In conversation with Sir Peter Bazalgette...

We were lucky enough to be joined by TV tour de force and all round visionary Sir Peter Bazalgette for a very special Q&A at the Roundhouse in London last Tuesday.

Sir Baz in conversation with Sonali Shah

Well, what a night! This was the first of a series of exciting events that we are holding for our Ones to Watch alumni. We have to say we were pretty chuffed with the booking and Sir Baz certainly didn't disappoint.

Sonali Shah chaired the proceedings with aplomb, as  the man that brought us Changing Rooms (and by default Laurence Llewelyn Bowen!), Food and Drink and of course Big Brother shared anecdotes and insight into his TV career.

He masterclass of sorts began with a potted history of the emergence of the independent TV sector in Britain, which in his view has contributed to UK being a leading cultural force in TV. Did you know that Britain accounts for more than half of the entertainment exports globally? That's an incredible £1.7 billion!

Sonali wasn't shy in probing Sir Baz about his mistakes and as well as successes.He candidly admitted that selling his indie to Endemol just three years after setting it up may not of been the shrewdest financial decision. Endemol subsequently went on to own the formats for some his most famous creations including  Ready, Steady Cook, which ran for 21 series.

However, no love was lost as Sir Baz became chief creative officer of Endemol. As the man in charge when Big Brother graced our screens, he had plenty of stories to share on one of the most controversial shows in recent times. He even admitted that he had personal doubts about the success of show. However, after spotting an article in The Times about Big Brother making waves in Holland he began to re-address and the rest is history.

Sir Baz holding court...

We were treated to hilarious and intimate anecdotes about celebrity chefs, PR disasters and angry Daily Mail reporters in the form of Quentin Letts. One of the most fascinating anecdotes Sir Baz shared was how the format for the reality show as we know it today came about. During a brain storming session, in a nameless meeting room in Endemol, a young development researcher posed the question ''what if we applied the format of a balloon debate to a TV series and voted people off one by one"? And what do you have, an international format that has undeniably changed TV landscape forever. So what was the name of that development researcher, now a successful producer, director and presenter I hear you ask? Well, that would telling...

True to their name our Ones to Watch alumni posed some challenging questions; from the role of the technology in today's TV landscape, to the crisis at the BBC and the lessons that the television industry can learn from the arts. Sir Baz certainly wasn't shy in coming forward with his opinion. He was particularly passionate about the role of the BBC in cultivating new talent and it's social and cultural impact on the UK, as well as a vociferous champion of the independent sector's ethos of collaboration and risk taking.

 

A chance to catch up with alumni past and present 

However the burning question we all really wanted know is what does Sir Baz settle down to watch during a night in on the sofa. Any guesses? A good Scandinavian drama and BBC news at 10.

Sadly after what seemed like only five minutes we had to wrap up and make way for the wine. Sir Baz certainly  left us all with some food for thought and judging by the buzz during the networking drinks it was a roaring success.

A special thank you to our sponsors of the evening, BECTU. You can read their blog about the event here. 

Remember if you apply for One to Watch then you could be attending fantastic masterclasses like this at the TV festival and at our alumni events throughout the year.

Apply HERE, the deadline for application is 12 May 2013.

A beginners guide to...

DEVELOPMENT: devising, developing and selling TV shows to broadcasters.

Notebooks at the ready!

A cold and windy Wednesday night was brightened up by the smiling faces of our Network applicants who traveled (some far and wide!) to attend our Network taster event at the Roundhouse. And what cracker it was! After a technical glitch to two we opened the doors to a queue of people snaking round the block, all armed with notebooks and keen faces.

After a quick run down of what to expect up in Edinburgh we were lucky enough to be joined by committee member extraordinaire; Cat Lynch, Head of Development at Initial and Andy Brereton, Head of Development at Tiger Aspect. They delivered a fantastic crash course in development and judging by the multitude of questions at the end it definitely got those creative juices flowing.

So to help you along with your Network application all the best bits from the masterclass are right here!

Development is a pretty exciting place to be working in TV. You're the ideas man that comes up with the programmes on our screens. However it's not all white boards and brainstorming, the process from conception to delivery is often a long one and entails many different skills including:

Writing; a treatment is how you succinctly sell you programme idea on paper.

Pitching; takes practice and above all confidence. A pitch can range from a simple presentation to even re-creating the show in front of the commissioner.

Making promos; some companies prefer to present their progamme idea on film.

Casting talent; finding the right presenter or contributor is essential to any good show. Think of I'm a Celebrity or The Apprentice, it's the characters in them and the relationships between them that makes it crackle on screen and leaves you coming back for more. If you don't get the casting right, a great idea can fall flat on its face.

Researching; anything from contributors, to experts and stats!
                             

Now down to the nitty gritty of what to consider when coming up with your idea...

Format:

A format is something that is unique and can be replicated...Think the blind bake challenge on Great British Bake Off, the diary room and eviction in Big Brother, the boxes & banker in Deal or No Deal, or the love lift in Take Me Out.

So where do those all important ideas come from?

