Finally making it into a TV production role can feel like you’ve broken into a set you’re not allowed on…it is an exciting journey filled with self-discovery. Whether you dream of directing, camera-work, scriptwriting, editing, or working behind the scenes in roles you’ve yet to discover, Studio Insider is here to help navigate the first steps, and show people who are doing what you want to do.
Getting a foot in the door of TV production can feel like trying to win the lottery. It is exciting, overwhelming, and seemingly impossible, but as Jade Bullen, a Program Assistant for Good Morning Britain and Lorraine, proves, taking that first step can lead to a very rewarding career.
Jade’s role is closest to what most people would call a showrunner or a “runner,” but in reality, it’s a lot more than just fetching coffee and making copies, as most media would lead us to believe. Her job operates on a seven-week rotating schedule, with each week bringing a different set of tasks. From prepping scripts and call sheets to sourcing props, entertaining celebrity guests, and even finding ukuleles, she never knows what her week may look like.
Staying on Your Toes
One thing Jade loves about her role is the constant variety. “Every day is different,” she laughed. “One week, I might have no prop requests, and the next, I’m sent across London to find something really random. The other week, we had Bill Bailey on Good Morning Britain, and they asked me to get a ukulele. I traveled across the city to find it—only for them not to use it in the show! I was actually like, ‘I tried so hard to get that.’” She takes it on the chin, knowing that the name of the TV game is split second decisions and last-minute changes.
Beyond props, she gets to work directly with guests in the Lorraine green room on some weeks, ensuring they’re comfortable before going on air. Her ‘float week,’ a unique part of the job rotation, allows her to shadow different roles within the production team, including producers and researchers. Her new aim is shadowing the Head of Showbiz, because, as she puts it, “he gets to meet all the cool people.”
While some rotations are more enjoyable than others, Jade admits props week isn’t her favorite, but the ability to experience different parts of production keeps things exciting. “It’s good because the hours are different every week, and every day is different,” she says. “One day I can have props with no requests, the next I have to go to this rogue place to get some really rogue thing.”
For many, TV production might seem like a glamorous, big-budget industry where money flows freely. But according to Jade, that’s not quite the case. “People think TV has loads of money, but they’re actually really careful with budgets,” she shares. “Like, you have to get the cheapest thing, return it, etc. If you’re booking hotels for guests, obviously they want the best for them, but we do have really specific budgets and things like that.”
Another common misconception? That the industry is completely inaccessible without connections. While networking helps, Jade specifies that she didn’t land her role through who she knew. She got an interview for a different role, proved her passion, and impressed her interviewer so much that they passed her along to the right person. “I basically had an interview to be a researcher at Lorraine but didn’t have enough experience,” she explains. “But the guy who interviewed me forwarded me on to my manager.”
She suggests you know the show you want to work on, bring ideas, and have something tangible to showcase your work. “I brought my third year uni magazine into my Lorraine interview, and they really loved it,” she recalls. “Don’t be afraid to show off what you’ve done and be really keen about the show or whatever you’re working on.”
Nine-to-Thrive
TV production isn’t your standard nine-to-five. The ever-changing shifts can be demanding, with early mornings, overnight work, and constant adjustments to schedules. “The hours are a lot,” Jade admits. “That’s the only thing about the rotation—one week I’ll be doing nights, then days, then mornings. Even though morning shifts aren’t very long, you still have to wake up at four AM.”
But for Jade, seeing the final product makes it all worth it. “It’s just so rewarding to see everything come together live on TV,” she says. “You do all this work, and then you see it air, and it’s like, ‘That’s what I did!’”
The job also comes with some incredible perks. Thanks to her float week and the connections she’s made, she’s had the chance to contribute to ITV’s Oscars coverage—an experience she describes as both surreal and thrilling. “That’s also a good thing about this job,” she says. “Because you meet loads of people, and people move around quite a lot, you can end up in some really cool opportunities.”
Many aspiring TV professionals worry that without prior industry connections, they won’t be able to break in. While Jade understands the concern, she believes that hard work and persistence can go a long way. “I can see why people think it’s exclusive,” she admits. “But I didn’t get where I am through networking. I had an interview. Maybe that is networking? They passed me on, but I started with an interview.”
However, once you’re in, she says networking becomes more important. “The more you make friends and connections, the easier it is to move up. You just have to start somewhere.”
Interestingly, she also notes that despite what some may think, TV production isn’t just for seasoned professionals. “I’m probably one of the youngest in my team,” she says, “but even the producers are in their 20s, 30s, and 40s. There’s definitely space for young people.”
The Future of TV Production
As the media landscape evolves, TV production teams are eager to keep up with new technology and trends. “They do want to move along with new technologies,” Jade says. “Like, they introduced some AI thing. I don’t really know how it works or what it is, but they’re keen to experiment with new innovation.”
With AI and digital media on the rise, young professionals who understand emerging trends and technology may have an edge in the industry. That said, at its core, success in TV production still comes down to creativity, adaptability, and, sometimes, being willing to chase down a ukulele across London. Above all putting yourself out there and being a go-getter.
If you’re dreaming of a career in TV, Jade has one main piece of advice: be persistent and put yourself out there. “Show your enthusiasm, bring something unique to the table, and don’t be afraid to talk about what you’ve done,” she says. “Even if the job market is tough, if you keep pushing, opportunities do come.”
So, if you’re eager to break into TV, take a page from Jade’s book. Be proactive, stay flexible, and embrace the chaos, because you never know where it may take you.
Advice for Young People from ITV Trainee Sam Eyre
Sam Eyre, is also a trainee at ITV, and offered valuable insights for young people looking to start a career in production, from a more journalistic perspective. From handling rejection to understanding the importance of behind-the-scenes roles, Sam’s journey demonstrates the need for persistence and realistic expectations.
“Breaking into the industry isn’t easy. I’ve always watched ITV evening news. It was like I’ve grown up with it, so it would be great to work for them. I applied and got through several interviews, but I wasn’t successful with some roles at first. Finally, I made it to Tyne Tees, and that’s how I ended up in the North East.”
Sam’s story shows that rejection is part of the process. Breaking into TV requires persistence and resilience. It’s competitive, but staying determined pays off.
“You’ve got to be good at the behind-the-scenes stuff before you’re allowed anywhere near the front-of-camera stuff. The presenter of Good Morning Britain was a trainee eight years ago. You’ve got to work your way up.”
Sam stresses the importance of understanding production roles before thinking about being on-screen. These foundational roles help build crucial skills and provide insight into how everything comes together.
“We had over 1,000 applications this year for my role. It’s one of the most competitive jobs in journalism.”
TV production is incredibly competitive. Sam highlights the importance of being prepared for this reality, as only the most dedicated will stand out.
“Planning assistants are the backbone of everything we do. They organize stories to get them on air. I’ve done a bit of planning, and it’s a skilled job, but it’s raw journalism.”
While many dream of being on-screen, Sam points out that planning roles are critical in TV news production. These roles are often overlooked but are essential in bringing the stories to life.
“If I were talking to me a year ago, I’d tell myself to calm down. You’re not going to be on air within a month. Journalism is a long game. Don’t expect everything to be perfect straight away.”Sam’s advice to young people is to be patient and manage expectations. Success takes time, and starting from the bottom is a necessary part of the process.
