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

Want to write the next hit comedy? Read on...

This year’s Festival programme is absolutely packed to the brim with an eclectic mix of sessions, masterclasses, debates and talks. One session that particularly stands out as an Edinburgh first is the BAFTA Rocliffe Sitcom Showcase. Taking place on the Thursday afternoon, this session  will be the culmination of months of searching, judging, and most probably laughing quite a bit too. Two comedy scripts, selected from almost 500 entries by an expert jury of famous names in comedy, will be performed live on stage by professional actors in front of a Festival audience. Our panel, including comedian John Bishop and BBC Controller of Comedy Shane Allen, will offer a BBC script commission to one of the writers on the day.

With an overwhelming number of entries, what separates the humorous from the hideous? Here Chris Sussman, Executive Editor at BBC Comedy (and member of the Festival Advisory Committee) has some tips for aspiring comedy writers: 

1. Get on with it. You can spend ages thinking about an idea, driving yourself crazy, tying your brain in knots. But you won't know if your script is going to be any good or not until you actually sit down and start writing it.

The Sitcom Showcase will be a first for GEITF

2. Don't bother with a treatment. It's almost impossible to tell from a treatment how a script is going to turn out. If you want to prove to people that your idea is funny, write the script and show it to them!

3. Keep drafting and redrafting. You'll probably only get one chance to impress people with your script, so make sure it's in the best possible state it can be before you send it out there.

4.  Arrange a read-through. There's nothing like hearing your script read out aloud to see which jokes work and which don't. Why not ask your friends to come round one night and read your script out loud for you? You'll be amazed how useful it'll be.

5. Write a second episode. You might find it's even stronger than the first because you know the characters and the world better and that's the one you end up sending out. Or it might give you ideas that will inspire you to go back and change your first script. Either way, it won't be a wasted exercise.

6.  Trust your instincts. If you think a joke's not working, then it probably isn't. If you think your story is flawed or clichéd or boring, the chances are other people are going to think that too.

On stage at NYTVF last year

7.  Know the marketplace. If there are four sitcoms on TV already set in a school, don't write a sitcom set in a school!

8.  Get an agent. A lot of production companies won't read scripts unless they come through an agent. I know it's hard but if your script is good you'll find someone who likes it and wants to take you on.

9.  Don't give up. You're probably going to hear the word 'no' a few thousand times before you hear 'yes', so make sure you keep going.

10. Broadcasters aren't turning down loads of brilliant scripts every day. We want to read the next great script as much as you want to write it!

The BAFTA Rocliffe Sitcom Showcase will take place on Thursday 22nd August at 13.45. Haven't bought you Festival ticket yet? Buy before June 30th to save £105!

For more information on the BAFTA Rocliffe New Writing Forum click here.

London Screening #3: Run

Olivia Colman plays Carol in Acme Films' new drama, Run

Our series of London screenings have so far caused collective intakes of breath and laughs aplenty, but this Monday’s Roundhouse audience were the quietest yet - utterly captivated by Acme Films’ new drama for Channel 4, Run. Set in south London, Run first follows Carol (played by Olivia Colman), a mother to two troublesome teenage boys. A random act of violence sets a chain of events in motion which underpins the whole series in a domino movement of cause and effect. This is a drama about the people you pass in the street, you recognise from the world around you, and how we’re all connected. Daniel Fajemisin-Duncan, one of Run’s two writers, explained that it offers ‘a glimpse into four of the different worlds that make up London’.

Fajemisin-Duncan and his writing partner, Marlon Smith, met at sixth form college in south London where they also befriended Jonathan Pearson, director of episodes 3 and 4. Having been making short films for a number of years, they’d originally set out to make Run as an internet drama, and approached Jaimie D’Cruz, owner of Acme Films, with the idea. That was five years ago. ‘What took so long?’ asked our chair for the evening, Neil Midgley. D’Cruz told the audience he put the project on hold and told the two writers to take their time. Not content with this, they went off and made their own pilot. Channel 4 read the script and it evolved from there into the bigger project that it is today. D’Cruz admitted that Channel 4 took a big risk, by investing in unknown writers, but he described the script as so exceptional it wasn’t surprising that the channel wanted to turn it into a primetime drama. Colman agreed about the script adding, ‘Women don’t write well for women at the moment. And a lot of people still don’t think it’s appealing to have a female lead’. So it was refreshing for her to play the part of Carol, written by two young men.

For the team behind Run, many of whom have been 

Marlon Smith and Daniel Fajemisin-Duncan

friends for years, there was a visible sense of pride in their achievement. They were ‘over the moon’ to finally see their project on screen. A member of the audience asked how they kept their motivation going for five years, and they admitted it was hard with times when they nearly gave up. But, as Fajemisin-Duncan explained, they had something to say and that became easier as people start believing in them.

So that concludes our London screenings series. And what a series it’s been! We’d like to thank all involved for making it such a great success. And eyes peeled for the next events!