Are The Odd Job Title Postings & Unrealistic Demands Of Employers Another Result Of Poor Teaching At Universities?

I couldn’t tell you how many interviews I have been through in the past 3 months alone or so and I have to say after some of the knock backs, its not been a pleasant time. I love the industry and I love the people I get to meet in it (most of the time). But it keeps coming back to the same thing at least 80% of the time. Education and employers and a complete mind field as to what the hell is going on here?

My most popular blog to date was ‘Why I Chose NOT To Go To Graduation,’ after I completed a wish-washy Screenwriting BA at Bournemouth University. That blog even attracted some attention with Dorset Echo & BBC for a brief spell before I got the impression there were too many chicken shits afraid to address the issue. Main thing was whilst younger students were too BLOWN AWAY by a number and signature on a piece of paper to focus on what the piece of paper actually meant, it was something that found (rightly so) no gravitas with employers. I get it from an employers side, how many are going to produce a script, investing loads of money into someone they don’t know and usually have nothing else to offer such as previous ‘professional’ film work, the ability to work with others. Not to mention their degree hasn’t even taught them how to network, given them any proper work experience in literary agencies, media production houses, trips to festivals or screening Q&A’s or studios let alone even taught them anything in advertising, video game narrative, radio, theatre or even bothered support them getting something made. I mean they could have at least blended it in with journalism but oh… Silly me, guess that’s not a profitable option? BOLLOCKS, of course it is and you think the student or employer for that matter would complain you have made them more employable?

Out of the frying pan and into the fire… I was about to have to sign on to the job centre unless I found something really fast. Unfortunately, despite myself I found myself pursuing an MA in Cinematography. I had wished to get the hell out of BU and got into Kent but their admin was so poor and badly communicated with regards to the set up of my finances, I had to move quickly. I was already living in the GREATEST place I had ever lived – Bournemouth and a great reputation coming through very nicely and BU offered the discount for having already sucked up 3 years of my life so I checked the course they had here + I knew someone who had filmed one of my shorts as a graduate from it and I even knew the lecturer and what surprise – for the first half of the course. A great lecturer, practical workshops and engaging with other students from sound, radio, producing, directing and writing. FUCK ME, the amount I learned in such a short space of time from an incredible teacher, Mark was great. Every week I was thoroughly enjoying and was always kept busy and I even liked the students I met – not one of them would bitch (too much) about the work. We loved it and we had a great year when we went out too. A great bunch of people across the entire board. It is a nasty, royal shame that BU once again missed so many important parts. Hot topics such as drones, 360 filming, VR, live event were completely skipped and although being called “Cinematography for Film & TV” – there were ZERO TV workshops. 


That’s right, broadcast cameras, multi-cam set up etc were completely missed, despite them having two studios with Sony HDC 1500’s, there was no engagement. Furthermore, although there was ‘some’ exercise towards product and service shooting, we were required to seek the project(s) out for ourselves without support, whilst all BU had to do was tick it off our boxes and give us a grade. 

Ironically, they always liked to feedback planning when they never got involved with that anyway and the chaotic deadline organisation at times would leave students in a state, they’d just have to say ‘fuck it, I’ll just have to do something simple’ and then in no time at all everyone is back filming dramas, where although by all means they’re free to take out and practice with movi’s, jibs, tracks, lenses, lighting and different cameras they are unfortunately minimising their chances because of this niche area in which they are deploying these skills. So I am not going to slag off the timetable of this course, if maybe the entire MA Framework’s courses would DEFINITELY be significantly improved if they spent at least two semesters working in advertising on product and service shooting as well as working with students of a balanced calibre in PR & Marketing so that each tribe learns how to work and communicate with one another, getting a feel for things to come and it is in THIS that the MA has failed to deliver. 

Every week or two I send out carefully crafted cover letters and probably the strongest CV and showreel I could wish to have. This includes my additional work with animators, my continued independent filmmaking, supporting of external organisations, festival competition participations, freelancing as well as my volunteering and mentoring. Take a look at my CV for crying out loud! Seriously, take a look on my website right now on the CV tab and look – Good luck beating that right?

Employers continue to post odd job roles that media production people like myself have to decipher, such as; Videographer, Content Producer, Senior Creative…?!

Most of the time these titles mean they expect you to be a writer, storyboard artist, producer, cinematographer, sound recordist, director, production manager, video editor, sound designer, visual effects artist, an animator, a graphics designer, a media manager and sometimes even a photographer too. Oh and lets not forget the colourist who grades everything. Absolutely ridiculous!

