Q&A: Indefinite Films

Ruby Stoneham

I spoke to Kate Cook from Indefinite Films, a Bristol – based production company that I did some work experience for earlier this year. I really got the sense that they had a different outlook to a lot of other production companies I had contacted. During my short stint working as a researcher, I was encouraged to really push myself and broaden my skills. The experience was very affirming; I learned a lot about the industry, and it gave me some much needed direction. Most importantly, I felt trusted to do my job, and to be creative with it, which I think is a key factor that is often missing for young people working in the industry. I asked them a few questions about the industry, their company, and for any advice for people just starting out.

1. Can you tell us a little bit about Indefinite Films, and how you got to where you are now?

Bruce and I have been working together for over 25 years. We set up Indefinite Films to make a low budget feature film called Leave to Remain, a coming-of-age drama about unaccompanied asylum-seeking kids entering the UK immigration system alone. The film featured an ensemble cast of young people, alongside Toby Jones and a soundtrack by Alt J.

We then went off and did some other projects and had kids (not together!) and then got a commission to make Murder in the Car Park, and decided we wanted to build the business to make fact based HETV and feature films and their companion documentaries. We’ve spent the last 6 years developing projects and have just finished filming MAVIS a 4-part drama for ITV, which we’re co-producing with long term collaborators, Corestar Media.

2. What is something you wish you knew when you started out that applies now?

Networking! I had no network when I started out in the industry and would never have through this was relevant to me, but it’s a relationship - based industry. Not everyone will be comfortable turning up at an event full of strangers, but there are other ways. Whether it be going to film screenings with Q&A’s, online forums etc, where you can follow up with people to see if they can spare time for a cup of tea and a chat. It’s all useful. Get yourself out there, go to local film festivals, industry talks etc.

3. What do you think has changed since you started out in the industry, and how does this affect young people today?

There is so much that has changed, for good and bad!

When I started out it was before the digital channels.  I entered into the industry when stuff was still being shot on film and there were only 5 UK channels! Budgets were bigger and better resourced, but the introduction of digital TV meant there was the need for a lot more content - so working practices changed to make the money go further.

 Again, when the streamers entered the commissioning space the PSB's (Public Service Broadcasting) had to compete. Covid saw a huge bubble of commissioning -the industry was hungry for content, but it was never sustainable and that bubble catastrophically burst.

3-years ago, everyone was complaining about the skills shortage in the industry and a year later, suddenly, there were 75% of freelancers out of work, and we’re still clawing back from that.

But having said all that, there are new opportunities on the horizon. Everyone is trying to engage with younger audiences and so having a “digital first” strategy is crucial to most of the broadcasters. Making content for YouTube and the rise of microdramas is the perfect space for you young people to be cutting their teeth.

 There are also now a lot more practical skills programmes and conditions for productions companies to create entry level / trainee roles. There are definitely opportunities for young people out there.

4. Indefinite Films works with both established and new talent – how do you involve or encourage young people in the industry?

We regularly have interns through university schemes and when in production create shadowing opportunities as well as trainee positions. Also “stepping” people up whenever there’s opportunity for them to work their way up the career ladder.

In development we engage with a lot of talent schemes, such as BBC Writers and Channel 4 new writer’s scheme.

5. Breaking into the media industry is often described as a vicious circle – do you have any advice for people who want to gain experience without having experience?

I would agree with that! I think one of the biggest issues, which spans all areas of diversity, is an economic one. The industry is built on freelancers, which means that

A. It’s reliant on the  networks you create

B. Relies on you being able to financially sustain yourself.

Working for free is technically a thing of the past but, ultimately it still happens when people are making short films and pulling in favours. Working on low wages, for short periods of time without any security of where you next job is coming from is really challenging.

My advice is to try and get work experience whilst you’re in education. Indefinite Films work with universities / films schools whereby students can gain work experience as part of their studies. Gaining real work experience is vital but again, it exposes you to a network of people who might consider you the next time they are crewing up for a project.

The best advice I was given was “to not give up the day job”- Find regular work that offers some flexibility. Alongside this, always be working on your own stuff - whether it’s writing scripts or creating short films with your mates. We all have the means to make AND show content with our phones and the internet so it’s always worth creating your own portfolio of stuff to showcase your skills. Passion and commitment go a long way in this industry!