Networking, Kevin Spacey & DIY Business Cards: An insider's guide to being on The Network

Ryan Pasi is a Network delegate from 2013. He is currently working at Raise the Roof in Glasgow as a Production Secretary, a placement he secured part of our Network at Work scheme 

I studied Economics at Uni, but when I graduated I really didn't want to pursue a career that field. I decided I wanted to follow my original aspirations and get involved in the screen industries.I spent a long time doing small freelance jobs and not getting very far with it. When I heard about The Network I thought it sounded like a good idea to help me get my foot in the door.

Taking control at The Network Live

I first got an idea of what The Network was really about when I attended an introductory event at the BBC that aimed to help people apply and give an insight into the whole programme. I was really blown away by it all: the opportunities and the people you got to meet, plus all the parties!

I spent a long time on my application, making sure it really got across what I wanted to say in a concise manner. My main advice is to be honest and to talk about something that you actually know about and really love (rather than what you think people might want to hear).

Being on The Network was amazing. Getting one-on-one sessions with industry professionals was really inspiring. Looking back on it now I realise how lucky I was to get to attend these events, as well as the MacTaggart Lecture from Kevin Spacey.

The night-time networking events are terrifying at first. But after approaching people and realising how
friendly everyone was I gained more confidence and was really up talking to anyone. Something that really shines through is how much people seem to really love their jobs - I found that to be the biggest encouragement for pursuing something that generally most people will tell you is too difficult. Also, having business cards are a must! But don't leave it to the last minute, I did and ended up having to make them from scratch and cutting them by hand - not a fun experience...

I must admit that when I arrived I was really under-prepared, I wasn't sure what I had signed up for and everyone kept on talking about this live show at the end which I had no clue about. However I dove head first into everything and ended up directing and vision mixing the two hour live show. It was such a rush, as well as being quite terrifying. But being in the team was so good and every really pulled through. Our mentors, who I still keep in touch with, were so supportive and made it an incredible experience.
The key is to really be up for anything they throw at you, don't waste this amazing opportunity.

Ryan hard at work at Raise the Roof

After the network I applied for The Network at Work scheme, and as a result I'm currently working at Raise the Roof Productions, as part of their production team. It's a brilliant opportunity which I wouldn't have had a chance with without The Network. Since then I've also been offered two other jobs in the industry including a runner job at the BBC (bypassing the runner pool...) which has all been through contacts I made during The Network.

Producing a Festival Session: The Diary of an AP

By Ashwin Bhardwaj

“We’ve all heard horror stories about awful pitches, but a good approach can be the key to success.  Roll VT.”

This was 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 year’s festival.

Miranda 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 session.

After our 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 industry.  

And although 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. 

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For more information about Ones To Watch, visit http://www.geitf.co.uk/onestowatch

Ash travelled to Edinburgh by train with East Coast. Standard Advance returns between London and Edinburgh, booked online at www.eastcoast.co.uk, start from £34.

Follow Ashwin on Twitter @AshBhardwaj