►
From YouTube: Culture, Tourism, Europe and External Relations Committee (First Meeting) - 10 May 2018
Description
1. Scotland's Screen Sector: The Committee will take evidence from-
Rick Instrell, Communications Manager, Association for Media Education in Scotland (AMES);
Seetha Kumar, Chief Executive, Creative Skillset;
Graham Fitzpatrick, Creative Development Officer, Screen Education Edinburgh;
Alison Goring, Scotland Head, National Film and Television School (NFTS);
Linda Fraser, BECTU Vision and Drama Training Programme, Hit the Ground Running.
2. Scotland's Screen Sector (in private): The Committee will consider the evidence heard earlier in the meeting.
Published by the Scottish Parliament Corporate Body.
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A
Good
morning
and
welcome
to
the
13th
meeting
in
2018
of
the
culture,
tourism,
Europe
and
External
Relations
Committee
I'd,
like
to
the
main
members
and
the
public
to
turn
off
mobile
phones
and
any
members
using
electronic
devices
to
access
committee
papers
should
please
ensure
that
they
are
switched
to
silent.
We
have
received
apologies
today
from
Tavish
Scott
MSP.
Our
main
item
of
business
today
as
an
evidence
session
on
the
committee
enquiry
into
Scotland
screen
sector
and
today
will
focus
on
development
of
skills
and
training.
I'd
like
to
welcome
our
witnesses.
A
Today,
sita
kumar
and
chief
executive
of
creative
skill
set
Liam
Fitzpatrick
creative
development
officer
with
screen
education,
Erin
bra
Alyson
goring,
the
Scotland
head
of
the
national
film
and
television
school
and
Linda
freezer.
The
back
to
vision
and
drama
training
program
hit
the
ground
running
and
I.
Think
I
would
like
to
start
by
asking
perhaps
at
a
general
and
quick
question
about
the
the
focus
of
this
inquiry.
A
B
Well,
I
think
we're
to
start.
Em
is
a
what
I
would
like
to
see.
The
priority
is
starting
at
this
start,
because
what
we
lack
in
Scotland
for
our
sector
is
is
the
basic
strategy
and
from
which
we
can.
We
can
get
our
ducks
in
a
row
and
line
up
the
training
provision
that
currently
exists
and
fill
the
gaps
where
it
doesn't.
C
Agree
with
Linda
there
I
think
that
in
the
past
the
training
provision,
while
it's
been
quite
good
as
individual
projects,
its
tended
to
be
funding
laid.
So
whatever
the
given
priorities
are
at
a
certain
moment
in
time.
That's
what's
been
funded
and
sometimes
those
priorities
are
not
even
necessarily
Scotland's
priorities.
They
might
be
priorities.
C
It'd
been
set
elsewhere
in
the
UK
and
I
also
think
that
we've
been
quite
fragmented
and
not
consistent,
and
because
funding
has
been
such
an
issue,
something
that
has
worked
very
well
one
year
will
just
not
be
available
the
next
year,
for
example,
so
yeah
it's
really
it's
structural,
that
we
need
to
have
sort
of
far
more
strategic
approach
to
it.
I'm
far
more
consistency,
you.
C
Think
one
of
the
problems
we've
got
and
actually
the
Scottish
leadership.
The
leadership
group
pointed
this
out
in
some
of
their
evidence
that
our
landscape
can
change
very
quickly
that
actually
we
can
have
a
year
with
a
lot
of
productions
where
suddenly
there
won't
be
enough
of
a
certain
true
position,
we're
not
able
to
fill
that
and
and
that
can
change
very
quickly,
so
our
priorities
in
terms
of
specific
rules,
it's
kind
of
not
the
issue,
it's
more
of
a
long-term
thing,
and
so
we
can.
We
can
be
training
people
for
a
particular
role.
C
D
D
College
and
on
another
level,
a
university
and
then
they're
kind
of
lost
in
that
system
for
three
full
years
they
come
out
the
other
end
and
and
there's
kinda
a
massive
numbers
and
not
enough
opportunity,
and
actually
not
every
young
person
that
you
deal
with,
should
go
down
that
academic
route
they're
actually
far
more
suited
to
going
in
a
apprenticeships,
a
modern
apprenticeships,
a
also
new
plane,
ships
in
terms
of
a
younger
age
group,
of
course,
as
the
foundation,
apprenticeships
and
stuff,
which
were
all
starting
to
look.
It's
all
it's
about
that.
D
So
that's
all
happening.
There's
a
lot
good
work!
There's
thousands
of
youngsters
across
the
country,
we've
all
what
we
over
the
last
sort
of
five
six
years,
a
lot
of
talented
ones,
there's
ones
that
want
to
continue
in
want
and
what
can
this
a
rate
across
creative
industries?
Because
it's
this
firmness,
TV,
there's
adverts,
there's
there's!
You
know,
there's
a
team
here
filming
today
they
it's
all
about.
It's
all
the
skills.
It's
then
matching
up
will
do
they
all
go
weird
as
a
pipeline.
D
Take
them
next
and
it's
not
been
totally
connected
up
and
it's
not
through
the
fault
of
all
the
great
people
working
in
this
area
and
they
and
because
everybody's
working
hard.
But
you
can
you
always
feel
on
your
own,
your
own
work.
So
it
needs
that
a
more
strategic
level
and
someone
that's
linking
everything
up
and
and
taking
all
that
talent
for
it.
