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6 C.V.s IN THE CREATIVE INDUSTRIES In the Creative Industries, your CV could arrive directly on the desk of the person with the power to give you a job. They will be very busy. Write your CV with the employer in mind. Use only the most relevant information about your career, education and skills. Provide an accurate portrait of yourself. Remember, overselling is as bad as underselling. One standard CV is not enough. Tailor it to the individual employer or at least to the type of employer you approach. Make sure that you ve thoroughly researched the employer you re targeting, so it s clear to them that you re familiar with the types of projects that they work on. Be positive. Your CV should be concise, relevant and well laid out. Keep it short two pages maximum and use the space wisely, which takes thought and planning. Make sure it looks professional. Is it typed? Is it on good quality paper? Is the spelling and grammar correct? (Don t just rely on spell-check!) Is it easy to read? Avoid long sentences. Use active words, e.g. developed, managed, researched, organised etc. Choose a modern font to reflect the image of the job Arial is a safe bet and don t use more than one font. Capitals, italics etc. can be used for emphasis but be consistent and don t overdo it. Leave plenty of space on the page. Employers will be looking for the following information, which should be on the front page: What you can do for them. What work you have done of the kind that they produce (e.g. a TV or radio programme, a photo shoot, a game etc.) Include projects that match their productions from college/ university. If you haven t worked in this area, what new ideas and skills can you bring from other areas you have worked in? Who have you worked for that the employer knows and trusts. Do you want to work for this employer or are just anxious to get work generally. Where you live? Whether you can be contacted easily. Your CV should always be sent with a covering letter. Make sure it is: Addressed to the right person. Research this thoroughly beforehand. Is brief and does not repeat information in the CV. Has three parts: The reason for writing; your selling points; a prompt for further action, e.g. I d welcome the chance to meet you. And remember to follow up, striking a balance between genuine interest and causing irritation. Script Casting Storyboarding Set Production Props Costumes Production Pitching

7 SUGGESTED HEADINGS FOR YOUR CV: Your name Your job title (by placing this after your name, the two become associated) Your contact details - address, phone number, etc. Personal Profile Include a short, punchy, positive statement about yourself to make a prospective employer sit up and take notice. A good personal profile will show your personality and play to your strengths, e.g. if you are at your best working in certain types of situations, say so. Personal profiles can easily sound arrogant and crass, but a wellwritten profile can be very effective. Employers take them seriously and they do get people jobs. Write your personal profile in third party terms to reflect how others see you. Describe what you do or would like to do, e.g. Production Manager, Film Processing Technician, Camera Operator, Interactive Media Designer, Radio Presenter etc. Describe your key selling points your skills, experience and knowledge. Describe your attitude to work and the personal qualities that make you attractive to employ. Keep it short no more than thirty words. Make sure your description of yourself is supported by the experience cited in the rest of your CV. Be positive! Key Skills Experience You can include these as an alternative to a Personal Profile, or to complement it. List your key skills and experience as bullet points, including any equipment you have worked on or software you have used. Start with the skills the employer is likely to be most interested in. Start with your most recent work. You don t have to include everything, only work which is relevant to the employer. You can summarise other experiences at the end, if there is space. A list of productions or photo shoots worked on doesn t tell an employer very much, so you should describe the particular contribution you made, especially if it was challenging, e.g. working to a tight budget. Mention if you used a scarce skill or a piece of equipment that few people can operate. Script Casting Storyboarding Set Production Props Costumes Production Pitching

8 Training Include relevant training courses on your CV. These are more likely to be of direct benefit to the employer than your qualifications, so list them first. Qualifications When listing qualifications, put the most relevant first, together with the place and date they were taken. Only list GCSEs and A Levels if they are relevant or you don t have a higher qualification. Qualifications should come after your experience and personal profile. There are exceptions, e.g. for electricians, some engineers or safety officers, where qualifications are essential to the job. If this is the case, cite the appropriate qualifications in your Personal Profile or key skills summary. Include membership of professional bodies, associations and guilds here. Personal Details Age. The Creative Industries can be perceived as a mainly young industry but experience can be valuable whether you are old or young. Employers can ask for your date of birth or age but the Employment Equality (Age) Regulations 2006 mean that they have to make sure they don t discriminate against you, directly or indirectly on the grounds of your age. Interests. Advice on standard CVs recommends including interests, but these details are largely irrelevant to freelance employment. Only include them if they are related to the job. Passport. If you are applying for work that requires overseas travel, your nationality might be significant as some passports require visas to visit certain places. Driving Licence. Holding a full licence and owning a car can be essential to location work, so include these details if they are relevant. Script Casting Storyboarding Set Production Props Costumes Production Pitching TM & 2013 Warner Bros. Entertainment Inc. Harry Potter Publishing Rights JKR.

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10 HOW GREAT ARE YOU? Tick on a scale of 1-5 to identify your own current abilities and knowledge (1 being poor and 5 excellent): Ask yourself if you are: Independent Self-confident Committed Flexible Proactive Self-motivated Able to delegate Willing to learn A good communicator Organised and a good self-manager PERSONAL QUALITIES WHAT HAVE YOU MISSED? WHAT ELSE IS GREAT ABOUT YOU? Script Casting Storyboarding Set Production Props Costumes Production Pitching

11 PROFESSIONAL QUALITIES AND APTITUDES Ask yourself if you can: Evaluate yourself and your work Negotiate with clients and others in connection with your work Solve problems Make independent and critical judgements Value and seek advice from others Take advantage of opportunities Operate at a professional level Use contacts and networks Cope with uncertainty Promote yourself and your work Take risks Have a vision for the future Now list your subject specific skills. Be as exhaustive as you can: Script Casting Storyboarding Set Production Props Costumes Production Pitching

12 What would you say are your values as a person? What do you believe in? What are your values in the workplace? What are you excited about? SCORE Script Casting Storyboarding Set Production Props Costumes Production Pitching TM & 2013 Warner Bros. Entertainment Inc. Harry Potter Publishing Rights JKR.

