It is to be hoped that the previous chapters will have given you some idea of the extent of the various branches of film and television and something about the various jobs in different departments and the possible starting points.

Of course, it is possible to cross from one area of production to another, from one department to another, from film to video and vice-versa but where you start often influences the route you are going to follow throughout your career leading, hopefully, to fulfilling your ultimate ambition.

Remember the magic wand trick suggested in the introduction, and propel yourself forward ten years and see what you would really like to be doing. By this means you can select the most suitable route that leads to this goal.

So now let us turn to what is probably the most important part of this book – selling yourself.

Nearly every job in every area of film and television is highly sought after. For example, when the BBC advertise a vacancy for a film trainee they get hundreds of applicants. So the first thing to remember is that even if you have the best qualifications from the best film and TV school in the world, you still have to convince people of your particular talent and enthusiasm that backs up those qualifications.

And the same applies if you have been somewhat of an educational dropout but feel deep down that you have that elusive talent, persistence and flair to persuade people to give you a chance in favour of everyone else on the same quest.

All this takes time – resign yourself to at least six months for job hunting. Energy – to mount and follow through your own personal sales campaign. And money – for writing letters, for telephones, for transport and even buying a sympathetic listener a drink or two.

A PLAN OF ACTION

So take a leaf out of any organisation that is running a direct mail campaign and emulate them. Here is a list of suggestions to help you sell yourself:

The right letter

Compose your standard letter carefully but be prepared to modify it according to the addressee if necessary. Word it in as personal terms as you can, giving your reasons for wanting to work in any particular area. Give your technical experience and ask if the person to whom you are writing can spare time to see you and give you advice.

The right kind of request

DO NOT ASK STRAIGHT OUT FOR A JOB. The chance of your letter arriving at the precise moment that there is a vacancy is fairly slim, unless you have done your research very thoroughly as suggested in Chapter 2 on Feature Films, and you are there just when a production is being crewed up.

• It is better to ask for a meeting and then seek advice and suggestions as to other people you might contact.

By this means you will build up an expanding file which may lead you in directions you had overlooked.

The right name

Try to get the name of someone in any organisation be they producer, production manager or head of the particular department you are aiming for and write to them. This does not apply to the BBC where virtually all recruitment is handled on a more formal basis (see Chapter 7 on Training, the BBC). Similarly, ITV companies tend to channel applications through their personnel departments, although it does not do any harm to try to approach individuals in the same way as with independent companies.

The right personal touch

Attach a formal CV which gives all the facts about you in the normal way, but try to make your accompanying letter look as if it has been written or Typed to the person you are addressing. In other words, use the very best method of copying with the addressee’s name in the same Type style and matching the print density. Everyone knows that you are sending out many letters but no-one likes to be blatantly reminded.

The right size of mailshot

Send out at least 200 letters but you’ll be lucky if you get much response, so follow up your letter with a call asking to see somebody for advice. Do not push too hard if people are in the middle of a production. In this case, try asking on the telephone for suggestions of other people you might contact. Ask permission to mention to others the name of the person to whom you are talking.

The right follow up

Keep a careful file with notes of responses, rejections, advice given at interviews and be prepared to make second approaches after a time. If, when you go for an interview, you can make contact with comparative newcomers of a similar age to yourself, try to seek their advice too.

All this requires quite a degree of organisation on your part. But as most work in film and television is freelance, some business knowledge is very useful as you will be expected to invoice for your services after each job, pay or charge VAT, pay tax probably on Schedule D and so on. Here membership of the Trade Union BECTU is a help as they can advise you on all this as well as things like law and insurance. Membership of BECTU can also be good for networking, as is membership of other professional organisations like BAFTA, although three years’ experience in film or TV is required before you can bcome a BAFTA member.

There are several websites you could try for that first break: www.shootingpeople.org and www.mandy.com are two good ones. They even advertise no or low paid jobs but watch out for shark infested waters! Here the union is trying to introduce a kind of seal of approval to be awarded to genuine low budget ventures. You could also subscribe to websites like: www.productionbase.co.uk to get yourself known in parallel with your direct mail campaign.

Saying ‘yes’!

Finally, however talented, knowledgeable and well trained you may be, accept any job, however menial, if it is in the area or even adjacent to that which interests you most. Jobs like runners for instance are extremely hard work, often underpaid and may demand little skill but they give to those with ambition the chance to observe the work of experienced technicians, to make contacts and generally get the feel of working in the industry. Do not be too impatient to progress. No employer likes it if you are obviously making your job too transient.

A FINAL WORD

There is not as much glamour working in films and television as many outside believe; but there is a tremendous amount of hard work, often dedication and even obsession.

Obtaining your first break is a matter of persistence, flair and talent but there is also an element of luck in being there just at the right time and place.

And so to the readers of this book, some of whom hopefully will become the future doyens of film and television, go the best wishes of those who work in these exciting industries and who could not possibly have followed any other careers.