Supplementary Membership is effectively PGGB’s entry-level category, for individuals who have at least one credit within our grades, but less than the three required for full Membership. You can find out more about Supplementary PGGB Membership here.
We spoke to three such Members for this feature: Production Coordinator Sarah Boyks, Natasha Markou of London Production Studios, and Producer Jessie Mangum.
Each of the three credits the determination and drive that comes from simply knowing you want to be in this industry as a key factor in making their first steps in the industry.
“I always wanted to work in the industry. I did every course about working in Production I could afford during the first lockdown… I’m still pinching myself that my first job was on Spencer in the COVID team, but I haven't stopped working since and am still in love with what I do.” Says Sarah.
Jessie similarly knew where she wanted to be, even if her route was different. “I grew up in a regional town in Tasmania Australia with no film industry at all, but, knowing I wanted to find a way into film, I did the closest thing I could which was a Theatre Production degree at university. After a few years there I moved to Sydney and began working in-house with one of Australia’s biggest and most prolific production companies, Goalpost Pictures - it was a brilliant crash course in all things production.”
Education was also the pathway for former Media Production student Natasha, but her career really kicked off with hands-on experience: “Killbird was a pivotal project in my career trajectory. I initially joined the team as an Associate Producer, but as the production progressed, my role expanded significantly. My increasing contributions and responsibilities were recognised, ultimately leading to my promotion to Executive Producer. This experience not only showcased my ability to take on greater challenges but also provided invaluable insights into the various aspects of film production at a higher level.”
Though all three Members are still in the relatively early part of their careers, their trajectories are already highly impressive.
Jessie produced Looted, part of the Film London, BFI and BBC Microwave scheme on a capped budget of £150,000. “We wanted to make a film that could compete with films produced at budget levels ten times that of ours, and we poured our guts into delivering production value on screen” says Jessie. “We punched well above our weight, getting a UK release through Bulldog and then Sky, winning a FIPRESCI award and being nominated for a BIFA.”
She has since gone on to be Associate Producer on The Miracle Club, alongside various production office jobs, from prepping budgets and schedules to creating a feature post-production script.
Natasha singles out A Mouthful of Air, on which she was Associate Producer. “Working on this film was particularly rewarding due to the exceptional talent involved. I had the privilege of collaborating with a remarkable cast, including Amanda Seyfried and Paul Giamatti, as well as outstanding producers like Celine Rattray.”
As the Producer and Company Director of London Production Studios, Natasha also spearheads the in-house development of HETV and feature film scripts, identifying and nurturing new talent and ensuring content aligns with market trends.
Sarah, meanwhile, worked on many productions – including The Crown and The Split – in the Covid department, before working as 2nd Unit Production Coordinator on Queen Charlotte: A Bridgerton Story. She has since produced three shorts, and will shortly line produce a low budget indie feature.
“All of these jobs have in common that you are one of the main contacts for every crew member and make sure that they all have what they need to get the job done - in time and on budget” says Sarah. “And ideally without breaking their backs and still smiling!”
Sarah, Natasha and Jessie all have words of wisdom for those trying to break into the industry, and the specifically the production office.
“Be curious and nice to be around” says Sarah. “Nobody expects new entries to know everything, if you make a mistake own it and fix it… if someone is enthusiastic and you can tell they genuinely want to work in the industry, that usually makes others want to support you.”
For Jessie, the key is to be “Adaptable, consistent and collaborative, and remember that no one is in competition with each other. We all do better when we’re generous with our time and knowledge – the project always benefits when the culture is positive, and this culture is most often set by the producer.”
Adaptability is also a watchword for Natasha. “For something looking to grow in the production office, my advice would be to focus on developing a diverse skill set that spans both creative and administrative aspects of production” she says.
“Demonstrate reliability, maintain a strong work ethic, and cultivate problem-solving abilities to handle the fast-paced, high-pressure environment. Strive to understand the bigger picture of how your role contributes to the overall production process and company goals. Be patient and persistent in your career growth, remaining open to feedback and committed to ongoing learning and improvement. Your versatility, dedication, and ability to adapt will be key to advancing in the dynamic world of production.”
PGGB Membership has already played a significant role in the development of all three Members.
For Jessie, it was simply a case of “wanting to connect with other freelancers and build my community, and to keep up to date with training” while for Natasha, “the prospect of being part of a community that supports and elevates the craft of production was a significant factor in my decision to join. [The Guild] offered a platform for continuous learning and skill enhancement, which I saw as crucial for career growth in this dynamic field.”
Community was also important to Sarah. "This is my first year as a member and I’m loving it. The online platform, courses, tutorials, talks and the Knowledgebase alone are a huge help. My main reason was that I like to be part of a community. Our jobs are very short-lived, and it is good to have a sort of anchor.”
