truly your passion. Juliet adds “get serious about your finances” as there may be times when work is a little quieter, and you will still have bills to pay. Both Ola and Juliet wouldn’t change their careers though, as their love of culture, theatre and playwriting allows a richness, and pride that almost jumps off them as they speak. 

When asked about marketing in theatre, Sara had lots of gems to share. “The fundamentals are the same” she begins, “as you still identify your market and create a campaign, but it begins to get a little more complex.” The hardest thing, she admits, is capturing the essence of a 90-minute play into a short Instagram advert or a poster you might see on the tube. A marketing campaign not only has to incite interest but pique it enough so that seats are filled at the play. When the average attention span is 8.5 seconds (a goldfish’s is 9!) this can take a little work. Sara also says it’s important to think about the existing experiences, and how they can be used and translated for new work. Marketing in theatre is a fantastic opportunity for those who don’t want to be on stage or write, but are still passionate about the sector, and creative enough to find new and innovative ways to share and spread their excitement. Its career trajectory is wide, with many entry positions. Although it’s competitive, Sara tells us not to give up! If you can’t find a direct marketing role within the theatre, find a marketing role in another adjacent sector. “Sometimes it’s the sidesteps which are the most interesting”. She finishes by telling us “It’s never too late” as she made her career change at 30 and is now super excited to come to work as she is surrounded by culture, music and art that she finds interesting.  

We finished our evening by touching on the future of theatre, the still very present issues surrounding diversity and the moves that need to be made to create an industry that reflects our society. Sara openly admitted that theatre needs to do better, especially surrounding progression. She’s passionate about “continuing to nurture the talent” as there are a few entry-level roles, but this means nothing if retention is poor. Ola agrees, advising us to look at the organisations and hold them accountable. If you walk into a room where no one looks like you, be prepared to ask why, and question any answers you aren’t content with. If we aren’t prepared to ask uncomfortable questions, diversity may take a lot longer than necessary. “It’s never over till it’s over” Juliet adds, “we are always on the verge of having improvements taken away.” Theatre has made strides, but the walk is long, and we must be prepared to fight to make space in places where we too can belong.  

We’d like to give a special thanks to Lisa Jonas and the National Theatre for hosting our first in-person masterclass in two years since the pandemic. We’d also like to extend a special thank you to our amazing panel and all of you who attended. We hope you enjoyed it, and we’ll soon be back with some more in-person masterclasses – hope to see you there!   

Creative Access’ latest Masterclass coincided with Mental Health Awareness Week (9th – 16th May), and we were joined by a brilliant panel to discuss all things related to mental health, wellbeing and putting yourself first. The official theme this year was loneliness, and how it can produce feelings of depression, sadness, and isolation, especially after three long years of being in and out of lockdowns. With this masterclass, we aimed to raise awareness, encourage initiative, and invite discussions that might be uncomfortable to hear, but necessary to have. Yasmin Hemmings, our programme manager, sat in conversation with Kamilah McInnis, a senior journalist at BBC News podcasts, as well as Sam Bickley, TV consultant, exec producer and welfare executive, and began the conversation we hope many of you will continue in within your family, friends, and workplaces.  

Prioritizing your mental health isn’t always easy. Sometimes it may come as a shock that you might be struggling, but 1 in four adults experience issues with their mental health, making it a lot more common than you might think. When asked about their top tips on how to put your mental health first, Kamiliah, currently working on the podcast “If You Don’t Know” which focuses on informing young black adults of politics, culture and much more, spoke of the importance of knowing when to say no. Often, with those who have just begun their career in the creative industry, there can be a desire to try hard to prove their worth with their new company. This could involve staying after work hours, not taking adequate, full breaks, or simply saying yes, when really you should be saying no. It’s vital to understand that none of these things will be sustainable in the long run, and will certainly leave you burnt-out and unable to do your job to the best of your ability. Sam agreed, advising taking walks, as well as regular breaks away from computer screens to calm the mind and reset your focus.  

When discussing mental wellbeing, there can often be a one-size-fits-all approach on self-care. Lighting a candle won’t always fix everything, and our panel spoke about finding what works for you. Sam herself is an advocate for “self-care in the day, and self-care in the week,” sharing how important it is to find things you enjoy that can fit around the diary. Maybe the candle will work for an evening and keep you going till a fantastic new play you’ve booked to see that weekend, or a day trip you have in a fortnight – it’s important to set things up for yourself. In addition to this, Kamilah adds that it’s important to “take holiday every few months!”, a right we are all entitled to, but many forget. A few days away from work can do the world of good, helping you get back to your normal self. Communicating this need to your workplace can be daunting, but is better than the alternative. Your manager will really appreciate your honesty about your capacity. “No” doesn’t mean you aren’t capable, it can also mean yes, but I will get it done tomorrow, which is just as good.  