• News - a headline or a story can spark your imagination
• Films/songs/books 
• Real Life - listen to the stories and experiences of those around you
• Mixing genres 
• Old shows revamped

Here is handy checklist to run through before submitting any idea:

1. What else it out there?  Make sure your programme idea hasn't been on TV already!
2. What is the USP? If your programme is good enough you should be able sum it up in a sentence. For a little inspiration have a flick through the TV guide.
3.Who is it for? Always think about what Channel it would work best on and why? Who is your audience?
4. What is the format? Is there enough contact for a half an hour/hour show? Remember the format points, why is your programme interesting to watch, what makes it unique?
5. What is it called? Although not essential, a snappy name can give you confidence in your programme and grab people's attention.

Not only are these useful points to consider for Question 2 of your Network application, but TV is all about ideas! We can guarantee that you'll be asked to come up with a programme idea on many more applications in the future.

Remember applications for The Network close on 21 May 2013. Get cracking!

I thought I knew what I was doing...

I thought I knew what I was doing but I found it all makes a lot more sense when you interrogate why you’re doing it... 

Not only do our Ones to Watchers get a free place at the TV Festival, but the benefits don't end there. We offer our alumni heavily discounted training and career development opportunities - such as this intensive two day course provided by DV Talent. 

Jennifer Shaw, Development AP at Boundless and Ones to Watch Alumnus 2011 shares her experience...

To be honest, I guess the main incentive for applying for the course was the special rate offered to the Ones to Watch alumni, but by the end of thisintensive two-day course I felt I'd consolidated my skills, improved my structuring and progressed my editorial abilities to the next level… I thought I knew what I was doing when it came to shooting and editing but I found it all makes a lot more sense when you really interrogate why you’re doing it. 

The all important camera check list

Day 1 began with a slightly unexpected activity. Instead of the usual straightforward introductions, documentary maker and course leader Kevin Hull sat us in the “Story Circle”. In very serious tones, he explained the first and second rules of the Story Circle (rather like Fight Club except less violent!). Our task- to tell one story to the circle about ourselves that was “true”- was harder than it first appeared but set us up for a day of challenging but valuable learning curves. Through the ‘Story Circle’, it was refreshing to learn that the group was made up of a real mix of backgrounds from an NHS Photographer and an Arts Charity director to a handful of GEITF Ones to Watch alumni. 

Searching for a story on the streets of Kentish Town

Next, we took the Canon XF305s out and about to source a true story on the streets of Kentish Town- an opportunity to hone shooting and directing skills. Back in the course HQ, the different ‘stories’ we brought back (from the chanced-upon street scene to the engineered coin-on-the-pavement trick) lead to a really  eye-opening debate about how to tread the thin line between production and reality… 

Day 2 involved several more rigorous story-telling tasks including shooting a story and editing ‘on camera’. It was a tough but great lesson in being really disciplined with what you shoot (although a bit of a shock when we realised we’d actually have to leave the safety net of behind the camera to stand in front of it for once!). What was particularly useful for me was the chance to review each others’ work and receive detailed and valuable feedback after every major task.  

Since attending the course, I now find myself repeating nuggets of wisdom I picked up over the two days- from how humans are thought to be genetically programmed to process stories to the fact that every story in the world is actually based on a handful of age-old narrative arcs. All-in-all an intensive and really worthwhile couple of days.

DV Talent is the UK's leading independent training provider and career agency for creative media professionals.  Visit their website for more training opportunities.

Applications for Ones to Watch 2013 are now open.  If you have been working in the TV  industry for 3-5 years, apply here.  If you know someone who you think deserves a Ones to Watch place, recommend them 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!

London Screening #2: The Job Lot

'Thank you for laughing’, writer Ian Jarvis politely added at the end of the evening. This hardly seemed necessary as the screening of episodes 1 and 2 of his and Claire Downes’ new comedy The Job Lot received a loud and lively reception from the Roundhouse audience on Monday. But for the writers of this comedy, their television debut, seeing strangers laugh at their jokes was clearly something to behold. ‘It’s nice to hear a live audience’s reaction’, Jarvis continued, explaining that they rely on their instincts as to whether something will get a laugh.

The panel take to the stage following the screening

The Job Lot is the work of Jarvis, Downes and Stuart Lane, who was unable to join us due in China (some people will do anything to get out of public speaking!). The set-up is simple – the action takes place in a job centre housed in a suitably grey block of a building somewhere in the Midlands. The centre’s staff are made up of characters we all recognise from our own office experiences – the jobsworth who is a stickler for procedure, the over-enthusiastic (but verging on the edge) boss, the couldn’t-care-less young office worker. And who knows what characters might walk through those doors, which is exactly what Downes admits drew her to the setting.

Sarah Hadland 

Following the screening our chair for the evening, Andrew Collins, was joined on stage by writers Downes and Jarvis, producer Hannah Pescod and the show’s two stars, Sarah Hadland and Russell Tovey. Downes and Jarvis talked about their inspiration (‘The line about swimming the Channel at the local baths is from my sister’, joked Downes) and the process of getting the series commissioned. After an initial knockback from their first script (which they weren’t bitter about, quipped Jarvis), a second go grabbed the attention of a lot of the major players and so began the talks (plus the wining and dining). With Big Talk Productions track record in comedies (Spaced, Rev), they seemed the obvious choice but sitting on a script of such quality meant production companies were vying for their attention. Downes joked that it was Big Talk’s biscuits that ultimately won them over.

