Film and TV drama

The developed selection of states in which films or productions can be seen – in cinemas, on TV, or through streaming platforms like Netflix or Hulu – means there’s a greater demand for skills in the industry than ever before.

Production companies making films and TV dramas are looking for carpenters to build the sets, accountants to keep the books, people who know the law to confer the selling of rights – and much more.

Development department

Starting with an idea, directors, producers and screenwriters develop a film and raise the money to make it happen.

Director

Also known as: Filmmaker

What does a director do?

Directors are the visionary leads of the film. They hold the artistic vision throughout the whole process, from pre-production through to the final edit.

They are employed by the executive producer or producer, who is ultimately in charge of a production. Directors start with a script, and work with a screenwriter and sometimes a script editing team. It’s not uncommon for the director to be the screenwriter as well.

It is the job of a director to imagine the script in a visual form. As soon as a production has raised the cash it needs, either through being funded or commissioned, they work closely with the producers to appoint the heads of department, such as the director of photography, assistant director and production designer.

They then work with producers and casting directors to select the actors and with the director of photography to develop the filming style, including notes about camera shots and script changes. Some directors rehearse actors ahead of shooting, though not all do. They ‘block’ the performance with the actors before filming begins, meaning they choreograph where actors are positioned, where they will move to over the course of a shot and how they will deliver their dialogue.

At the same time, a director will also be instructing other members of the crew, especially lighting, wardrobe and make-up supervisors. Directors work to get the best performance out of the actors but also need to ensure that all technical aspects are in place to get a great scene filmed.

After filming, they lead the editing of a film, preparing a ‘directors cut’. That cut will be reviewed by producers and financiers before signing off the final cut. Directors may be employed by TV broadcasters, film or television production companies, or work on a freelance basis.

What’s a director good at?

Leadership: share the vision of the film with a range of people from different departments, inspire them to do their best work, manage the cast and crew, make creative decisions
Imagination: envisage the film you want to make, see it, hear it, create the vision and execute it
Arts knowledge: have a passion for and deep knowledge of film and TV drama, appreciate all genres of art, so as to be able to draw ideas from a range of sources
Production: understand the film or TV drama production process from start to finish, from both technical and creative points of view
Staying calm under pressure: work methodically within a high-stress environment, make creative decisions when things don’t go to plan

Who does a director work with?

Directors hold the creative vision for the whole production, so they have relationships with every department head. In pre-production, they work particularly closely with the producers and casting directors. During production, they have close on-set relationships with the director of photography and the first assistant director. In post-production, directors work with editors to ‘cut’ the film or programme to a desirable final product.

How do I become a director?

There are many routes to becoming a director. Some start in theatre, some start as screenwriters, some come up through the assistant director route, others come from the camera department.

Whatever the route, this is a role that requires extensive knowledge of the film or TV drama production process. It’s worth starting your career by getting work as a runner on set or in a production office before working your way up through entry-level positions. Go to the camera trainee and floor runner job profiles for more details.

Look outside the industry:
You might consider getting experience of directing actors by taking part in amateur productions in the role of director, e.g. go back to university, college.

Screenwriter

What does a screenwriter do?

Screenwriters write and develop screenplays for film or TV drama. They do this either based on an original idea, by adapting an existing story into a screenplay or by joining an existing project (TV).

Screenwriters prepare their script in a way that enables readers to envisage the setting, emotion and the way it will work on screen. They collaborate with producers, directors and actors to draft and redraft their script, often working to tight deadlines.

Screenwriters are almost always freelancers. In film, initially, screenwriters develop roughly three drafts of a screenplay, with the third being known as ‘the polish’. This is the version that gets pitched to a producer or film studio. Alternatively, a screenwriter may be commissioned by a producer or studio to create a screenplay. Once a screenplay is picked up by a studio, more screenwriters may be brought in to work with a development producer to get it ready for production. In this case, any new screenwriter may share a credit with the original screenwriter, or they may be credited for additional dialogue, or as a story consultant. In some cases, the original screenwriter may be replaced entirely by another screenwriter.

The way a screenwriter is credited in a film can determine their future payments based on exploitation (home releases) of the film.

Who does a screenwriter work with?

Screenwriters work with development producers and their assistants. They are sometimes assisted by researchers, who provide information to allow for screenplays to be fact-checked. Screenwriters may have their screenplays overseen by script editors, who, in turn, may be supported by assistant script editors.

In TV drama, screenwriters might work with story producers and storyliners as well as script editors. Story producers provide the framework for season-long or series-long story arcs, which screenwriters can then write individual episodes within. Storyliners fulfil a similar role, working for story producers in order to write an outline document for a series.