For those who are still job searching, we understand what a tiring process that can be. It might seem like you are getting nowhere, but you can’t give up. When speaking about the strength in kindness, Kamilah shared a sweet story of her days as a BBC multi-media trainee (a role secured by Creative Access!), and how when her contract came to an end, she felt anxious about her next career move, and whether she would find anything at all. As she wandered outside her offices, trying to clear her head, she looked down and saw some free flowers, a sign to persevere that in a roundabout way, lead to her next role. Although the lesson here is rooted in goodwill, it is also a testament to not giving up, and even more than that, to taking your breaks! Sam also added how useful it is to “think about your network,” doing things together and bouncing off each other’s ideas can really propel your applications. Especially for freelancers – get a friend’s opinion, or even a mentor, who can offer their advice and guidance. It can be easy to apply for everything, but really hone in on what you want from your work, what kind of industry you would like to go into, and that passion and determination will jump off the page in your applications.  

Networking is nerve-wracking for people already struggling with anxiety. For this, our panel spoke of the power of preparation. Kamilah, when really struggling, tells herself to just “go for an hour” to an event. Once the hour is up, you can leave, but you might just find yourself having so much fun you’d like to stay. You can try and prepare conversation starters and do some research on who will be there, and the work they have done is a great place to start. However, if you are really not well, don’t force yourself to go, instead perhaps draft a message explaining that you would’ve loved to attend, but were unable to, and try and connect with that person via LinkedIn orother appropriate social media. Sam said it is also completely fine “to let people know you’re feeling a little nervous,” because there is a lot of strength that comes with that honesty. Yasmin added how useful joining networking groups like “Young People in the Arts” was. Rest in the fact that you are amazing, and not meeting someone, or going to an event does not mean the end of your career – you just might need to get a little more imaginative about how you strategically place yourself in that important person’s line of view.  

When asked how to bring her best self to work, Kamilah had loads of top tips. “We are all works in progress,” she says smiling, before admitting that she still has down days, but with experience, time, and counselling (which she recommends), it becomes easier to deal with. The 4-7-8 breathing technique is great for calming yourself down during those sudden panic bursts, or just before a big meeting, as well as the book Feeling Good, by David D Burns, which discusses numerous coping techniques, including how to rewire those negative thoughts. More often than not, you can feel an episode brewing, Kamilah warms to pay attention to this, and let your team know. Yasmin encourages a routine with exercise, and Sam journaling, as “being a companion to yourself” can provide a sense of clarity that can be beneficial. “You control how your day looks” she continues, set boundaries with your workplace, for example mentioning that your workday must finish at a certain time, and you can’t exceed that. Other tips included writing lists, breaking down tasks into chunks and always keeping your managers in the know.  

There is so much more support now for those dealing with mental health struggles. Sam notes how the younger generation’s openness about something once seen as taboo is breaking down barriers for those in the industry ahead of them. As a welfare executive, Sam’s role is proof that after tragedies within television, such as those on Love Island, and Jeremy Kyle, companies now understand more than ever the importance of aftercare. As someone who has always cared about her contributors and advocated for their needs, this change is needed and welcomed by Sam. Many workplaces now have mental health policies, and if you are curious about whether yours does, Yasmin says you are well within your right to ask. If there is not one, and it’s something you would like to help create, make this known too! Kamilah is part of a wellbeing group that is actively trying to change work culture, and often has executives sit in on meetings so they know what more they can be doing to support their workforce. It’s not a job that can be done by an individual, but it does take that one person to begin the conversation. Mental health is no longer a taboo; Be upfront with those who need to know. 

People are willing to listen; don’t be worried about signposting useful information to your managers. Kamilah advises speaking to your colleagues and joining initiatives and groups. If you are a journalist, the National Union of Journalists (NUJ) is good at providing any information you might need. Sam adds to research dignity at work responses, which are quickly improving in comparison to five years ago. Above all, listen to your body, navigating mental health can be difficult, but you are not alone in this. Reach out and speak out if you need help.  

Please do watch a recording of this masterclass here.  

You can also read our resource on how we support our team’s mental wellbeing here.

For our April Creative Access masterclass, we were lucky enough to be joined by our friends at McLaren Racing to learn about the huge array of different careers within marketing, branding and design.

Creative Access and McLaren Racing have been partners since June 2021 when we joined the McLaren Racing Engage Alliance, which aims to diversify talent in motorsport. Last autumn we launched our first Career Development Bursary together to provide funding to help people overcome the financial obstacles to career progression.

We’re now excited to announce three, month-long paid internships at McLaren Racing this summer. Keep on eye on our website and social media in the coming weeks for more details to follow…

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The masterclass, chaired by Creative Access chief executive, Josie Dobrin, featured McLaren Racing’s head of merchandise and licensing, Caroline Land; Callum Willcox, senior specialist: fan and brand strateg  and Simon Dibley, senior specialist: design.