A
D
F
Would
say
what
you
need
is
a
cohesiveness
between
three
things:
infrastructure
before
you
even
talk
about
skills,
you
need
infrastructure
and
I
know.
Scotland
is
got
pension
coming
up,
which
is
great.
You
need
content
and
not
obviously
in
word,
investments
really
important,
but
you
also
want
to
make
sure
there
is
ongoing
content
that
is
being
developed
within
any
nation-state,
because
if
you
don't
have
that,
you
won't
have
a
baseline
to
continually
upskill
people,
something
that
is
acting
like
a
solid
nursery
slope
and
you've
got
to
look
across
in
my
opinion
screen.
F
So
rather
than
look
at
the
film
I
would
look
at
film
television
and
all
the
genres
within
television.
That's
children's
with
children's
is
a
brilliant
nursery
slope
and
games,
because
that
way,
creativity
can
truly
flourish.
People
can
move
around
between
different
careers
once
you've
got
that
tripartite
and
a
cohesive
approach
towards
that
and
a
genuine
thing
about
how
do
I
then
attract
inward
investment
and
Allison
made
the
point
we
all
deal
with
it.
You
have
fluctuations
in
demand,
so
you've
got
to
have
a
responsive
skills,
kind
of
business
intelligence
system.
F
That
obviously
understands
the
baseline
of
what
you
need,
but
then
sack
is
able
to
respond
to
changing
ships
and
needs,
because
people's
jobs
are
dependent
on
responding
to
what
is
needed
in
a
moment.
In
time
and
again,
you
can
have
different
genres.
It
suddenly
become
very
popular
sci-fi
popular
one
moment.
Then
you've
got
a
lot
of
royal
kind
of
you
know.
F
Regency
type
you've
got
to
be
able
to
upscale
and
meet
those
needs
and
I
think
that
way,
people's
talent
and
dreams
and
aspirations
can
be
fulfilled
now,
in
order
to
do
all
of
that,
you've
also
got
to
ensure
and
I
think
you
made.
The
point
really
well
is
how
much
of
the
education
that
exists
is
truly
relevant
to
the
changing
needs
of
our
sector.
Some
of
it
is
very
practical
and
practitioner
based
apprenticeships
lend
themselves.
Some
of
it
needs
to
be
very
responsive,
because
consumer
patterns
are
changing
and
digital
workflows
are
changing.
F
A
C
I
think
I
think
yes,
I
think
it
is
I,
think
I
think
it's
it's
best
placed
because,
apart
from
anything
else,
it's
across
all
the
different
elements
that
make
up
our
industry
and
it
needs
there
needs
to
be
a
holistic
approach.
We
shouldn't
be
seen
in
isolation.
We
are
part
of
the
of
the
whole,
so
I
think
absolutely
as
the
screen
unit.
G
No,
thank
you
can
be
narrow
just
to
follow
on
the
discussion
about
the
screen
unit.
Do
you,
as
you
understand
at
the
moment,
do
you
feel
the
screen
unit
will
have
the
capacity
to
take
a
lead
on
skills
and
training
was
on
the
sector,
and
how
do
you
feel
in
terms
of
the
resources
that
are
being
publicly
announced
for
this
vineyard
at
the
moment,
whether
that
as
sufficient
resources
and
there,
and
that
you
have
are
what
you
feel
is
the
share
of
it-
that
you
require
I.
B
Don't
think
there's
been
enough
detail
in
what's
been
released
so
far
to
be
able
to
comment
on
that.
There's
been
some
figures
that
have
been
published,
but
I
don't
know
on
what
basis
they've
reached
those
figures
of
what
plans
behind
them.
I
understand
that
they'll,
hopefully
be
an
individual
who
has
the
responsibility
for
skills
development
who
works
within
the
screen
unit,
but
I
have
no
more
information
about
what
their
remit
would
be.
I.
F
Don't
know
too
much:
I
have
met
with
Scott
and
David
I.
Guess
one
observation
just
reflecting
back
on
the
changes
my
organizations
been
through
over
the
last
two
years,
we've
been
through
a
bit
of
a
turbulent
time,
but
we're
coming
out
is
we
aren't
highly
industry
light.
We
work
with
practitioners.
Our
board
is
entirely
industry,
led
a
council
so
entirely
practitioner
land,
so
we
are
always
close
to
the
coalface.
So
an
observation
that
if
there
is
a
way
of
enabling
that
within
the
screen
unit,
that
would
actually
be
incredibly
helpful
and
will
enable
the
success.
G
Because
the
screen
unit
and
did
publish
a
chance
to
Licata
is
quite
a
lengthy
document
which
includes
12
action
points.
Three
efforts
related
to
skills
and
training
as
I've
had
a
chance
to
look
at
the
detail
of
those
but
see
those
comments
about
your
body
being
very
industry-leading
close
to
practitioners,
as
I
group
did.
G
You
have
and
put
into
the
12
action
points,
and
do
you
feel
that
the
I
feel
able
to
comment
on
the
3s
was
first
question
is:
have
you
had
any
m2
into
the
doctrine
that
was
published
in
terms
of
action
points
and
secondly,
if
you've
had
the
chance
to
study
them?
What
do
you
think
of
the
three
that
are
focused
on
your
sector.
C
I
didn't
have
any
input
into
it,
and
I
I've
got
the
points
here,
I
think
from
where
I
am,
with
kind
of
continued
professional
development
and
practice
based
training.
It's
kind
of
action
point
seven,
which
is
the
most
relevant
for
the
work
I'm
involved
in
and
I,
would
there's
not
a
lot
of
as
say:
there's
not
a
lot
of
detail
in
it
about.