This is 15! – FIFTEEN – jobs all neatly packaged into one obscure job title, where if they’ve bothered to even post the salary, you’re supposed to feel lucky if they’re paying anything past £25,000.

Even if these people existed the amount of training and time it would take to perfect the skills across the board would rid them of any time to get the professional experience this insane job application is saying it requires from the person filling it out.

Almost 32, at the peak of my abilities, in the past year alone, a fluent writer, script editor, producer, cinematographer, director, video editor, 1^st AD, even production management and occasional sound assisting and acting I am on my ass! My past year I have completed more films and adverts I can count with another festival win under my belt and two big client names and more contacts than most in my area – both students and lecturers always asking for another contact from me on a regular basis. I also manage to keep busy in my free time teaching and mentoring, supporting fellow indies etc.

Most students come out of University with ‘freelancer’ displayed on their LinkedIn, usually meaning unemployed, living with parent(s), whilst I am one whom  actually found the work and for what I think is a cracker of a deal at £200 - £300 a day of my services, I am usually greeted by; “Oh, that’s too much!”

I mentioned Merlin Entertainment Group before; a multi-millionaire organisation debated £200 (let alone some rented car cost) with me after I had already filmed for them and spent an entire week editing their corporate video, to which they thought asking for another was perfectly fine without the payment… What the…?! The equipment I booked, checked, transported, set up, along with my expertise, my time and all you’re paying is a total of £400??? Not to mention most of these guys also expect people like me to have my own equipment at no extra cost to them as well lets not forget.

Needless to say I’m going after a permanent role now as I’m done with freelancing and explaining everything over and over and feeling like I have to justify such small payments. It’s insane, right? They don’t know what they’re asking for but they don’t want to listen about (perfectly fair) costs but they want previous experience and for you to be the best.

It was good seeing Slavi, Murad, Tom, Anna & Nawaz last weekend after so long. The perfect thing to recharge my batteries are people that take the whole thing as seriously as I do but also know when to get the hell out doors and party our souls out. They even got to meet Sam from Shelbourne Productions. It sometimes can feel like I’m building my own little empire but hell yeah, why not? I admit only nice people with the best work ethic and a passion to keep going and enjoy life. We’re a surprisingly rare breed.

Dorset Film Office had its first social evening last night. It’s a great thing to see your familiar film tribe, people you’ve worked with, trained and those ‘feel good’ moments when people are charging to you on your way out asking if they can work with you. Was nice to see one of my new guys, Will who had apparently read through one of my blogs amongst his interesting summer activities, meeting Carrie Fisher at a recent London based fan event, thanking me for a nice mention. Well you’re welcome mate. And as for those I’m just starting to see more of like Stefy, Derren, Stefano and new actors like Laurent and Corinne. I hope there’s a project you guys can join me on soon enough.It will be a sad day when I have to leave Dorset one day, having built such a reputation down here that would be far harder in a place like London to do.

Gilly Tully’s Film Expo South’s script pitch winner, Ida Frank’s story ‘Paper Stain’ draws nearer to its shooting dates.

Working under Thomas Shawcroft later this year, which should be worthwhile as not only do I get to be the one to learn something off a professional for a change. Only problem is its another unpaid job and I’ll be sleeping on a bloody inflatable mattress for a couple of nights as well as having agreed to it, it turns out she needs to acquire other crew for which I guess I’ll end up having to contribute towards, let alone the provisional back up editor if its got a chance of getting shown at the Expo next year although not sure I’ll have enough time on my hands by then so we’ll see.

It’s been a difficult time trying to keep level headed with no-one paying me. Sure I could probably get a full-time job easier if I were willing to go back to living like a loser in bedsits, having to even do my washing up in a shower, freezing to death each winter in a job where I literally could tear my hair out as my heart wouldn’t be in it but there’s also no way I can call myself ‘entry level’ with what I know so I guess I’ve just got to keep going. It’s through the hard times that I remember how many nice people (douchebags aside) make it a bit more bearable.

Film; the good, the bad & the butt-fucking ungratefully ugly!!!

You wouldn't believe some of the stuff that's happened to me lately even if I told you. Well I'm going to tell you anyway, I guess... So...