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16 WRITING A SPECIFIC CV You need to be able to put together a CV relevant to the positions/opportunities for which you are applying. Writing a personal statement/opening statement to introduce your CV and/or covering letters: The statement should be: NOW MAKE NOTES ABOUT THE FOLLOWING: Who are you? Respond to this in terms of your professional context What do you do? Why do you do it? What are your particular interests in your specialist professional area? What can you offer to other professionals/clients in your field?

17 PRESENTING YOURSELF PROFESSIONALLY AND STANDING OUT Add to your existing CV under the following headings making sure as much as possible is relevant to the job for which you are applying. Experience Employment Education Personal Profile Make notes below if it helps. Script Casting Storyboarding Set Production Props Costumes Production Pitching TM & 2013 Warner Bros. Entertainment Inc. Harry Potter Publishing Rights JKR.

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20 Stuart Craig Production Designer Neil Lamont Art Director Three times Oscar winner, Stuart Craig was the Production Designer on the Harry Potter films. Using the script and books for his inspiration, Stuart Craig was responsible for designing all 588 sets for the film series. Using sketches, construction drawings and white card models, Stuart and his team provide the vision and plans needed to make magical sets like Hogwarts and Diagon Alley a reality. Neil Lamont was one of many Art Directors on the Harry Potter films. Art Directors act as project managers for the biggest department on any film - the art department. They facilitate the Production Designer s creative vision for all the locations and sets that eventually give the film its unique visual identity. Lamont was also responsible for the art department budget and schedule of work, and helped Stuart Craig to maximise the money allocated to the department. Art Directors must find practical solutions to creative problems while simultaneously monitoring the budget: a challenging task. Tim Burke Visual Effects Supervisor Tim Burke is an Oscar and BAFTA winning Visual Effects Supervisor who worked on the Harry Potter film series. He was responsible for achieving the creative aims of the director and/ or producers through the use of visual effects. As a highly creative role, most supervisors possess a strong technical background and are capable of making informed decisions about the most efficient and effective technique to employ to solve the problem at hand. Visual effects departments are usually enormous teams on films with a number of roles. Filmmakers will often employ external visual effects companies to help create the green screen scenes. Robert Chuck Finch Gaffer Robert Finch was the head of the electrical department. He was responsible for the design and execution of the lighting plan for several of the Harry Potter films. Robert s lighting positions made all the difference in making the sets look realistic, whilst also creating moods and tones that would reflect the emotion and drama of the storylines in the film. Whether it was making a dark forest appear outdoors or creating a sombre mood for the death of Dumbledore, audiences have a lot to thank for Robert Chuck Finch s work. Stephenie McMillan Set Decorator Oscar winning Set Decorator, Stephenie McMillan was responsible for decorating all the sets on the film. All the plates, goblets, food and table decoration was put in place by Stephenie and her innovative team. Jany Temime Costume Designer Jany Temime headed the costume department on the Harry Potter films. She was responsible for designing the costumes for every single character in the film whether there were leading characters or Extras. The Costume Designer must consider a character s personality, origin, lifestyle and their journey in the story, as all of these characteristics will influence the character s costume. An Nick Dudman audience s understanding and judgement of a Special Make Up Effects character will be heavily influenced by how a Nick Dudman headed the creature department character looks, making costume design a vital and was responsible for special make up effects. part of filmmaking. Dudman and his team used their combined Eduardo Serra knowledge of makeup and hair work, with technologies of mould making and synthetic Cinematographer skin materials (such as foam latex, gelatine and Eduardo Serra was one of many Cinematographers silicone) to create many of the magical creatures that helped to capture the magic of the Harry that you see in the Harry Potter film series. Potter film series behind the camera. A Many special make up effect artists have an art Cinematographer has expertise in the art of or sculpture background and familiarity with capturing images either electronically or on film puppeteering, animatronics and CGI, which stock through the application of visual recording comes in handy when they need to create devices and the selection and arrangement of menacing werewolves, screaming plants and lighting. The chief Cinematographer for a movie fire-breathing dragons. is called the Director of Photography. Paul Hayes Construction Manager Paul Hayes was the Construction Manager on the Harry Potter films. Working with an enormous crew of carpenters, builders and riggers, Paul and his team had the challenge of building sets like Grimmauld Place, Ministry of Magic and the Great Hall. The construction crews used the plans, elevations and white card models created by Stuart Craig and his team of illustrators as blueprints for what the sets needed to look like. John Richardson Special Visual Effects Supervisor John Richardson is a Special Visual Effects Supervisor. He won the Oscar for Best Visual Effects for his work on the film Aliens. He was nominated for an Oscar for his work on many of the Harry Potter films. He won a BAFTA Award for Best Special Visual effects in Harry Potter and the Deathly Hallows Part 2. There are many jobs in the film industry. Just look at the amount of people involved in creating this one scene. These are a tiny selection of the job roles needed in filmmaking.