You
know
what
the
what
the
plan
is
and
I
think
going
back
to
what
Sita
said.
It's
it
absolutely
has
to
be
industry
based.
C
It
has
to
be
whatever
the
strategy
is,
it
has
to
come
from
industry.
It
has
to
be
responsive
to
the
needs
and
and
well
there's
I
thought,
there's
nothing
wrong
with
what
I
see
in
in
action
point
seven,
it's
just
quite
vague.
It
doesn't
talk
about
work
based
placement
training
at
any
level.
It
talks
about
short
course.
Provision
and
and
progression
was
existing
yeah
progression
of
the
existing
workforce,
but
it
doesn't
talk
about
how
we
might
do
that.
So
just
feels
a
little
bit
vague.
G
B
Welcomed
the
interim
report
who,
actively
and
and
day
I,
think
for
you
know,
there's
there's
been
a
lot
of
talk
of
a
in
fact.
Meditation
and
I
did
initially
as
a
whole,
and
it
feels
like
for
trading
with
fragments
of
fragments
and
a
way
and
the
aim.
As
you
know,
I
was
invited
as
hit
the
ground
running
as
an
independent
chain
of
provider.
B
B
Working
is
specifically
looking
at
people
who
want
to
work
in
in
film
and
television
drama
in
the
entry-level
positions
and
the
cheating
came
about
because
I
found
as
a
practitioner
working
in
industry,
a
real
gap
between
people
coming
out
of
education
or
coming
from
other
roots
and
having
no
route
enter.
Freelance
industry
is
very
precarious.
At
the
start,
it's
very
difficult
for
people
to
get
an
opportunity
to
work
in
the
industry
unless.
E
B
Already
know
somebody
who
works
in
the
industry,
and
so
that's
how
actually
came
about
and
in
order
to
him
deliver
that
training.
Over
the
past
10
years,
we've
had
to
be
very
agile
in
the
funding
sources
that
we've
managed
to
secure
and
we've
had.
Funding
from
a
creative
skill
set
was
mainly
for
the
past
7
years
being
funded
a
via
Beck
to
vision,
which
is
funded
from
Scottish
Union,
a
new
fund
thanks
to
the
Scottish
Government
and
but
other
funding
sources
as
well.
B
Creative
Scotland
has
contributed
at
times
I
generally
have
between
10
and
15
partners.
In
that
we
have
to
have
on
board
to
fund
our
courses,
and
we
don't
do
very
much.
We
do
maybe
you
know
an
average
of
three
training
courses
a
year,
but
it's
a
vital
and
route
for
a
lot
of
people
to
get
their
way
into
the
industry,
and
it
shouldn't
be
that
difficult
with
something
which
is
very
industry
connected.
B
We
have
industry
practitioners
or
in
every
course
that
we
run
and
it's
well
known
within
the
industry
and
over
the
years
it's
become
a
recognized
and
are
useful
addition
to
people's
Seavey's
initiatives
like
that.
Should
be
part
of
an
infrastructure
that
gives
pathways
and,
as
Guillen
pointed
out
earlier,
there's
lots
of
good
things
happening,
but
we
just
need
to
have
some
infrastructure
that
lets
us
connect
those
beta
and
supports
them
in
the
longer
term.
B
There's
other
training
initiatives
that
we've
done
over
the
years
which
have
been
successful
but
there's
never
consistency
of
funds
available
to
little
repeater.
We
do
great
work,
building
a
channels
and
reaching
out
to
people
who
haven't
otherwise
considered
to
this
industry
to
working
and
then
we
cannot
lose
momentum
as
we
finished
our
project
and
there's
nowhere
to
go
for
fight
for
the
funding
for
them
to
repeat
it
and
can
build
on
that
everything.
It
mainly
everything
we've
done
in
the
last
ten
years
has
been
a
pilot
just.
C
Think
about
talking
about
priorities,
and
following
on
from
that
it
is,
it
is
the
fact
that
we
need
consistency,
so
the
kind
of
programs
that
Linda's
been
doing.
They
need
to
happen
again
and
again
and
again
we
need
to
be
training
people
on
a
continual
basis,
so
that
the
pipeline
is
is
constantly
flowing.
Em
and
that's
that's
been
the
problem
that,
as
you
say,
we
have
pilots
are
very
successful
and
then
there's
nothing.
So
it's
just
that.
It's
that
real
lack
of
consistency-
that's
that's
been
the
problem.
I
think.
D
Those
points
says
it's
exactly
the
same:
across
India,
any
education
and
and
I
was
school
sector,
and
then
all
that
stuff
will
do
me.
Young
adults
and
there's
been
some
really
great
work,
and
then
it's
you
know
most
of
your
life's
about
funding
most
dear
lives,
about
reporting,
most
of
your
life's
about
outcomes,
and
it's
all
good
valid
stuff
that
and
the
area
we're
and
the
big
priorities
we
have
is
about
diversity
and
inclusion.
D
So
a
lot
your
work
is,
you
know
it
can
take
three
four
years
to
turn
the
young
person
around
or
give
someone
from
a
DME
community
the
confidence
to
come
in
in
this
there's
the
creative
world.
So
it's
then
about
supporting
named
a
really
great
scheme.
We
collaborated
on
with
three
years
GMAC
shmoo
in
ourselves
at
sea.