I have my share of support that always tries to remind me of the kind of stuff I've achieved in the last year alone but am constantly haunted by where the hell my next month of rent is coming from. not all but lets say half - think they're so bloody clever when all it would take is for them to just listen to themselves for a moment.
Despite a promising reputation I continue to grow on the UK's South coast, I'm still broke, thankfully almost free of the squeeze into a manipulative, piss-poor educational institute to help get myself by, working with entry level people half the time who - not all but half - pretend to be experts from day one when it would do them a far better service just to listen and ask questions rather than just crashing in. Jesus mate, there's no shame in being new at something - I'm always training up new people and you know what, I'd rather work with someone honestly admitting they need a bit of support better manners than someone who pretends to know it all and rarely uses any manners at all.

My applications continue to fly out the door as I pray for a steady flow of income at a respectable level in what I do. I managed to wrangle a camera assistant role for a called Graham, filming the Welsh elections in my first live broadcast for BBC Wales at their Cardiff studio. Talk about pretentious, the place seemed to have no young people in there at all, really. Whilst I was initially grateful for the experience, I soon found this guy to be quite condescending, which way a simple lid goes on a flight case, not to swear (not overtly obviously), whilst he was shouting and raving the words "FOR FUCK SAKE" multiple times when a button broke off his over-engineered jib then in the end stealing equipment that some of the lovely staff had given to me they no longer wanted like lenses and a couple of cameras, I could have used and /or rented!


For example, even after I promised I wouldn't produce for free anymore, like a dumb fuck, I came back to do one more - a short film called 'Flawless.' The writer and director was a youngster called Oli. I worked with him on a poorly constructed syllabus project during our BA's at that excuse for a University of ours and quite liked his filmmaking and acting. This project was taken by THREE MA producers who subsequently abandoned it... Thinking at least maybe some of the work would have been done already, this was not the case. It was an ambitious script with lots of complicated locations, mid-aged actors, props and needed an equally reliable crew & cast behind it.

I would like to announce a change of the definition of producer in the dictionary to the following;

'People with the right connections and attitude to carry a project all the way and fix every problem, giving up their lives and be constantly on the phone, emails, networking, recruiting and negotiations 24/7 in order to ensure it gets to production let alone all the packaging it requires thereafter... Furthermore, are dickheads to do it for free!' - Dickheads like me, clearly!

By far the most awkward bastard of a production I've ever produced and being told an early 20's actor can play a mid-life crisis role...?! Right because the viewers won't notice, yeah?

I like to have my filmmaking put to challenges but not questioned by someone who has no clue or relevant experience in what they're talking about.
Because there was no production studio or bank loan attached, I knew this production needed money, so I approach someone with a good reputation and due to my own, I try and get one of Dorset's known actors; Jamie Lee-Hill. "BECAUSE" of this, we raise over and above our target for which the actor can pay for himself (not as much as I would like but will be eternally thankful for his sacrifice) on a decent looking film. Rather than a 'thank you' my young director said he didn't want to pay him as much as I'd agreed and claimed I had "lied" to him - that 'I' said he would do it for free and that 'he' would not pay him what I'd agreed...?!

He was working for free, the money that came in was mostly down to his followers, not to mention some of my own, thus you're STILL not paying him nor I, nor anyone else a thing - this is not YOUR money - it's the production's! I already don't agree with paying one person more than anyone else on a  production but if that person's involvement has alone, literally raised almost £700 then obviously, I'm prepared to bend my morals a bit by way of gratitude.


I took further offence when I'd been told that the props had broken the budget when as producer I had only been told about some 'masks' (which I agreed to) and my DoP's requested lighting gear. The words used were;

"Dan, you would have bought shit! You reckon you could have done better?"

NNNNNooooooooooo - You don't saaaayyyyyyyy!!!???

ALL this I was willing to let go as the guy's first time on a major professional short film - It is very stressful for a newbie and I let it go! He obviously had forgotten at this point who had approached who at the beginning of this thing and after all my hours over many weeks of phone calls, emails, negotiations, meetings, networking and training alongside my own life and other projects I had on, whilst working for free and going insane, I set this guy into stride with 80% of his crew and all his cast not to mention the time on location procurement. Furthermore, having to pay one actor out my own pocket at one point. I had even dragged my girlfriend into this to maintain the public face of the project but met with negligent responses to her simple production stills and interview requests to feed back to the generosity of the crowdfund backers, both the director and I had agreed to so... What the hell... Just get in with it!