How do I become a screenwriter?

Write your own screenplays as soon as possible. Practising the form is essential. A degree is not a prerequisite to become a screenwriter, but having relevant education, whether that be in English or screenwriting subjects, is very useful.

What does a set decorator do?

Set decorators are storytellers. They create the background of the action, explaining the context, adding mood and visual interest as the drama unfolds. While prop masters deal with the placing of objects an actor holds, set decorators are concerned with the walls, floors, vehicles and furniture.

Before filming begins, set decorators work with the director, art director, props master and production buyers to go through the script and work out what sets are needed. They make a list and a plan for the props master to follow. Then they buy or hire the items and get in props makers to make furniture.

The day before shooting set decorators arrive early to begin dressing the set. After the director and director of photography have checked it, the set decorators move on to the next scene. Once a scene has been shot, they are responsible for striking (taking apart) each set.

Who does a set decorator work with?

In larger productions, set decorators will have a team made up of assistant set decorators, buyers, set dressers, set decoration coordinators, drapers, cabinet makers, sculptors and so on. They report to the production designer and work closely with the art director and props master.

Looking for further advice?
If you’re interested in a career in sales, marketing and distribution in the fi lm and TV
industries, check out these websites to find out more:
ScreenSkills, for information on careers and courses: screenskills.com/careers-in-films
Independent Cinema Office, UK body supporting independent cinemas and fi lm festivals:
independentcinemaoffice.org.uk/distribution
Film Export UK, trade body for companies with UK offices that sell independent feature films
internationally: fi lmexportuk.com
British Film Institute: bfi.org.uk
Royal Television Society: rts.org.uk
Bectu, the media and entertainment union: bectu.org.uk
Film Distributors’ Association, trade body of fi lm distributors: launchingfi lms.com
Produced by ScreenSkills

TV drama
Examples: Game of Thrones, Downton
Abbey, Killing Eve
What it is
TV drama, in which the production costs
more than £1m per broadcast hour, is
classed as high-end TV (as opposed to
lower budget soaps like EastEnders and
Coronation Street). High-end TV, like Game
of Thrones, is of similar quality to a feature
fi lm, but can tell a more complex story. The
73 episodes of Game of Thrones, spanning
eight seasons, make it possible to explore
minor characters and develop intricate
sub-plots in a way that cinema doesn’t do
so well.
How it works
High-end TV is commissioned by a
broadcaster, such as Channel 4, the BBC
or ITV. Each channel, such as ITV2 or BBC
Three has its own commissioners.
Commissioners consider ideas for dramas
from a variety of sources, including
executive producers, producers and
script writers. They might greenlight a
project from an independent production
company that has a well-developed idea
with a producer, director and cast already
in place. In this scenario the independent
production company is likely to retain the
rights to the production. The producer
might do deals with broadcasters in
different territories, such as the BBC in the
UK, Studio Canal in France or Alibaba
in China.
Alternatively, a writer, usually in partnership
with a producer, may develop and pitch a
script. Or a channel might commission a
writer to write a screenplay which is little
more than an idea. In those situations, the
channel goes on to find a producer, cast
and director and usually retains the rights
to the production.

The channel broadcasts the drama and the
broadcaster’s distributor gets the drama
screened in other countries and on other
platforms, such as Netflix and Sky Cinema.
It recoups much of its investment through
those sales.
The funding of a high-end TV drama
means the producer and director
sometimes don’t have the same creative
freedom that they would have in an
independent production. Whatever
they do, they are accountable to the
commissioner.
It isn’t that simple
There are all sorts of variants between
these three models. There are many
British films that are backed by US studios.
This means the film is wholly or partly
financed and controlled by one of the
majors, but has a British writer, cast, crew
and locations and is edited in the UK too.
Star Wars is an example of this.
As well as acquiring content, platforms
such as Netflix and Amazon have studios
and make their own. In 2018, Netflix
released three movies in cinemas before
they became available online.
The length of time in which a film is shown
in cinemas (theatrical window) is becoming
shorter. Some films are released in cinemas
and on DVD at the same time. The lines
between the different business models will
become increasingly blurred

How to get in
Get an apprenticeship
An apprenticeship is a job with training,
so it’s a great opportunity to earn while
you learn. An apprenticeship within the
fi lm and TV industry is ideal. ITV offers
apprenticeships in its legal, marketing
and commissioning departments.
Channel 4 has placed apprentices in
sales, commissioning, finance, press and
publicity. Sky does apprenticeships in
marketing and fi nance. It’s also worth
taking an apprenticeship in another sector.
You can learn core skills in marketing, law,
business or accounting in another industry
and then transfer them to fi lm and TV
drama later on.