The UK's leading forum for TV producers, broadcasters and content makers.
Money raised from the event is invested in The Network and Ones to Watch talent schemes which identify and support emerging talent to promote a healthy and diverse future for the TV industry.
heard horror stories about awful pitches, but a good approach can be the key to
success. Roll VT.”
it. The result of three months of hard work
was about to be broadcast to a room full of big-hitters. Three of Britain’s top talent agents, and two
of the industry’s most successful producers of on-screen talent were on the panel;
Kirsty Wark was chairing the session; heads of production from super-indies,
and broadcast commissioners were in the audience. There was probably no gathering of people in
the world at that moment that could better distinguish a good VT from a bad
one: sound, lighting, editing, framing, performances and rapport – it was all
going to be under the spotlight. There
was nothing more to do, expect hope that we’d done our best.
The panel, chaired by Kirsty Wark, get to the heart of the battle for talent
The annual Guardian Edinburgh International Television Festival is a heady blend of panel sessions,
presentations, masterclasses and networking events for the
television industry.It’s also a
charity, giving young production talent the chance to get ahead in TV. Last year I was lucky enough to be on Ones To Watch, in which 30 'rising
stars' of the TV industry were given delegate passes, and a bespoke
programme of training and networking events.Off the back of that, I was given the chance to AP a session at this
Chadwick (Broadcast Agent at ROAR Global)
and Tom Beck (Commissioning Editor, Entertainment, at Channel 4) were producing a session called Speak To My Agent: How
To Survive The Talent Wars - a 60 minute panel session, in which producers and
agents would discuss the relationship between on-screen talent and producers. I’d been asked to look after the VTs of
talent, to be used to add anecdotes, context and that starry-quality to the
first meeting, at Roar HQ, I felt so far out of my depth
that I’d left the continental shelf far behind and was now floating aimlessly
over the abyss of the deep ocean. I’d written a
couple of travel documentaries, worked as a researcher and produced corporate
videos – what was I doing on a session about agents and commissioning?!I nodded, agreed to everything that was said,
made some notes and kept my mouth shut, before spending the next three hours researching names, production companies and programmes, then another
two hours watching VTs from previous festivals.
The next few weeks were fascinating.When else do you get the
chance to have a frank conversation with Nicky Campbell, Jake Humphrey and Al Murray about what they want in pitches and agents?When again could I ask Russell Kane about his
inspiration and why he does what he does?
Kevin Spacey delivering
the MacTaggart Lecture
Having arrived in Edinburgh, the next 48
hours were a wonderful blur: chatting to John Lloyd about QI and Spitting Image;
trying to smuggle a giraffe out of the Dave party; attending discussions about
YouTube and the TV sector; complimenting Kevin Spacey on his speech; and, of
course, our session! Having planned it
for so long, I’d almost forgotten that I would learn something from the
conversation, and I whipped out my notepad to learn from these industry giants.
It was only
as we sat down for our celebratory meal that I reflected on what we’d done. Everyone
was chuffed that after months of late nights and several thousand emails, we
were looking out over Edinburgh Castle, toasting a job well done.
And it was only looking back that I
realised how far I’d come. I’d learned about whole new areas of TV; I felt confident talking with
CEOs, heads of production and channel commissioners in a way that was
unimaginable months before; I’d met some of my favourite presenters and
performers; I was able to attend the best event in television; and
I’d been given the chance to showcase my work in front of the best in the
it sounds like a cliché, the most rewarding element was working closely with a
team of four brilliant people. I was
repeatedly astounded by their individual skills and competencies, and look
forward to staying in touch with them as we forge our individual paths.
So, if you’re
ever given the chance to work on a session at the Edinburgh TV Festival, just
say yes. You won’t regret it.