Luckily, I've straightened most things out with this guy now, including most of my money back but I learned never to have my better nature ever taken advantage of ever again. It's a shame, I still like the guy, just unfortunately not the way he does business. I got told later that there were a number of my crew who felt mistreated and money spent on props beyond my permission as producer, that could have been used to treat them to a few pizzas or something at the end instead for example just wasn't on. Knowing I could have shut it down any time I want, I had too many of my own people attached working on this who deserve to get something for themselves and I would be going down this guy's level if I'd taken that decision. Although a great looking film, 'Flawless' I'm afraid, I shall be using as my example of why I shall never produce for free again. I felt I had been completely abused and taken for a ride.


The positives - I got Jamie Lee-Hill as my protagonist and even Justin Hayward coming back for his 3rd time with me, a make-up artist I've wanted for a while; Rachel Collins and Ben Chick - Ridley Scott's sound designer + I've even been able to find a brand new talent, Will Pattenden for my future productions and even got to work with my new sound recordist contact, Marta Batinic, who's really great to work with and also at an age where she takes things as seriously as I do and does it well.

... and once again despite the speedbumps, the awesomeness of the others involved, we came through!



Whilst I've been going round the bend, I'll soon not only have this 'Flawless' project as proof of why degrees "are (I told you so) bullshit" but I also got my latest festival win with 'Accolade Global Films Competition' with my 'Last Light' film and even got to meet my LA composer, Michael O'Neill yesterday for the very first time. He was performing as 10 time grammy award winner, George Benson's guitarist at the Bournemouth International Centre and I got to see them both before and after the show for a chat. This will be own strongest 'power of networking' story I will be telling for years to come.

I already thought Michael kicked ass but we talked for ages. Yes, some of it even about the stupid result of Britain leaving the EU recently but it was great and the philosophies we shared though an entire generation apart in our creative pursuits, I only wished my dad took a leaf out of this guy's book - How awesome would that be?
Take a look at George - 72 and STILL such a super cool cat to be around!
Once we hung out with George for a bit, I got to check out the dressing rooms and even got to walk around and chat for a bit in their £750,000 tour bus.

Not only did I find out I was a bigger fan of jazz than I thought by the end of the night but came to realise not only how powerful of a connection I had made but also a terrific damn right nice friend. Before the night was over I even got to meet the rest of the band before they had to jump back on the tour bus to play at their next gig in - guess where - the midlands!



I've also been contacted once again by Gilly Tully at FES that wants me to film their winning script at the pitch; Paper Stain by Ida Frank, which is looking like a big deal. Especially as I'm currently the face of the new Dorset Film Office on their website. I was asked to play a paid role on their first production 'Time Of Their Lives' in Portsmouth but unfortunately I was just too busy. Damn shame! Just the other day though I got another call from her asking for my possible involvement on their latest dealings into a co-production sports documentary, so will be interesting to see how that comes along.

Really hope this thing keeps going from strength to strength. All I know is I'll keep supporting Gilly with whatever I can, as long as I can.

I'm still trying to lock in regular clients as I just heard back from my BBC producers role that I wasn't going to get any further with it. Needless to say I was gutted! You wouldn't believe the amount of interest they expressed in my 'Survivor' project. Was actually quite flattering - Good luck finding a candidate who can put one of those together mate. I mean - 'COME ON' - who else has as many projects, awards, contacts and skills as me at this stage after all my several years of hard work, I mean, "just look" for crying out loud! - BEAT THIS! What more do you want?

Speaking of unreasonable, a funny thing also cropped up regarding my previous bullshit sales life with a company I hadn't had anything to do with in almost 10 years - Merlin Entertainments Group' and the fact something's simply don't change!

These two employees wanted me to film two things for them working for this company and edit it all for a poxy £200. Why the fuck is this the case when that sod of an organisation makes millions year in, year out?

For you employees - Please take a LONG hard look at our filmmaker role day rates before you waste any more of our time. You wouldn't like me to pretend I can do 'your' job as well as you without any training, software or know-how, would you? Moreover, work for an insulting amount.

I obviously went and did part of the job as it's a big client, not to mention being desperate for the money but for fuck sake, "JUST THINK" - I know it may well not be their fault directly but given their employer couldn't have just bunged them a simple £300 or so when they plan on using this to represent themselves online internationally and rely on two employees who have 'no clue' what they're doing - You're a moron! Furthermore, when you're asking someone with my profile to work for almost 2 weeks on less than minimum wage and get all shitty with me when I refuse then I shall refer them as well as ungrateful directors from this point on to this image.

Make Your Mind Up

It has been a mad past few weeks!!!

Around 4 MONTHS since my last blog so thought I'd best update it whilst I've got some breathing room. Plenty to talk about, the return of R-Rated films with 'Deadpool' outselling the last 'Star Wars' for crying out loud - "GET THE MESSAGE YET, HOLLYWOOD?"