D
It
was
only
a
year's
fund
and
which
I
think
was
in
your
report,
the
fame
scheme,
and
it's
like
you
just
get
that
thing
started
and
you
start
to
meet
all
the
connections
with
industry
was
starting
to
people
from
fraud,
big
priority
areas,
which
was
low-income
young
people
living
rudely,
which
obviously
we
do
work
in
the
highlands
as
well
along
medium
court.
You
know
they're
so
isolated.
So
it's
like
it's
a
different
way.
What
can
you
still
want
to
come
and
work
in
this
industry
and
stuff
as
well?
Young
women,
disability
and
also
be
Amy?
D
That
was
a
full-on
year
with
12
young
people?
You
get
them
really
ready
and
they're
all
know
can
in
the
industry,
but
in
funding
runs
out.
It's
just
that.
That
was
all
we
do.
We've
won
off
a
bet.
Money
came
from
the
Scottish
government,
the
film
skills
Fund,
and
then
it
doesn't
repeat
so
it's
all
these
things
that
there's
great
work
there
and
then
year
on
year,
you're
struggling
just
to
survive.
D
H
Hamilton
I
wanted
to
start
off
by
asking
sefa
about
creative
skill
set
and
the
training
levy
me
obviously
collected
training
levy
from
those
organizations
that
are
over
creating
a
productions
over
a
certain
budget.
I
wondered
how
that
is
distributed
to
the
best
effect
and
how
you
represent
Scotland
with
that
money
sure
so.
F
The
way
we
work
with
the
training
love,
you
come
back
to
the
point
I
made
about
everything
we
do
being
industry
led.
So
let's
I
just
use
as
an
example.
The
high
end
TV
levy,
because
all
of
it
levies
work
in
fairly
similar
ways,
but
high
in
TV
I
think
elects
the
maximum
amount
at
the
moment,
and
then
film
comes
second
and
it's
linked
to
the
tax
credit.
As
you
know,
it's
a
voluntary
levy,
so
we
do
the
collecting
and
then
we
have
a
council,
that's
entirely
represented
by
industry.
F
The
council
rotates
and
we
look
across
skills
shortages
across
the
UK
and
where
the
pain
points
are
and
whatever
money
there
is
because
the
truth
is
right.
Now
the
business
is
booming.
So
much
that
even
with
the
money
we
have,
we
can't
keep
up
and
there
isn't
enough.
That's
just
a
fact
and
in
fact
everybody
is
talking
about
shortages
and
gaps,
but
within
the
money
there
is
we
work.
F
We
try
to
work
uk-wide,
looking
across
skills,
gaps
and
shortages
to
meet
the
skills
needs
specifically
areas
where
I
know
we've
done
quite
a
lot
of
work
in
Scotland
would
be
the
trainee
finder
where
we
make
sure
we.
We
actually
come
up
here
to
recruit
and
that's
my
understanding
of
doctor,
my
team
in
both
film
and
high-end
TV,
and
we
try
and
ensure
that
we
get
trainees
that
work
across
the
UK,
because,
to
be
honest,
the
industry
is
UK
wide.
F
We
need
to
work
in
a
uk-wide
way
in
a
collaborative
way,
so
that's
just
with
the
training
levy,
and
then
there
are
other
initiatives.
A
trainee
levy
does,
which
is
it
does
things
like
make
a
move
and
in
fact,
we've
had
a
significant
success
with
one
particular
Scottish
candidate
I
think
she's
working
an
onlay
miserable
I,
don't
want
to
mention
me,
but
she's
being
moved
up
to
be
a
producer,
so
we
have
different
initiatives
and
each
of
them
is
to
try
and
avoid
what
both
of
you
are
talking
about,
which
is
take
a
strategic
look.
F
Where
are
the
skills
gaps
and
shortages?
What
are
the
interventions
and
every
monthly
said?
Every
year,
forgive
me,
we
set
a
strategy
looking
at
where
we
need
to
intervene,
and
why
and
what
impact
it
has
does
what
we
do.
What,
because,
if
it
doesn't,
we
need
to
know
and
we
need
to
respond
with
agility
to
what
the
needs
are.
Okay,.
F
Doesn't
work
like
that?
We
look
across
the
whole
skills
needs
and
we
look
across
all
the
money
we
haven't
disaggregated
money
looking
at.
Where
is
money
coming
from
Scotland,
because
productions
work
everywhere
and
so
what
we
tend
to
do
is
we
just
collect
the
money
and
then
we
ensure
where
the
gaps
are
and
we
distributed,
because
you
know
we
do
that
Northern
Ireland.
We
do
that
with
Wales
and
all
the
different
regions.
D
H
D
Is
which
is
basically
to
take
a
groupie
six
young
people
living
in
poverty
that
were
what
can
sort
the
end
of
the
cashback
journey
with
us
and
they'll?
Do
our
special
Hitler
games
running
at
the
end
of
this
year,
moving
them
into
high-end
TV?
So
things
like
that
very
welcome,
but
it's
it
it
just
randomly
comes.
You
know
in
Italy,
okay,.
D
B
There
there's
different,
there's
different
strands
and
there's
different
approaches
that
creative
skill
set
has
to
aim
to
their
funding.
At
the
moment.
As
far
as
I'm
aware,
there
are
no
funds
available
to
apply
for
there's
a
different
approach
and
that,
as
a
city
says,
identifying
specific
areas
and
asking
for
applications
from
strategic
partners.
So
there's
a
there's,
a
variety
of
different
approaches
that
they
have,
which
we
respond
to
or
aim
for
the
funds,
but
but
also
what
I
would
say
is,
and
one
of
the
challenges
that
we
have
is
training
providers
is
the
model.
