TV DRAMA


GENRE REPORT


SKILLS:


While TV drama


production is still in the ascendant, sourcing the talent to make it is a major headache.


Pippa Considine reports


UK at forecasted levels, then we will need another 15 to 20 thousand full-time employees by 2025. With the UK economy in recession and


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international streamers facing downward spiralling share prices and the allure of consolidation, it’s unlikely film and high-end TV will keep growing as predicted. The future is uncertain, but what we do know


is that here and now there is huge pressure on the industry to grow its talent base. Traditional broadcasters, streamers, indies, regional screen organisations and colleges are all exercised about bringing through new talent at every level and diversifying the workforce, making it more widely accessible. “It’s hugely important,” says Sebastian


Cardwell, drama chief and deputy chief content officer UK for Paramount. “There’s a talent shortage and we absolutely need the next generation.” At Channel 4, head of Drama Caroline Hollick says, “I started my career as a trainee at Yorkshire TV, it was an incredible


televisual.com Winter 2022


ack in June, the BFI published its Skills Review on scripted film and high-end television. It said that if scripted


film and high-end television production keeps growing in the


“IT’S HUGELY IMPORTANT. THERE’S A TALENT SHORTAGE AND WE ABSOLUTELY NEED THE NEXT GENERATION”


experience which allowed me to focus my career from an early stage. Training is so important within the industry and Channel 4 is hugely committed to this.”


THE MONEY TRAIN As well as paying into the HETV levy, there


is investment into recruitment, education and training initiatives across the industry. At industry skills body ScreenSkills, Kaye Elliott


is the director of High End TV, which invests the money collected from the HETV levy. Next year will be its tenth year. Over that time, it’s spent £32m; £11m of that in 2022. “Having trust from industry – broadcasters, streamers and indies - it enables that joined up, cross industry approach,” says Elliott. The BFI has recently withdrawn the lottery


money that it channels through ScreenSkills, deciding to direct this part of its lottery money - ear-marked for training - via local, regional clusters. While this leaves ScreenSkills funding down by 30 per cent, the HETV levy money funds its three-pronged strategy - with schemes, targeting new entrants, career development and leadership training. All instigated with an eye to regional needs and encouraging under- represented groups.


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