Defining Britishness; Channel 4′s Make Bradford British

Channel 4 have produced an interesting documentary about the concept of Britishness: Making Bradford British.  It has elements in common with my project – the interface between immigrant culture, race and national identity.  My project, of course, is looking at it from the other side: if you are British, what does your migrant heritage mean to you, and how does it influence your life and identity.

Follow the link to 4 On Demand to watch it.  And add your thoughts into the comments box below – I’ll be bringing you my write-up and thoughts on the documentary in the next couple of days, when the second episode has been broadcast.

Getting Started In A Media Career

In the last week I’ve met two staff employees in the media industry.  One is a staff writer at a News International publication and the other owns his own production company, having been the channel controller of a terrestrial British broadcaster.  But both of them had similar things to say with regards to developing a career in creative industries, and several points came up in both that are worth repeating here:

• It’s a slog.  You will spend a lot of time, especially at the beginning, feeling like you’re banging your head against a brick wall.  Trying first to get experience and then contacts, trying to figure out what editors/commissioners want.  The key is asking.
• But, you shouldn’t be working for free for too long.  It helps to gain initial contacts and learn jargon or the structure of an industry, but do not undersell yourself: why would someone pay you for something if they know you can do it for free.  It can help to get some experience on your CV and make a few contacts.  But the key is applying for entry level jobs, or jobs appropriate to your ability and experience.
• Even for experienced people, there is little security.  Media is fast moving and ruthless.  People are not in posts for long, and they will move around regularly.  Ratings and feedback are quick and unsympathetic.  And the higher you go, the more accountability you have for failures (people don’t notice success as often!)
• When you work in freelance, start thinking about what you are doing next midway through what you are doing now.  Time out of employment is just as important for your admin, networking and relaxation (it’s a stressful job at times).
• It’s hard to map out a career path.  In many careers, such as accountancy or medicine, you can plan you direction several years in advance.  But in media, you don’t know where your next assignment might lie – expertise is often learned quickly and you can become a specialist by accident.  However, knowing this, you can try to specialise in certain areas or work for certain production companies.
• Be creative with your ideas and gain access to decision makers and those who will give you guidance and feedback.  This is the advantage of a staff position.  Offer up ideas and believe in them.  It can be a lot of knockbacks and developments before something is taken up, but when it is, the reward is almost incomparable.
• Get to know as many people as possible.  Impress at every opportunity and be honest about what you want.  Ask more experienced people for advice – they are usually very willing to give you a hand up.  Also, if you leave a good impression, you’ll be kept in mind when a job does come up.
• But enjoy what you do!  Media work can be hugely rewarding, not to mention fun.  This is essential if you are going to put up with the negative aspects of the industry.  It is not secure, reliable or stable.  But you will have phenomenal experiences and meet great people.  It’s genuinely creative and enormously varied.
• Blog about what you do – record your experience to build a portfolio, demonstrate your interest and to use your time effectively: it will cause you to focus your thoughts.

In summary:

• Be patient – the banging your head against a brick wall is making more progress than you think
• Don’t work for free if you should be getting paid for your level
• Be aware of the lack of stability
• Plan your next job
• Think about where you want to go and seek work in those areas
• Use meetings well to develop ideas and get feedback
• Network and ask for advice.
• Enjoy it!
• Blog

The Documentary

Welcome to my blog. I’m a passionate storyteller, teacher, adventure-journalist and sportsman.  This blog explores those subjects.

Two Cultures, One Body is a travel-adventure documentary in which I take my father’s ashes to be immersed in the Ganges, India.  I look at what migrant heritage means to mixed-race and second-generation people in Britain, by following my father’s migratory route in reverse, along the Hippy Trail, which thousands of English kids took to uncover the riches of Indian culture, myth and religion.

 

• Presenter/Producer: Ash Bhardwaj
• Producer/Director: Russ Malkin
• Cameraman: Ben Bishop
• Production Manager: Lisa Downs

As an adventure journalist, I have written for Bremont’s Magnificent Man, Sunday Times Travel Magazine, Beyond Limits and Various ski magazines.  I also work in adventure film and television production with Big Earth.

My First Video Commission.

This month I had my first commercial commission for a video: a new product launch for management consultancy firm, Kepner-Tregoe (KT).  Having seen my work for Martin Gosling, and the trailer for 2 Bodies, 1 Culture, KT asked if I could help them produce a video to support a new software product, “Portfolio Manager.”

Brief:  To produce a video to explain “Portfolio Manager,” generate interest in the target market and elicit a demand for a more in-depth demonstration.