B
The
creative
skill
set
has
for
distributing
the
funds
based
on
skill
shortage
eases
it's
kinda
too
late
by
that
point,
because
when
there
are
skills
shortages
in
areas
such
as
you
know,
and
I
speak
from
specifically
film
and
television
drama.
But
if
there
are
shortages
of
first
assistant
directors,
our
production,
accountants
or
indifferent
hire
in
positions
that
the
change
isn't
going
to
happen
overnight.
And
what
we
would
like
to
see
is
an
infrastructure
and
Scotland
which
allows
us
to
train
everybody.
B
All
the
time
have
an
a
strategy
that
identifies
all
of
the
different
areas,
because
there's
such
a
diversity
and
skills
required
to
make
a
television
drama,
we
need
to
have
channels
and
pathways
for
new
entrants
to
receive
quality,
training
and
support
to
grow
that
base,
so
that
we
don't
have
the
same
inconsistency
of
skills
shortages
that
were
facing
in
Scotland.
At
the
moment.
In
40
years
ago,
a
Scotland
led
the
way
and
a
desiring
immortal
for
him.
B
On-The-Job
training
called
the
next
program
which
is
being
delivered
on
and
off
for
the
past
40
years,
subject
to
funding
being
available,
and
it's
widely
respected
in
the
industry
as
a
great
model
for
in
quality
they
reaching
out
to
people
to
apply
for
giving
people
an
opportunity
to
work
across
all
the
different
areas
of
film
and
television,
and
that's
key
for
us
in
Scotland
as
well.
Practitioners
work
on
both
film
and
television
drama,
we're
you
know
in
other
areas
of
the
UK.
They
might
a
specialize
and
a
lot.
B
The
funding
opportunities
that
come
via
the
different
fund
and
ports
that
creative
skills
that
have
are
specifically
only
for
film
are
only
for
television.
Dharma,
so
as
treatment
providers,
it's
difficult
because
you,
when
you
apply
for
funding,
it's
maybe
specifically
chance
that
I
need
for
film
or
and
when
I
work
with
new
entrants.
We
need
our
new
entrants
to
work
across
film
and
television
in
order
to
be
best
prepared
for
life
working
as
a
freelancer
in
Scotland,
and
so.
B
Know
that
it's
necessarily
just
creative
skill
set
responsibility
to
do
that,
it
would
be
my
aspiration
for
the
screen
unit
that
it's
all
down
to
the
strategy
that
has
to
come.
First
and
then
you
know
we,
there
are
various
different
funding
ports
that
from
creative
skill
set
creative
Scotland
skills,
development
Scotland
they
apprenticeship,
bravery,
is
coming
a.
What
would
be
green
is
to
have
a
skills
strategy
and
then
look
at
the
funding
sources
and
perhaps
pull
those
or
in
find
a
way
that
we
can
make
sure
that
each
level
of
intervention
is
covered
and
supported.
B
F
For
the
sake
of
the
committee,
very
briefly,
just
clarifying
a
couple
of
things
because
I'm
not
sure
how
much
you're
aware
I
came
on
board
about
two
and
a
half
years
ago.
Not
keep
this
really
short
and
I
came
around
the
time
we
lost
80%
of
our
funding
from
government.
So
we've
been
on
a
path
to
modernize
the
organization
be
entirely
industry,
led,
as
I
said,
we
now
get
money
from
industry
levy,
that's
high
on
TV
film,
and
we
get
a
little
bit
from
children's
and
we
get
a
small
amount
of
money
for
non-scripted.
F
We
recently
won
about
last
year,
the
BFI
ten
point
plan
award
that
focuses
quite
a
lot
of
infrastructure.
I
heard
you
build
in
structure
for
the
future
in
terms
of
skills.
We've
in
this
period
refocused
our
vision
and
mission
to
only
do
a
screen,
but
in
practice,
because
the
money
is
limited,
a
lot
of
what
we
do
because
of
the
way
the
source
of
the
money
is
focused
on
film
and
high-end.
But
those
are
the
areas
of
growth.
I'm.
F
Well
aware
that
non-scripted,
which
covers
a
multitude
of
genres,
actually
is
a
very
important
nursery
slope
and
we're
working
out
how
we
generate
income
to
invest
in
and
support
effectively
that
big
area,
because
it
covers
a
big
bulk
of
the
television
schedule.
The
other
area
looking
at
is
games,
but
we
are
have
gone
through
a
very
challenging
period
and
we
are
emerging.
But
the
one
thing
we
do
have
now
is
a
coherent
strategy
and
we
are
trying
to
work
strategically
and
smartly
with
partners
across
the
UK.
That
is
something
so
I
would
welcome.
F
I
Thank
you.
Oh
we've
heard
evidence
to
the
committee.
The
jobs
that
are
available
in
the
second
sector
should
be
more
widely
promoted
and
because
I
do
think
that
even
going
through
school
myself,
you're
not
made
fully
aware
of
all
the
the
the
sheer
braids
of
the
opportunities
and
available
all
the
different
types
of
career,
the
options
that
are
actually
available
to
you,
and
it
was
just
really
interested
to
get
your
thoughts
on.
How
do
we
or
how
does
the
skein
unit
essentially
do
something
about
that?