We were curious to know how our panel got started in their careers at McLaren Racing. Kicking us off was Simon. His design team covers everything from car livery to 3D animation and everything in between. Originally from New Zealand, Simon had studied design at university and told a careers advisor he would love to design cars. However, he was told to pick something “realistic” and cast his dreams of designing F1 cars aside whilst looking for other jobs in the design field. Although he didn’t have much experience in the industry, he passed his CV around and began to work at an agency which ended up working on a project with McLaren Racing and the rest is history!

Caroline oversees the creation of everything from merchandise, such as T-shirts and hoodies, to NFTs. She had started off in fashion merchandising working for British retail brands, specifically in menswear. However, Caroline quickly grew bored and realised she wanted to keep working in products, but in a new area. After working on the London 2012 Olympics, she began working for Puma where she started to work in sports licensing such as with football teams and F1, giving her the experience she needed to join McLaren Racing.

Callum’s role focuses on partnership development, pulling together pitches to target new partners to sponsor and support the McLaren Racing team. Recent partners to join the team, include Google. After studying economics through which he got a feel for marketing, Callum ended up doing a masters in marketing. He got into McLaren Racing by writing his dissertation on social media activation within sponsorship, which he put on his CV. This caught the eye of a recruiter who wanted to interview him on behalf of McLaren Racing.

Although the perception of F1 is that it’s a ‘man’s world’, Caroline says things have changed over the past 5 years, and that McLaren Racing makes an effort to create an inclusive working environment. Caroline laughs that you do have to do your homework in order “to hold a conversation with the engineers and the mechanics.” However, our panel all emphasised that while having an interest in F1 is helpful, it’s not essential within the creative teams at McLaren Racing. In fact, having a fresh perspective can actually be a real benefit, with Simon adding that not being an avid fan may improve your ability to question the way things are done and improve them. Caroline summed it up:

However, Callum warns that once you’re in at McLaren Racing, it’s difficult to not become F1-obssessed!

So, what were our panel’s tips for aspiring marketeers, designers and branding specialists? Simon recommends immersing yourself in your chosen industry. For example, with design, read about industry trends, search out award-winning agencies or new agencies popping up, listen to podcasts featuring designers you admire – essentially learn as much as you can so you’re ready to tackle whatever jobs come your way. As he explained, he had no prior experience in the creative industries, just a passion and drive which helped him land his dream job. Caroline adds that it’s important to form your own opinion and states: “Don’t be shy!”.

Marketing as a department encompasses so many different roles, as depicted in the diversity of roles within our panel. However, whichever niche you find yourself in in the industry, it’s vital to keep up with trends. Callum recommends reading trade press like Marketing Week and Campaign. He also explains that working for a big organisation like McLaren offers lots of progression, so if you find yourself gravitating to a different part of the marketing world, there’s room to explore that. Caroline continues that there is constant communication between the different teams within the department for each project.

Similarly, marketing is all about knowing your audience and how you can reach out to them, whilst also reaching an audience who might not be aware of you yet. And in line with this, our panel all emphasised the importance of listening to McLaren’s fanbase. Callum explained, they host fan surveys asking about everything from merchandise to partnerships and that the marketing team go down to the track and ask fans questions directly such as ‘What can we do better?’ or ‘What do you like?’ He states: “Fans do make a difference!” Even when deciding which other brands to partner with, they keep the fans front of mind.

Our panel finished by reminding the audience that working in Formula 1 isn’t ‘stuffy’ or ‘mechanically-focused’ – it’s so much more than that as a brand and there is a lot of scope for creativity. Caroline came back to the idea that it’s important to have people come in and ‘shake things up’. She said, at entry level, there are so many opportunities to be a sponge and suck up knowledge and work out where your passion lies. Caroline stated: “Sports marketing isn’t 9-5 so you really need a passion for it, but it’s an amazing job.” Chiming in with this, Simon said the most challenging part of his role is also his favourite: the fast-natured pace of the sport itself. While Callum advised:

A massive thank you to both our panel and audience for joining us! You can watch the masterclass in full here. To coincide with Mental Health Awareness Week, our next masterclass on 11th May will be focusing on mental health and wellbeing in the creative industries. Sign up to join 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.

We recently asked our community how important they thought networking was for a successful career in the creative industries. Over 97% agreed that it was vital, however 87% admitted that they found networking difficult. Despite networking helping us move up the career ladder, many people find making connections with strangers cringey or awkward, and it’s often seen as something that happens within privileged circles. However, as our latest masterclass shows, networking can work for everyone – no matter their background or where they are in their career!