Kepner-Tregoe trains clients in project management and strategy change, and had created a software tool to assist clients in embedding their processes and manage projects.  KT wanted to offer this product to existing clients and were planning an email campaign to high-ranking executives in companies that already used their services.  They wanted a video that would demonstrate their product, show how it fits with their wider strategy, gave the client some new information and would keep the client interested.

They were planning on a simple video: a screen grab of an on-screen demonstration of “Portfolio Manager” with a voiceover; this is the standard model within the industry.  Whilst portfolio management is an interesting subject, it is hardly entertaining, leading to a low view-rate and dwell-time of  videos.  Kepner-Tregoe wanted to know if I could produce something that would be different to what clients might have seen before, whilst still having the integrity to demonstrate the high value of this product.  Well, of course I could!

Approach:  I approached the project as half informational, half documentary.  I knew that I would have to include some software demonstration, but wanted to keep this at a minimum.  Customers don’t just buy into a product – they buy into a story and people.  Pete Wright is the main consultant behind Portfolio Manager and he talks succinctly and engagingly about his product.  I wanted to have him explain the wider strategy, before going onto the product demonstration.

The Treatment:  I wanted to include General Views and PTC from Pete explaining what “Portfolio Manager” is; why we should be interested in it; and how it works.  The software demonstration would have the bare minimum of screen time and cut as often as possible to PTC from Pete offering a more engaging explanation to the viewer.  I wanted to bring in a second voice of authority, to add context and relevance to high-level decision makers.  For this, we did an interview with European Principal Sam Bodley-Scott.

The Shoot & Edit:  I spent time with Pete coaching him on presentation techniques, vocal exercises and doing dress rehearsals of the shoot.  We did the whole shoot in one day at K-T’s European office, and whilst the shoot was story-boarded and sections planned out, Pete ad-libbed, to make the video as natural as possible.  The edit combined the camerawork with screen-grabs of the software.  I found that audio from Pete’s PTC was much better, as he had a perceived audience, so spoke better.  To aid the gaps between talking, and to keep the video moving along nicely, I used a remix of Coldplay’s Clocks, the familiarity of the tune making the video more appealing.

Result:  I am absolutely delighted with the result, as are KT.  It gave me the chance to combine my acting and presenting skills in coaching Pete, with the camerawork and production skills developed through making the India project with Russ Malkin, and the editing skills I had developed doing the Italy video, Martin’s promo and Hungry Man.  KT are enormously happy with the film: it is far easier to watch than anything they have produced before, making it much easier to share, and resulting in a much higher view-rate from clients.  Commercially, it is producing great results too.

It was a great process to build confidence in my skills as a film-maker, delivering a project on a commission and exceeding the expectations of the client.  I’m looking forward to more commercial projects in the New Year, whilst continuing to make personal projects.

6 Easy Tips for Getting Into The Outdoors

So, after my Secret Compass expedition to Brecon Beacons, I thought I’d put together a few thoughts on the best things to do to get yourself into the wild outdoors from a standing start.

1.  Start Small

Don’t decide to climb Everest or find the source of the Nile on your first expedition.  Start with something manageable – a day-walk, or perhaps an overnight in less hostile country – stay at a campsite in the Chilterns in summer.  Even Bear Grylls started small!

2.  Go With Someone Who Knows What They’re Doing

I went with Secret Compass.  It means someone else can take care of the more cerebral elements, such as route-planning, navigation and safety, whilst you become familiar with the environment and more basic challenges.

3.  Don’t Spend Loads On Kit Straight Away

You don’t know what you need or what you’ll use.  Borrow some from others until you’re committed, (another reason to go with a guide or company).  But…

4.  Invest well in boots

They will determine your enjoyment more than anything.  Don’t be oversold as to needing hardcore mountaineering boots if you’re just going to be walking – don’t go over a grade B unless you’re regularly going to be using crampons.

5.  Set Yourself Goals

To begin with it may just be to get to a certain country pub; then it may be to get up Snowdon; next it might be completing the Welsh 3000s.  Setting goals gives you a sense of purpose and a tangible way to measure your growing achievements

6.  Join a Club or Society

There are local clubs in nearly every town that will organise walking and camping trips.  It motivates you, reduces the effort you have to put in to organise each trip, and gets you meeting loads of new people with interests that match yours.  Start with the British Mountaineering Council (BMC) website, which will redirect you to local organisations.  If you are under 25, get involved with the Duke of Edinburgh scheme immediately!

Overall though, it’s just about giving it a try – getting out there and enjoying our wonderful environment.  Yes, you might get cold and wet; but believe me, that’s half the thrill.  And when you get back to the office and tell your colleagues what you’ve been up to, they’ll not only be jealous.  They might be inspired to join you too.