B
B
But
yeah
I
think
it's
come
up
in
some
of
your
committee
sections
before
about
aim
in
a
Fe
and
8g,
maybe
CPD
for
lectures
where
we
could
maybe
there's
a
framework
that
we
could
build
there
to
enable
them
to
better
understand
the
breadth
of
the
different
rules
that
are
available.
But
also
we
have
to
remember
that.
It's
not
just
about
media
courses.
These
knows
that
we
require
are
across
the
board.
B
We've
done
some
work
with
a
career
stole
reaching
out
to
Fe
colleges,
where
we
try
to
encourage
people
who
are
studying
to
be
accountants
or
plasterers
or
electricians.
To
see
think
about
this
industry
as
well,
and
the
difficult
is.
Of
course,
we
can't
guarantee
that
there's
there's
going
to
be
work,
but
we
did
struggle
a.m.
for
example,
where
they
outlined
a
training
program
where
they
offer
chaney
placements
for
electricians
and
plasters
and
painters
to
try
and
find
a
pool
of
people
who
will
consider
and
working
in
that
industry
and
transferred
in
their
skills.
C
Think
we
need
to
start
earlier
as
well.
I
think
we
need
to
be
in
schools.
I
have
been
in
to
do
a
school
talk
with
inter
film,
and
it
was.
It
was
fantastic
when
I
was
talking
about
my
previous
role
in
production,
so
it
was
very
specific,
but
that
was
again
kind
of
a
one-off
I.
Don't
know
how
many
they
managed
to
do.
C
So
I
really
think
there's
a
lot
of
work
to
be
done
there,
engaging
with
with
schools
and
with
parents
and
careers
advisors,
because
you
know
traditionally
parents
were
trying
to
keep
their
kids
away
from
this,
and
while
it
is
still
a
precarious
industry,
it's
a
precarious
world
and
you
know
we
live
in
an
environment
of
zero
hours,
contracts
and
portfolio
careers.
So
actually,
perhaps
working
in
the
creative
industries
and
in
in
the
screen
sector
is
not
as
dangerous
as
it
might
have
once
been
seen.
D
Vehicle
that
I
think
I
think
there
is.
There
is
good
work
in
certain
parts
of
the
country,
there's
a
lot
of
good
what
in
Edinburgh,
because
we
also,
we
will
heavily
funded
by
Edinburgh
Council
and
from
the
communities
and
Families
departments,
essentially
Education
Department.
So
we
have
a
responsibility
to
support
all
the
media
studies,
teachers
in
Edinburgh
with
CPD
and
also
their
classes
with
what
this
industry
is.
D
So
it's
an
english-based
vacation
runs
and
a
lot
arts
organizations
up
here
now
we
run
the
Northern
Irish
II
level,
which
has
been
raid
the
last
20
years,
the
best
a
film
qualification
for
that
for
any
young
young
person
right
up
to
King,
did
leave
in
school
each
in
Europe
and
is
really
good,
and
it
covers
all
the
areas
also
specifically
focuses
on
young
people
being
creative
as
well,
so
they,
rather
than
just
working
in
groups
which
they
do,
they
also
all
make
their
own
content
and
not
just
definitely
doing
it.
In
teams.
D
They
physically
actually
do
all
the
rules
themselves,
so
it
really
focuses
as
well
as
from
history
from
theory,
because
it's
forgotten
it.
This
is
a
this
is
an
art
form
as
well,
and
here
this
kinda
mixed
up
as
a
as
a
leprosy,
which
is
a
big
issue,
and
although
it's
valid
that
you
learn
about
the
media
and
you'll,
learn
about
really
when
you
learn
about
other
things,
you
learn
about
a
the
media
in
terms
of
print
and
stuff.
D
There
are
all
different
things
and-
and
film
actually
is
like
the
population
has
been
for
many
years,
we're
in
a
school
system.
You
can
learn
drama,
you
can
learn
music,
you
can
lay
on
a
art
and
design,
you
can
learn
dance
and
every
one
of
them
treated
as
their
own
standalone,
creative
art
form,
and
actually
you
can't
teach
any
of
them
unless
you've
studied
one
of
these
subjects
before,
where
is
what
we
have
in
Scotland?
Is
you
have
English
teachers
teaching
this
subject?
D
So
there's
a
lot
of
CPD
that
orgs
like
ourselves,
do
a
just
to
train
up
skill,
but
there's
there's
all
these
other
elements
that
young
people
are
missing
out,
so
it
all
starts
all
starts
and
see.
It
starts
rate
at
Primary
School
in
terms
of
what
what's
actually
needed
and
again
that
would
have
to
be
that
film
unit
taking
a
lead,
but
at
the
scene
in
the
same
breath
a
because
we're
talking
about
elder
you're
talking
abou
standalone
unit.
It
also
has
to
be
understood
with
a
government
level
that
there's
elements
they
make
up.
D
All
of
us
that
are
working
in
this
area.
Teaching
young
people
there's
elements
within
clear
Scotland
aren't
a
film
unit.
So
there's
things
like
the
the
creative
learning
team.
Those
things
like
the
young
young
people
was
part
of
that.
You
know
your
cash
buy
elements
things
like
that,
so
that
there
has
Dubya
you
could
be
so
basically
for
our
cedi
things,
you
could
fool
the
baby
out
with
the
bathwater
by
stand
alone.
You
know,
unless
it's
looked
at
on
the
even
a
strategic
level
of
within
the
government,
realizing
those
ports
and
money
in
different
interests.
D
J
J
Subject
which
also
came
up
in
evidence
a
fortnight
ago,
I
think
it's
it's
a
very
interesting
point,
because
when
you
talk
about
dance-drama
literature
and
media,
it
occurred
to
me
that
it
was
a
long
time
since
I
was
a
school.