DiCaprio finally got his Oscar over his many roles. A few people asked me, "don't you want one, some day, Dan?" - Personally, I couldn't give a shit. If I was already loaded whilst doing what I do for a living then why would I care? Those who know me better may recall that I was never in it for fame & fortune - Just to make a nice living with a nice enough apartment, jeep (not car... Have you seen how much equipment finds its way onto one of my sets?) and a holiday or two per year with something left over to take up a martial art, go back into my skydiving, try out some of these exotic places my friends keep posting on social media, I'll be happy but for now - I've been busting my ass on more work, which has finally led to the completion of many projects, including; 'Last Light' & the much delayed 'Echo Screen.'


After seeing a few students that took an interest in me and demonstrated proof in their ambitions, producing their first indie 'Mallard' on some shit equipment and going through the same shit BA course as I (with the worst lecturer on Earth), knowing that they had done it without a grade to play for was proof enough to me that it may be worth taking these guys under my wing and so whilst a couple aided me on a couple of productions I was involved in after some training (you wouldn't believe the stuff I can teach in under 3 hours, compared to the years I've spent in workshops etc), I returned a favour for them as cinematographer for their most recent production, 'Flirt.' They call themselves Shelbourne Productions.


Its so nice to work with organised people, who can do it with a smile. I've said to their faces they're far better than some MA students I've worked with in the past (YES. AGAIN - "especially" the one's asking about each others 'grades!' - *sighing & rolling of eyes moment*). But the 'Shelbourne' lot - They're still green but I'll quote
"The right kind of beginners."

One event I experienced for the first time was the London 'BV Expo' at the excel centre. Reunited with my film buddies Tom Smith & Murad Ali I got to see pretty much every type of camera, drone, lighting system, audio devices and editing packages you could ever wish to see. If you're an indie filmmaker looking to feel like you haven't even scraped the surface of resources or envy you're not rich then this will certainly not disappoint. It wasn't long before this I finally got to see the fruits of Gillian Tully's labours at 'Film Expo South.' I aided Gilly in every way I could to put this together! It took place early February and I was dashing from one talk to another. Some mates and contacts of my own were there. For a 1st time event it was a damn good effort and the 2nd one for next year is already falling into place. Gilly has earned an incredible reputation in the South West and I'm crossing my fingers that this will only grow and expand.


There's so many things I've put forward that other events don't have, such as 'Screencraft' & 'Shore Scripts' funding, additional drone operators, script talks. There's so many ways it can grow. Until the day I leave the UK, its the Southern Coast where I've made my home now and if we get something that shapes up to be something of similar awesomeness to Chris Jones' London Screenwriters Festival one day - That would be... Well, I've already said it - Awesome!

Speaking of 'Shore Scripts' - it wasn't long ago I found out that a script I had reported on 'Life Expectancy' (formerly known as 'X') won at the judge of Lucy V Hay. Another victory I claimed was reaching semi-finalist with my adventure feature script 'Realm' at 'Nashville Film Festival' and have recently had 2 short scripts (the one's I posted up in my August blog), selected by 'London Screenwriters Festival.' If this wasn't enough, 'Survivor' also managed to get a 4 page feature in 'Digital Filmmaker Magazine' in its latest issue (34).



Oh and I also have my 13th IMDB writing credit alone alongside a brand new showreel I went out my way with choosing the right clips, the music choice and its edit to extend it by the invisible minute you never noticed, the order, the choice of cast and locations within, the grading, export - sodding everything!


Despite what most people seem to think, I continue to struggle to find work with most cheeky f*****s 'still' asking me to work for free. Even recently, I only just had a friend ask for my feedback on his short script treatment. I wasn't nasty in my response, in fact I never am and that part of my inability to laugh and telling them to piss off amazes me sometimes - I said I'd try and get round to it later in the week, he responds something like "was hoping asap as have to start casting next week." I crafted a more polite response but my initial feeling was the same as when I find myself working with students. PLEASE understand the amount of money, time and DAMN hard work that goes into this filmmaking life of mine;


Here's a few examples to consider - Enjoy:

* Almost £30,000 of student loans + the original £16,000 with Ealing Studios Met Film School

* Living out of bedsits, where I had to do my washing up in a shower and didn't even own a kitchen

* My attending of functions, festivals, workshops and seminars over the years

* My annual competition and festival submission costs

* What it takes behind my nominations, screenings and awards

* 9 years worth of struggle in the profession to stay alive and competitive and losing my mind along the way for falling at final stage interviews for well paid jobs with people like Volvo, Team 17, Microsoft and BBC to name a few due to some odd statement.