Chaired by our director of communications, Bibi Hilton, our panellists included LinkedIn’s social marketing manager, Aston Brooks-Ashitey, head of brand marketing, Zara Easton, and director/producer, networking enthusiast and CA Alum, Dean Webster.

Dean kicked off the masterclass by emphasising how important networking is in the TV world, where most people are freelance. He explained that events such as Royal Television Society Futures can be a great way to mix with both your peers and those high up in the industry. He once met the creator of the Million Pound Drop at an event and simply started the conversation with: “How did you come up with the idea?”. He recommends that anyone in the creative industries does their research prior to networking events on who’s going to be there and read industry trades so that you have relevant news to discuss. Our other panellists echoed this sentiment, agreeing that researching the person you want to reach out and thinking about what can be gained from the connection is vital. Why them? What about their career do you admire? And, fundamentally, what do you want from the exchange? Be it mentoring, career advice or simply widening your network, it’s important to have a beginning, a middle and an end in mind when having a conversation.

As Aston stated, networking doesn’t always have to be about looking for a job. Sometimes, you might gain a great friend or mentor out of it, or a job may come, but perhaps later on down the line when you don’t expect it. She explained that networking at its core is about “building connections”, but you shouldn’t be knocked back if someone doesn’t respond. Bibi reassured the audience that most people in senior positions are happy to help, she recommended asking for 10-minutes to pick someone’s brain – a quick exchange, without pressure, is something that most people can make the time for, even if they’re busy. Although you should always respect people’s boundaries and be thoughtful when reaching out, as Dean says, you have to be aware of “what’s in that person’s control”. Zara suggests waiting a few weeks to chase someone up if they’ve not responded to you, rather than sending a barrage of emails in quick succession.

The creative industries is a small world and Dean made a great point that networking doesn’t have to mean ‘networking up’. It’s just as important to ‘network sideways’ with your peers. He said that building up a network of your industry contemporaries is where “true moments of creative flair can spark”. When he has recruited for TV work, Dean has often thought of people who he’s met at networking events in the past and got in touch with them, proving the power of ‘networking sideways’. Dean is such a fan of networking and an advocate of its power that he came up with his ‘3 Ps of Networking’ on the spot during the discussion! He stated:

Although networking may seem like a skill that only confident people can practice, Zara reminded the audience that even if you’re more introverted, there are forms of networking that can work for you. She recommended that people take it slowly and make it as easy as possible for themselves, explaining that making online connections through platforms like LinkedIn can take the anxiety out of these interactions.

On the power of LinkedIn, we were lucky enough to receive a whistle-stop tour on how to ‘Rock Your Profile’ by Zara and Aston. During the pandemic much of networking moved online and it has shown that location doesn’t have to be an issue if you’re looking to put yourself out there. Zara’s key advice was to customise each LinkedIn request you send; if you explain to people why you want to connect with them, they’re more likely to respond. Similarly, their top tips for optimising your LinkedIn profile were:

1. Utilise your headline (think about how you’d describe your personal brand in 3 words)
2. Your ‘About’ section should be your elevator pitch – keep it to 40 – 100 words
3. Create a custom URL with your name
4. Use a good photo – it doesn’t have to be an expensive headshot, but it should be a semi-professional image that represents you in your work-life

The main sentiment from the evening’s discussion was that networking doesn’t have to be scary, it can be a relaxed and positive way of making connections with likeminded people in your field. It’s also important to bear in mind that we all get nervous; whether someone is a CEO or hasn’t entered the world of work yet, everyone suffers with some level of imposter syndrome. Our panellists assured the audience that you can’t let this fear stop you from trying thing. They encouraged our audience to remember that ultimately networking is just having a conversation with another person. Ending with her favourite piece of networking advice, Zara quoted the Squiggly Careers Podcast’s explanation of networking as “people helping other people”.

All our panellists agreed that their favourite thing about networking is the ‘weird and wonderful’ opportunities it can bring. The truth is, most people are happy to help and most people enjoy telling their stories, as well as hearing other yours. As Aston highlighted: “Everyone has something to offer”. So, remind yourself of this the next time you feel nervous about striking up a conversation with someone at an industry event or sending out that LinkedIn request – you never know what the connection might bring.

Thank you to our fantastic panel, and of course everyone who came along and asked such insightful questions. If you missed the masterclass, you can watch it in full below.

Make sure you join our next masterclass with our friends at McLaren Racing, who will give the lowdown on the many creative careers on offer at McLaren. Keep an eye on our events page for more sign up details.

Some helpful tools on amplifying your career:

o    Jobseeker checklist – to help people create a LinkedIn profile, network and search for a job

o    How to amplify your profile on LinkedIn – online learning video

o    Career transition tool – uncover potential career paths and see how your skills match to real job titles

o    Online training for most in-demand jobs and accredited digital skills training – hundreds of hours’ worth of free online training, including some accredited courses

o    A job search guide attached