Check out the BMC Website for more information and local contact.

Have a look at Secret Compass’s website for information about expeditions and their internship programme.

The Duke of Edinburgh’s Award, or DofE, is a multifaceted way of teaching young people skills, confidence and experience.

An Unexpected Internship: Navigation and Mountain Training with Secret Compass

How would you choose to spend a weekend in December?  Being dragged around the shops to find presents?  Getting smashed at the office party and snogging the secretary from accounts?  Or camping out on a freezing mountainside in the Brecon Beacons.  Naturally being a man of great fortitude and a sense of adventure (as well as a lack of foresight when it comes to considering seasonal changes ) I went for the third option.  Also, I don’t work in an office, so the second option was out.

Spectacular views in the Welsh Mountains

So, late on Thursday night I piled into a van with Lev Wood, managing director of Secret Compass, and three of his interns to learn camp-craft and navigation skills in the Brecon Beacons.  This is the home of the British Army Infantry Battle School, and also the landscape of SAS selection, so I was under no illusion as to this being a bit of Chilterns orienteering.  Secret Compass is an expedition company set up by Lev Wood and Tom Bodkin, with the aim of taking people on genuine adventures and expeditions to remote and undiscovered locations.  Each trip has a tangible objective to be accomplished and a genuine level of difficulty and personal challenge for clients: the recent trip to the Wakhan Corridor involved two solid weeks of trekking in wild mountain country with river crossings, no trails at all, and staying with local tribes.  The aim was to find the source of the fabled River Oxus.

Wood and Bodkin are former Parachute Regiment officers and graduates of the aforementioned Battle School, which is where the sense of determination and objective comes from in their expeditions.  And it’s also why Lev was delighted to show us around his old stomping ground.

Secret Compass have a truly fantastic internship programme – unlike many companies that make their interns pay to be coffee bitches, Secret Compass offer incredible opportunities and training.  In return for preparing dossiers for expeditions they are interested in, SC interns are trained in Expedition Management, Navigation, Group Leadership, Camp-craft and Survival Skills.  Plus, they get to go on the expedition they’ve helped plan.  Ali Wilde, who is planning the Madagascar Coast-To-Coast trip explains, “We are able to go to places that no-one else is going, with a sense of genuine adventure.  And we are learning from, and being mentored by, guys who have done this time and again, not just as soldiers, but in their own lives and civilian leadership too.  We are learning life skills, adventure skills, business skills.  All whilst going on incredible trips and having great fun!

It’s the best job in the world, and I’m learning so much.  Lev and Tom are inspirational guys with a real passion for what they do.”

Lev offers some navigational advice

I was there to learn some much-needed man skills – navigation, camp-craft, safety in the wilderness.  A pack full of water, food, tent, sleeping bag, dry clothes and various essentials came in at over 30lbs.  I mentioned this in passing to Wood, who looked me in the eye and quite simply stated, “No-one’s forcing you to come.”  Suitably chastised, I had a quick swig of Man-The-Hell-Up and strapped on my bergen.  Nav theory involved learning how to identify features from contour lines, following bearings, re-locating, triangulating and various other, very important, things that Bear Grylls talks about on the telly.  We spent some time trying to figure out where we were, and headed on up the mountain.  Lev let us wander along for a few minutes before explaining an elementary mistake that had led us in the wrong direction.  180 degrees in the wrong direction.  As we started to climb, the 30lbs started to become far more obvious – as had my recent lack of gym and rugby time!  Some of us were struggling more than others, which led Lev to talk about group management – you are only as fast as the slowest group member and you have to get the right balance of setting a good, challenging pace and burning out – its a mix of reigning in the fastest and ensuring that those at the back are maintaing their spirits.

I was somewhere near the middle, but thoroughly enjoyed the snack and water stops!

The team on the Pen Y Fan ridge

With stories of SAS challenges ringing in our ears, we climbed Pen Y Fan, but rather than complete the gruelling Fan Dance, we took a lovely route out as the sun set and camped out in a forest block for the night.  With the winter sun not around for long, we were tucked up in our tents by 7pm!

In all, we spent three nights camping out, with two full days on the hill.  I learned a lot, not least of which is that practice makes perfect – I now know that some of my kit is surplus to requirements and that some needs replacing.   Brecon was a great challenge, but as Lev says, you can practice anywhere.  ”Just head up to the Chilterns for a day or two and get used to camping out – packing your bag, your wet/dry routine, route selection.  You can even do navigation practice in London!  All you need is a compass and an OS map.”