But
the
point
was
there
was
a
body
of
work
that
existed
yeah
historically
in
all
of
these
things
going
back
centuries,
but
even
when
I
was
at
school,
the
body
of
work
that
existed
in
film
was
more
limited,
but
we
now
have
a
century
yeah
of
film
world
film
as
well.
J
The
sqa,
who
kind
of
you
know
in
a
sense,
dampened
down
any
yeah
interest
by
government,
potentially
in
trying
to
emulate
the
experience
that's
been
being
pursued
in
other
parts
of
the
United,
Kingdom
and
I.
Think
you
were
partly
addressing
about.
But
where
would
you
see
within
the
curriculum,
potentially
what
the
the
kind
of
parameters
of
what
would
be
very
relevant
would
be
and
I
suppose.
My
second
question
of
that
is
to
the
outlander
thing
that's
been
referred
to.
J
Just
renewed
I
saw
this
morning
and
Twitter
for
another
two
seasons.
So
if
it's
brought
300
million
and
another
three
and
three
seasons,
possibly
another
300
million
into
the
Scottish
economy
going
forward,
but
long-running
series
television
seems
to
be
a
key
to
the
content
aspect
you
were
talking
about
earlier.
Is
it
has
it?
Is
that
as
a
function
of
a
production,
or
is
there
a
way
of
having
that
cart
before
the
horse?
So
there's
the
curriculum
bit
and
the
way
in
which
you
try
to
build
these
skill
sets
up.
Do
they
I
think?
J
D
On
the
school
part,
there's
there's
also
that
step
back
from
just
this
focus
just
a
bit
industry
in
about
jobs
and
all
that
there's
also
another
aspect
of
a
just,
a
bit
health
and
well-being
and
just
a
bit
being
clear
and,
as
y'all
know,
one
of
the
key
factors
for
a
young
person's
learn
and
now
going
forward
just
with
changing
landscape
with
jobs
and
things
and
uncertain
futures.
There's
creativity,
skills
so
at
the
heart
of
filmmaking
is
creativity.
Skills
at
the
heart
of
filmmaking
in
groups
is
about
group
work
as
a
bit
learning
from
others.
D
It's
about
appreciating
others,
opinions
and
stuff
I
mean
we've
worked
in
Pullman,
Pleasant
and
stuff,
and
actually
and
had
really
great
experiences,
people
that
have
never
listened
to
anybody
in
the
life
and
actually
suddenly
taken
out.
So
it's
it's
taking
it
and
that
broader
sense
off
as
an
art
form
I
would
actually
argue
it's
the
most
accessed
art
form
by
young
people.
Did
they
outside
the
popular
music
and
I'm
chasing
the
popular
musics,
normally
taught
and
schools
either.
D
So
it's
gaining
music
stuck
in
the
17th
century,
and
it's
and
it's
it's
just
about
being
relevant
and
it's
transferable
skills
and
stuff
as
well.
The
rest
of
that
comes
later,
I
mean
we've
worked,
I
think
we've
talked
up
the
other
day,
I
think
with
what
will
be
3,000
young
people
over
the
last
six
years
at
sea
there'll
be
a
small
percentage
of
hidden
work
in
this.
The
rest,
it's
about
just
somewhat
slipped
on
in
life,
around
summer's
re-engage
in
education.
Some
it's
just
a
bit
given
confidence.
Some
you
know
I
like
this.
D
It's
a
hobby
I
like
film
but
I'm,
going
to
go
and
study
something
else.
So
it's
it's
I
still
look
at
on
that
broader
sense
of
not
just
to
think
cuz.
I.
Remember
about
this
question.
A
lot
do
New
Year's!
What's
the
point
you
train
and
loads
of
people
of
there's
no
jobs.
It's
the
same
argument.
I
always
give
back
as
why
do
people
have
a
passion
for
football?
Why
do
you
start
football?
We
eat
it
all.
Why
did
people
play
until
the
can
and
walk
anymore?
Why
do
people
coach
for
free?
D
Because
it's
all
over
the
game,
it's
just
keeping
active
it's
keeping
healthy,
a
very
small
percentage,
you'll
play
in
the
SPL
meaning.
So
it's
the
same
for
art
forms
it's
that
about
life
as
well.
People
I
like
to
just
appreciate
dance
and
music
and
stuff
as
well,
hey,
but
certainly
what
would
be
great
is
a
lot
more
productions,
a
lot
more
films
and
there's
loads.
There's
a
whole
lot
of
debate
about
you
know:
there's
a
once
you're
in
this
industry,
a
lot
of
us
an
education
and
also
filmmakers.
J
I
mean,
hopefully,
some
of
those
skill
sets
will
no
be
with
people
who
are
already
leaving
Outlander
to
go
on
to
other
places
within
industry
and
be
potentially
available
to
other
productions
that
come
to
Scotland,
but
but
is
the
route
to
that
kind
of
training
and
development
opportunity
as
a
function
of
the
content
already
being
here,
and
that
then
being
the
opportunity
that
creates
the
the
skill
sets
or
is
there
a
way
to
do
it?
The
other
way
around
is
I.
Think
I
was
trying
to
understand
I.
C
Think
it's
both
I
think
as
sita
says.
Do
we
need?