GOOGLE ME > what did you find?

Get the picture? I even just caught an email this morning asking for almost 3 months of professional commitment for a poxy £150 or so - I'm not even kidding!

Like it or not (+ you'll all remember what I KEEP on telling student filmmakers obsessed with those bloody meaningless grades). DEGREES DON'T MEAN SHIT!

"Fancy seeing a magic trick, how I can predict the future?"

Do a job hunt in film 'right now' - You're a writer, producer, director, cinematographer, editor or a combination of things, go on:
Use whatever engine you wish - Give yourself a few minutes, a few days, weeks or even months if you like.

"Are you done?"

Right, I see maybe 2 dozen lots of unpaid, payment on deferred basis, low/no pay, expenses only positions, closely followed by another dozen statements 'must have worked in a previous agency / production house, had broadcast production credits / be based in London, have solid experience as both a filmmaker and VFX / animator, with maybe only 1 or 2 out of the other 50 you went through actually giving two shits about what degree you have - in other words, they don't even ask for one?

"How close was I?" - "Yep, told you - I'm psychic, aren't I?"

(p.s: I would've had some images for you here but a screenshot only grabs so much bullshit!)

My adept filmmaking mates also roll their eyes as I do on this one and we're agreed the problem is two fold:

1) Universities are doing a shit job at getting people ready, despite the bullshit on their prospectus. They will dance on you and drag you over the pages of their promotion material if you stick it out long enough to get somewhere so they can leer the next one's in though. Not to mention getting clients in to have their next campaign run on a free market enterprise level, whilst getting students to sign 'non-disclosure forms' so that they cannot even use it for showreels etc. Even during my undergraduate time, a PR / Marketing course was in the same building (rightfully so) as media production but not ONCE was there a part in either course where they were told to work together, when this is one of the primary sources of income for both disciplines later on - Madness, insane and stupid!

2) Employers are getting more clueless but nevertheless more demanding, asking for experience no-one has yet because no-one's giving them a chance. They're asking for filmmakers who are adept in animation, which is crazy the other way round too. Even 'if' you get it, they rarely offer a decent rate for one job let alone the 3 or more they're asking, which they tactfully address positions as 'Video Producer', 'Digital Creative' to get away with it. In fact don't take my word for it; an article written by Lucy Kellaway (@lucykellaway) ... and its not even the same fucking industry! It's called 'Don't blame The Millennials If You Can't Hang Onto Them!'

Things are at last settling for now whilst I piece together the road ahead for the next couple of months at least. Its funny I should mention 'Psychic' talent. I finally got round to writing up my treatment for my TV series pilot 'Psychics' I mentioned back in August 2014. I was guided by the brilliantly weaved infographics of Edwina Tyrrell (@ETyrrellMedia), John August and of course (the non bullshitter, straight talking) Lucy V Hay (@Bang2write).

AGAIN, the previous crap we were both taught at Bournemouth University was to write pages of stuff that 'any' producer, commissioner will never bother going through for a non-represented writer. If that place had any pride or sense for the craft, they'd turf out some of the worthless cast with prehistoric IMDB credits and put someone like Phil Peel or even Lucy herself in there; someone who gets people to roll up their sleeves, ditches the mollycoddling and delivers on a reputation... Plus she even beat cancer for fuck sake. Close the book! Although, I heard they've now at least got Kay Stonham in there but as far as 'my' experience was concerned - Not good enough guys!

Anyway, I've got myself a bargain for a paid insight into what I've written up so far by her this Friday so I'm looking forward to that and then its onto writing up the pilot. And GOD, I'd love to try and fit in a rewrite for 'Realm', 'Inertia' and a brand new feature drama if I get the time before the end of this year.

Right so, thats me caught up I think for now. A potential lead for BBC has come up, meaning I'm helping cover the Welsh elections next month on camera (odd position but there you go). "Which AGAIN students" - The guy didn't ask for a single bloody grade or degree on. He looked at my showreel and website and even asked about my childhood, my favourite TV show and even my fucking music preference without so much as a whisper of enquiry over my education - How much clearer can I be?

Anyway, another shit load of applications out the door with the new showreel you've seen above so hope you've enjoyed another dose of smiling, head-banging, rant and rave. Endure & Survive filmmaking tribe!