ABOUT

So what do you actually do?

I work in film + TV as a writer, script researcher and casting director. Depending on the project, my role will switch between those. I also co-run an organisation called BRIDGE [www.wearebridgeuk.com] which focuses on providing tailored support for new and emerging talent entering the industry.

What has your career path been?

Very twisty, lots of gaps and wrong fits.

At points I got very paranoid about all the gaps that were piling up as finding a permanent spot wasn’t easy. Upon graduating I secured an internship at an advertising agency but it wasn’t what I expected at all.

After that, I spent the next few months moving around doing social media & digital marketing stuff for a magazine, then a music PR agency. All underpaid or unpaid with/without expenses, depending on the place. None of these places would hire me permanently which affected my self-esteem. It also made interviewing for new jobs daunting because I’d get asked why the first place didn’t hire me, and I’d never have an answer. I got told a lot by these places things like: “you’re great but we have no openings” or “you’ll be fine.” I finally got a permanent job in retail and did social media on the side.

Then I decided to try and break into the music industry whilst doing music journalism on the side. That proved hard too! I had an interview for a dream job at a record label that I completely flopped and another one for a massive media company where I burst into tears. That spun me out even further so I went back to retail. I worked in a pub for a bit too and saved up to bootstrap a creative idea that caught a bit of attention, but ultimately still no job in music.

Then I finally got an office job through a friend. It was maternity cover as a PA at an architect agency which ended in my boss sending me a really weird racially-charged drunken email late one night! After that, I vowed to never work for someone else again and took the plunge to go freelance full time.

I helped small businesses with social media, digital marketing, web development, graphic design, live-streaming events, music journalism… anything my skills covered. I even taught adult learning classes at the local library and DJ’d at my ex-colleagues wedding.

Freelancing wasn’t very fruitful for the first three years until I sidestepped randomly into casting by chance. I instantly felt surrounded by my people and looking back, I don’t know why I never considered the film industry before as I’ve always loved film.

I say all this to say, it might be messy. I graduated during the financial crisis and with the current state of the world, it looks like it might be a similar landscape. So just know if things don’t go to plan, it’s likely nothing to do with your ability. Just keep trying and don’t be afraid to pivot.

What is the best part of your job?

I’m doing my part in addressing some of the bias within media. To me, street-casting is required in order to level the playing field of talent within the industry. Helping make sure talent that enter through non-traditional routes can build a long-term career is also pivotal to such change too.

I help others tell their stories as authentically and considered as possible. I can make choices on screen that have a positive effect on society. It sounds conflated perhaps but it feels good to be able to actively avoid some of the damaging messaging that went unchecked when I was younger.

What inspired you to do your job?

I like finding opportunities for people, it’s wrapped up in everything I do. I am very much that person you’d meet once at a house party, add on socials and then I’d randomly DM you with a link to a job opportunity at a local gallery or an artists’ open call based on the fact you told me you love to paint when we were queuing up for the toilet two years ago.

I like to see people follow their passions and go for things. I also really, really love stories. Somehow, I’ve managed to support myself doing stuff I love and I’m very grateful!

One piece of advice for someone starting in your role?

Speak up. It’s hard and you shouldn’t have to, but you must. You might be the only person in the room that has insight into why that can’t run or any cultural blind-spots that might not get checked.

DAY IN THE LIFE

With casting, when you’re on a project, you’re constantly on. That is especially true for street-casting as it’s predominantly community focused. Research projects are much more chill but at the end I need to write up some sort of report that compiles all the info which the writer can refer to when they start writing the script and accompanying documents (like the treatment and series outline.)

If I have a writing gig, I’ll write scenes in chunks as I get distracted easily. If I’m writing with a partner, we’ll probably do a few joint writing sessions and set ourselves mini deadlines.

Regardless, I try to start my day around 10am but sometimes I might wake up at 4am and start drafting emails, uploading footage and writing documents- because the quicker I can get stuff moving at the start of the day, the better, as time has a habit of sprinting past! I work from home unless I have a visit planned like in-person auditions/interviews or a meeting with production.

A lot of community activities take place outside of office hours so the day length can vary. There isn’t much of a 9 to 5 weekday structure. During lockdown, most interactions have been conducted via zoom. I might still be taking calls late at night or responding to people though. I’ll aim to stop working around 6.30pm but depending on the day, might do a little bit more after dinner.

I try to dot my weeks with set boundaries of time which I dedicate to volunteering, exercise, writing, self-care or doing something fun, but there are times when I have to give these times up due to work developments. My work with BRIDGE involves a lot of ad hoc support to the talent we manage pastorally, which could mean giving feedback late at night or running lines or drafting up documents etc. If I have a script I need to read for a new project, I will usually leave it for after dinner when I’m in bed or on the sofa. 

I realise my work schedule sounds very unstable and it is but it works for me. I love the freedom to be able to go and work in a café for a few hours, visit my granny or book a 2pm dentist appointment. As long as the work gets done, that’s all that matters. Not every casting director works in this way so don’t pull up thinking this is the standard. What I will say is that you do have to be very committed to following a timeline though. I write one out at the start of each project and try my best to stick to it.