If you’ve worked in a box office, connected with the public and worked at different levels, it gives you a much better understanding of your staff, the public, products and artists.
What is your job?
I'm a Services Manager at the IMAX Cinema in London.
What does your job involve?
It involves making sure people have a good time, from when they first go to the web site, to when they come to see a film here. Every contact that a customer has with a venue can influence how they feel about the show, as well as the venue. I also help put on events, liaise with clients and solve problems.
How did you get to this point in your career?
I worked in cinemas during university holidays, then went to work for the Glasgow Film Theatre, an independent arthouse cinema. I worked for two summers at the Edinburgh Fringe Festival, based at The Pleasance, the largest venue of the festival. Next I worked at the Edinburgh Filmhouse, another independent cinema, and then came to work in venue management at the IMAX.
What training did you do and where?
I studied French at Stirling University, then did a Masters in PR.
Which piece of work are you most proud of?
Once at the Edinburgh Fringe Festival the computer systems went down for two hours, when we were trying to sell tickets for 36 shows at 18 venues. I dealt with it by being creative and using teamwork. We managed to keep on selling tickets, we got everyone in to see the shows they wanted to see, and kept the growing queue of people informed about what was happening.
What do you need to succeed in your industry?
You need to be passionate about what it is that your venue is showcasing, whether that’s theatre or film. You have to support the act that only gets two people in the audience as much as you support the act that sells out every night. You have to believe that what you’re promoting is different and worthwhile, and really want to attract the public into your venue.
Who’s your work hero / heroine?
Two people have really inspired me: Karen Coren, the artistic director of the Gilded Balloon in Edinburgh, and Ginnie Atkinson, chief executive of the Edinburgh International Film Festival. They showed me that a venue works when there’s the right combination of artistic and pragmatic people.
What inspired you to do this type of work?
Working at the Glasgow Film Theatre inspired me to believe that commercialism isn’t everything. I wanted to encourage people to broaden their horizons and experience new types of films.
What do your friends/family think of the work you do?
My parents were both English teachers who were into amateur dramatics, and my brother is a theatre director, so they weren’t surprised that I ended up in the creative industries.
What are your tips for anyone wanting to do your job?
Many smaller arts venues now are grant-funded, so it’s very useful for them to have people who know how to do grant applications. You can learn how to do this on an arts administrative course. On the other hand, practical experience of venues is also very beneficial. If you’ve worked in a box office, connected with the public and worked at different levels, it gives you a much better understanding of your staff, the public, products and artists.
If you would like advice on creative careers and courses, contact a Creative Way Careers Adviser - either Matt Ball on m.ball@uel.ac.uk / 07889 001764 or Sarah Comerford on s.comerford@uel.ac.uk / 07515 051509.
Creative inspirations
My dad playing Macbeth
When I was 6 or 7, I remember seeing my dad playing Macbeth at the Grand Opera House in Belfast. I saw how people could transform themselves and it showed me what people could achieve through hard work.
The Rocky Horror Picture Show
I watched this at my dad’s nine times in one weekend. I’d never seen anything so outlandish. It made me think I wanted to be involved in a theatre show that could turn into this kind of film.
Playing Puck in ‘A Midsummer Night’s Dream’
I really enjoyed the teamwork of being in our school play. It was about not being afraid to stand on the stage, and it gave me the confidence to put myself out there.
My music teacher, Mr Gray
I went to a working class school, and we had a music class that was full of lads who weren’t remotely interested in classical music. But Mr Gray managed to get them enthusiastic. It made me realise that nothing’s off limits if you work out how to get people involved.
French film course
I attended a course in French film at university. Some films were great, some were weird and some were just plain bad. But it showed me that there’s always a different way of seeing things.
Baz Luhrmann’s ‘Romeo and Juliet’
So many people went to see this film who would not normally go and see a Shakespeare play. It was so fresh. Again, it’s about making culture accessible so that people are able to understand things and see them in a new light.
Sea Monsters in IMAX 3D
This was the first IMAX 3D film that I saw. I love seeing people enjoy the experience of IMAX – the sound, the images, the feeling that you can touch the screen. When I see an audience of 100 seven year olds overjoyed at a film, it makes my day.
The Turbine Hall, Tate Modern
For me, the most impressive part of Tate Modern is the Turbine Hall. It’s an awe-inspiring space and there are so many ways that it can be used.
The Edinburgh Fringe Festival
I love the way that tiny independent films are shown next to huge commercial films at the festival. Once there was a film about a Ukrainian man who made his own submarines, showing alongside Little Miss Sunshine. It encourages people to take a chance and see something new.
Karen Coren and Ginnie Atkinson
The artistic director of the Gilded Balloon in Edinburgh and the chief executive of the Edinburgh International Film Festival inspire me with their passion and commitment. They’ve both taken an indirect route in their careers and prove that all experience is good experience.