Film and TV Society: Drama Producer

I’m standing for Drama Producer because I want to make the process of turning an exciting, creative vision into a tangible, successful outcome.

Drama has always been a big part of my life. It was during A Level Drama that I discovered that, while I loved the creative side of devising projects, I found even more enjoyment in organising rehearsals, building a team dynamic, sorting out practical details, and dealing with the occasional mishaps.

Alongside my studies at university, I work in an administrative role, where being deadline-focused and client-focused are essential to the success of the projects I pursue. I believe that, with my recent consolidation of these skills, I can apply them to my passion for fictional storytelling.

Having directed my own projects and working on sets, I truly understand how, at times, stressful productions can get and the importance of considering all departments needs when fulfilling the creative vision. I want to take on that responsibility where I can, so directors and creatives can focus on what they do best: bringing their vision to life. That way, the team can know that the production side is being handled with caution and, most importantly, passion.

From script writing to being on set, I have found a great interest and attachment to the art of filmmaking. I have had the pleasure of participating in their challenges and short films (48hr competition, Term 1 Short ‘Raw’), widening my scope on how a professional crew and cast works. Outside of Film Society, I have had extensive experience from past school projects or commissioned films. Such opportunities have made me realise how I thrive in a welcoming, enthusiastic, and creative environment, an atmosphere I would love to create for more eager filmmakers joining FilmSoc. 

As the role requires, I believe my organisational and communication skills would be fit for being a drama producer. My course, Creative Arts and Humanities, taught me the basics of filmmaking and how to work with a team in a leadership role. I aim to combine my logistical and technical expertise with my first-hand knowledge of the creative process to assist in the pre-production of narrative films as much as I could. A smooth production always comes from a detailed and structured schedule, which allows on set improvisation, shifts and changes, while ensuring the quality of our final product. I would be very grateful if given this role as drama producer, as it would not only allow me challenge myself in a new and demanding role, but also allow me to guide new filmmakers and be a part of the production of many eye opening films. 

The more I worked on film productions, the more I discovered that I was drawn to the organisational work behind them. I developed a passion for planning projects and creating the conditions in which different creatives can collaboratively bring their ideas to life. I have produced and assisted on several productions that were very different from one another, each requiring a distinct approach.

For example, an archive-based fiction project capturing the everyday struggles of students required careful sourcing of archival materials. In contrast, an experimental film about immigration, conveyed through poetic montage, demanded greater flexibility in capturing B-roll across locations to support its visual style. Finally, a larger narrative production about a young man negatively impacted by AI required a multi-day shoot with a larger team, where the schedule had to be managed carefully to ensure scenes were completed within limited location time.

The diversity of these projects showed me the richness of filmmaking and the many ways producers help realise different creative visions. Being involved in producing these films is an experience I deeply value, and I want to continue developing these skills by helping to support and realise film projects within the film society. I hope my experience and range of production work will be particularly helpful in ensuring that the film society continues to be a place where different creative visions can be realised into meaningful projects.

I believe our best films have yet to be made.

I’m running for Drama Producer to champion unapologetic, ambitious storytelling and to build a structure that makes it possible.

We are already capable of producing excellent termly films. I want to raise the ceiling. That means actively encouraging scripts that feel risky, technically demanding, or stylistically bold, and then implementing the right systems to execute them properly.

Too often, the most ambitious ideas are softened or dropped for practicality. I don’t believe boldness and delivery have to be opposites.

I believe the drama producer’s job is to select the strongest potential, protect the vision, and promise execution. If a script demands something technically challenging or structurally unusual, my instinct would be to fully commit, rather than reduce.

I would champion uniqueness, creativity, and above all, stories we feel proud of achieving, pushing for an entirely fresh and varied slate of tone and form; films that take real swings rather than safe ones. I would foster a culture where “that might be too difficult” becomes “how can we make that work?”.

Ambition does not mean chaos or impossibility, but does rely on clarity, discipline, and only compromise which enriches the narrative rather than neutralising it.

I’m standing because I care for the legacy we produce and want us to be known for drama that is fearless, technically confident, and impossible to ignore, and I’m ready to do the work to make that standard real.