Secret Compass’s expeditions are really worth a look, if you want to challenge yourself and win the “You’ll-Never-Guess-Where-I’ve-Been-It’s-Not-At-All-Touristy-Competition” at work.  And if you are looking for a career in adventure and expedition, get in touch with Secret Compass if you’ve got some skills that they might need in return for an internship!

Visit their website.  Follow them on Twitter.  Like their Facebook page

Jez Butterworth’s Jerusalem

What more can be said about Jez Butterworth’s Jerusalem?

Mark Rylance as Johnny Rooster Byron

The play revolves around the events of St George’s Day in a town on the edge of Salisbury Plain.  Johnny “Rooster” Byron is a Romany gypsy, and the council have finally arranged the legal essentials to have him evicted to build new housing.  Rooster is a Peter-Pan-type character who sells speed to local kids and hosts wild parties; telling tall tales (including an inspired monologue about his conception) and snippets of English legends.  On St George’s Day, a local fair is held and antics ensue against the background of one of the young “rats” leaving for Australia, the May Queen going missing and Johnny’s impending eviction.  The story is compelling, fun and troubling.

I first saw this play 2 years ago during its first run at the Royal Court Theatre.  Back then, it was the best play I had ever seen.  Two years later, I went to watch it with my favourite arts companion at the Apollo Theatre, and in that time, the play had transferred to the West End, had a run on Broadway in New York, and now returned to the West End.  Unlike in film, it’s a rare opportunity to watch a play you love more than once – the cast changes; a new director puts a completely different twist on it; no-one produces it again – so it was wonderful to have the chance to see it again, by the same company, with the same actors.  But, would it live up to the expectations of my memory?

The original poster for the film, capturing a sense of English myth

I settled in nervously, worried that my memory of the “best play I’d ever seen” would be undone: it’s still winning 5* reviews, so the critics like i, but would I?  Nearly all of the cast have stayed on including, most importantly, Mark Rylance as Rooster Byron.  So much has been written about this performance that it’s hard to say anything new: a chaotic performance, that throws the audience from humour to contempt, solidarity to pity.

I feel lucky to have seen acting of such intensity – subtle, funny outrageous, ambiguous, mercurial and completely enveloping.

I’ll be honest – I didn’t understand Jerusalem’s “message” if there was one: Byron is an anti-hero, clinging to his lost youth; he is an absent father, a drunk, and sells drugs to minors.  What is his relationship to the missing girl?  What’s in his eye?  But all that seems to be fairly irrelevant.  The play need not have a message – it’s just an entertaining romp, with poignant moments, and an ambiguity.  Themes are explored: fatherhood, responsibility, friendship, loyalty, abuse; but, it doesn’t need to have a pleasant resolution – after all, real-life doesn’t.  Myth and legend are blurred in Rooster’s story-telling as an “indigenous force of nature”: does he believe in giants and fairies; is he magic; how was he conceived; what happened with those Nigerian traffic wardens?  Bits and pieces of William Blakes’s eponymous poem, from which the title is derived, are alluded to throughout the play, adding to the sense of age and legend.  The play is an exploration of belonging and Englishness – the theme of modern Englishness captured me – soul-less housing estates, disenfranchised youths, bureaucratic council officers – What Is England?  

Byron’s character taps into a sense of mystery and longing for something more interesting than the meaningless of existence that simmers beneath the surface of modern life; it taps into the hunger for mythos rather than the logos that society tells us should be the only concern.

You are never quite sure where you stand with Byron, although I think that in the time since the Royal Court that ambiguity has lessened and he is a more positive character.  Perhaps the play has lost a little of its rawness since I first saw it (after-all, they have performed it quite a few times), or maybe it’s just that I knew the story already.  But the key moments have lost none of their intensity, such as Byron’s meetings with Dawn, his son, Marky and Troy.  The final meeting is set perfectly against a Sandy Jenny song that adds a tone of poignancy and a sense of the mythical world in which Byron lives. 

Jerusalem is now completely sold out.  If you can get a ticket, by hook or by crook, then you have to go.  Rylance as Byron is one of the theatrical events of our generation, that will be remembered alongside McKellan as Lear or Olivier as MacBeth, and this play is only as good as him.  As the play’s writer, Jez Butterworth said, “As far as I’m concerned you might as well burn this script after we’ve finished with it because I don’t see how anyone else could do it as well as he does.  You need to feel the charisma of a genuine eccentric, someone who gives you goose-pimples when they walk on.  Mark Rylance just has all that, naturally.  What he brings with him is a real fire – heat and light together. When he’s on stage, you get proper illumination.”

I don’t know how you’ll get to see Jerusalem – but I’m smugly enjoying the fact that I did!