Andrew concluded the evening by asking the panel about the worst jobs they’d ever had.  Tovey described life as a hairdressers’ junior washing old ladies’ wigs; Hadland spent two weeks as a magician’s assistant on a cruise ship (doesn’t sound so bad to us!); and Claire Downes earned £30 for two minutes spent provocatively draped over a tractor…. If that’s in her arsenal of inspiration then we can’t even begin to imagine what future episodes of The Job Lot might contain!

We still have limited tickets available for our next screening taking place at the Roundhouse, London NW1: 

Run  Monday 25 March

Premiere of Acme Film’s drama for Channel 4 and live Q&A with Olivia Colman

Information on how to purchase tickets can be found here.

I'm about to go live to the nation... thanks to The Network!

So what's it like working on the most iconic children's show of all time?  Hannah Salt can tell you.  She's a runner on Blue Peter, and her journey started at The Network!  After Edinburgh, Hannah successfully nabbed one of our Network at Work placements, and she was so impressive that CBBC subsequently offered her a job on the famous ship.  Hannah's taken a break from entertaining the nation's children to take us behind the scenes on BP and share what she's learned since The Network.

Stood in a cool dark studio behind the cameras, about to go live to the nation, I always feel a little electric crackle of excitement in the air as the gallery wish everyone a good show and countdown to live transmission. There is an undeniable thrill in watching a show you’ve been working towards hit a million screens, reaching and igniting the imagination of countless children.

Hannah preparing to go live

Thanks to The Network at Work placement in CBBC I have been working as a Runner on Blue Peter for nearly a year now, and have cut my telly teeth on this varied and entertaining factual programme. I research and respond to creative briefs, thoroughly fact-check potential features and liaise with colleagues, guests and contributors. With a high turnaround of ideas, simultaneous tasks set against tight deadlines and the pressure of a live studio, I have thrived in this environment. Working across our live studio, development, film and correspondence teams has given me the shot at a career in TV that just wasn’t there before I applied and attended the festival.

A classic BP "make" - this was how to turn spare gloves into animals - Hannah made the chicken on the left!

A Festival highlight for me was working with the Hollyoaks production team to storyline, script and film an episode of the soap, really putting our creative stamina to the test. Following this I got to join the regular writing team at Lime Pictures for their story conference, and was given the chance to write a shadow episode of the soap. Similarly on Blue Peter over the past year I have pitched and contributed ideas at the commissioning level, and nothing beats seeing your ideas turn into reality on TV.

Hannah at The Network in 2011

In this sense The Network was a game changer for me, because it has provided a great spring board – the rest is down to you.  The battle isn’t over when you arrive somewhere like the BBC, with short contracts and extremely high competition over roles you need to be really self-aware, thirsty for development, flexible, adaptable, tirelessly creative and passionate about making great TV… but if you’re looking at this the chances are you already know that.

Hanging with Barney the BP dog!

Go for it and give my love to Edinburgh!

Aww, doesn't Barney look ultra cuddly!  A huge thanks to Hannah to sharing her story.  If you want to work in TV but don't know where or how to start then you need to come on The Network.  It's all free so what are you waiting for - apply now!

London Screening #1: The Incredible Mr Goodwin

The first of our London Screening events took place this week, and what a way to kick start the series with The Incredible Mr Goodwin.

The face says it all as the bed of nails arrives on stage

The 45 minute show is real edge-of-your-seat stuff, and we’re not sure we’ll be able to look at a needle and thread in the same way for a while!

Andrew Collins was our jovial chair for the post-screening Q&A with Jonathan Goodwin and Matt Crook, the Executive Producer of the show. Initially addressing the question, are we all as brave as The Incredible Mr Goodwin, the clear and definitive answer is no! We were then all ears as the pair shared tales of how they conceived some of the amazing stunts and how some of the Health & Safety forms, as you can imagine, were a slight headache to complete… 

Lying on a single nail!

Nobody could help but be impressed by the sheer amount of craft and time Jonathan extends to his stunts - the hours and hours and hours of practise and planning he does was inspiring. For a minute we thought if we practised hard enough we could pull off similarly crazy stunts until we watched him lie on a single (sharp!) nail for ten seconds without flinching and we had a rethink! Mr Goodwin truly is Incredible.

We’d like to thank everyone at UKTV and ObjectiveProductions who helped make the evening possible.

We still have limited tickets available for the next two screenings both taking place at the Roundhouse, London NW1: 

The Job Lot   Monday 18 March 

Premiere of Big Talk Production’s new comedy for ITV and live Q&A with Russell Tovey and Sarah Hadland

Run  Monday 25 March

Premiere of Acme Film’s drama for Channel 4 and live Q&A with Olivia Colman

Information on how to purchase tickets can be found here.