Tomorrow's responsible leaders | Lisa Campbell

"Prune the raspberries to make way for new growth," declared broadcaster Michael Buerk this week.
Essentially, his point was that to make way for the fresh-faced in this industry, we need to ditch the wrinklies.

Not surprisingly, his comments met with cries of ‘ageism!’ and ‘sexism!’ Yet exactly how new talent breaks into this industry is a perennial problem. Forget whether the golden oldies are hogging all the plum jobs or not, the more immediate questions are: do you have to be from the right background/part of the country/university? Do you need to know someone?

It’s ironic that an industry obsessed with youth and keen to appeal to increasingly fickle 16-34-year-olds makes it tricky not just to get in, but crucially to get on. Attending an RTS Futures event last year, an AP with a string of decent credits told me he was on the brink of quitting as he could not see how to progress his career, and as a freelancer, felt there was little support from employers. His remark prompted similar comments from the other 20-somethings in the room.

This is why we’re keen to extend the aims of one of the festival’s new talent initiatives, Ones to Watch. Traditionally, we’ve focused on identifying and supporting tomorrow’s leaders; now we want to find tomorrow’s responsible leaders. We want to find people who are not just determined to make great telly, but determined to make a difference to their industry, whether it’s around diversity, working conditions for freelancers or through a willingness to mentor others.

As well as benefiting the wider industry, those prepared to rise to the challenge will reap personal rewards: a free ticket/accommodation for this year’s festival and a tailored programme of events. Last year’s lucky delegates had their own Q&A with Breaking Bad’s Vince Gilligan and BBC1’s Charlotte Moore. They also joined an impressive network of alumni including: Myfanwy Moore (ITV), Kate Quilton (C4), Cameron Roach (Sky), Kim Shillinglaw (BBC), Katy Thorogood (ITV), Andrew Zein (Warner Bros) and current advisory committee members Anna Fern (ITV) and Neale Simpson (RDF).

We’ve helped over 4000 individuals to get in and get on in the television industry so far and we know that between us, we can do more.

The deadline for entries is fast approaching – 27 April – so recommend the best here: geitf.co.uk/onestowatch/recommend 

Or encourage them to apply here: onestowatch-tv.co.uk

• We are also hosting a Ones to Watch surgery on Wednesday 23 April in central London. This informal drinks event is an opportunity to learn a bit more about the scheme and chat to our alumni about their experiences. You can register for your place here.

Good luck!

Lisa Campbell | Festival Director
lisacampbell@geitf.co.uk

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