We
need
the
content
so
that
people
can
have
work
based
training,
placement
means,
training
and
I
think
that
Outlander
is
one
of
the
few
continuing
dramas
and
even
though
everyone
has
to
wait
to
find
out
if
it's
going
to
get
recommissioned
River
City
is
the
only
continuing
drama
in
the
country,
and
so
we
need
more
content
and
we
need
more
content
that
is
going
to
be
repeated
consistently,
so
that
actually
can
build
up
training
as
they
have
done.
C
J
Is
that,
potentially,
what
Pentland
another
studio
capacity
opportunities
offer
I
mean
from
up
from
that
skill
set
development?
What
is
better,
the
commissioning
of
a
seven
year
international
streamed
television
series
with
the
certainties
that
that
projects
forward
or
a
major
Hollywood
production,
locating
in
Scotland
out
of
Pentland,
with
all
the
post-production
facilities
available
there
too,
but
as
something
of
a
one-off
production.
That
then
depends
on
the
next
thing.
Coming
you're,
almost
saying
that
the
continuity
aspect
is
at
this
stage
and
where
we're
at
probably
the
most
beneficial
thing
that
we
can,
we
can
achieve.
C
B
Continuity
is
a
useful
thing
in
because
the
demands
on
can
run
off
a
feature
films,
it's
much
more
fast-paced
and
much
less
time
for
what
policeman
treating
as
such,
just
in
terms
of
the
dynamic
and
the
difference
between
how
the
speed
at
which
televisions
made
versus
the
speed
at
which
films
are
made.
But
that's
just
for
my
point
of
view.
Obviously,
from
an
industry
point
of
view,
you.
F
An
ecosystem
you
need
both,
you
obviously
need
the
continuity
and
obviously
River.
City
is
great
because
it's
a
very
brilliant
nursery
slope,
the
drama
and
again
it's
it's
deciding.
Do
you
want
to
focus
on
fiction
which
is
drama
and
in
its
multitude
of
forms
and
film?
Or
do
you
also
want
to
break
out
into
you
know
what
it
means
for
post-production,
visual
effects,
animation
you've
got
a
thrive
in
game
sector,
an
avid
a?
How
do
you
join
it?
F
Because
there
are
people
who
like
to
move
across
there's
passion
I
mean
you
made
a
brilliant
point
about
hobby
and
passion,
which
is
so
true
because
when
you're
very
very
little
its
feeling
that
that
passion
can
be
ignited
its
feeling
that
actually
I
love
it,
because
at
that
age
you
don't
know
about
jobs.
But
if
you
are
allowed
to
nurture
that
passion,
you
could
end
up
being
somebody
who
is
a
world
stage
creator
and
why
not.
J
Just
one
final
question:
so
I'm
just
thinking
about
Pentland
them
I
mean
word:
Park
studios
has
get
four
Studios
within
it,
all
of
which
are
committed
to
Outlander
and
therefore
developing
skill
sets,
but
not
available
to
anything
else.
For
as
long
as
Outlander
runs,
Pentland
is
looking
at
a
seven
studio,
seven
shade
studio
capacity.
Is
it
important,
then,
when
that
happens,
that
all
seven
studios
in
the
sense
of
the
mix
of
the
business
they
develop,
aren't
all
just
given
over
to
long
term
continuity?
C
B
C
We
can
do
that
and
we
can
do
it
consistently
so
that
actually
we
do
a
course.
This
year,
it's
very
successful.
We
can
run
it
again
in
six
months
or
a
year's
time
and
I
think
that
I
hope
is
going
to
make
a
real
difference
that
actually,
once
we
once
we've
sort
of
gone
through
our
first
year
and
seen
how
the
courses
have
been
received
and
what
the
demand
is
and
what
the
responses
we
can
actually
start
to
work
out
exactly
what
are
the
key
things
that
people
want
again
and
again,
I
think
we
are.
C
So
already
we
have
plans
we're
doing
some
art
department
courses,
an
introduction
to
the
art
department,
which
is
a
5d
course,
which
was
is
to
be
aimed
at
art,
school
graduates,
possibly
architecture
graduates,
people
who've
worked
in
graphics,
but
sort
of
very
high
level
in
terms
of
the
quality
of
it
and
the
details.
So
it's
not
it's
not
a
general
introduction.
A
K
Aileron
you'd
mentioned
that,
in
terms
of
your
own
organisations
took
a
couple
of
years
to
get
that
transition
round
after
you
lost
the
the
government
funding.
So
in
Scotland,
when
this
screen
unit
come
sort
o.
What
does
your
anticipated
time
scale
for
for
things
to
start
operating
to
be
that
you
would
like
me
to
see
open
it.
I.
F
So
we
can
be
responsive,
also
horizon
scan
and
have
a
clear
narrative
around
screen,
screen
skills.
So
there's
a
coherent
narrative
across
industry
and
government,
which
is
really
important.
This
thing
is
I,
think
we've
touched
on
is
how
do
you
get
people
to
enter
the
industry,
and
that
is
two
planks?
Well,
how
do
you
provide
Korea's
information
online
in
a
portal,
so
a
wealth
of
job
role,
mapping
and
the
outreach
we
touched
on
and
then
enable
people
and
again
you
made
the
point.
F
It
takes
four
to
five
years
for
somebody
to
feel
confident
that
they
can
navigate
what
is
a
portfolio
career.
So
that's
and
then
the
third
bit
is
about
CPD,
because
in
our
world,
because
the
speed
of
change
I
always
use
an
expression
to
stand
still,
you
have
to
learn
because
the
world
is
shifting
so
fast
and
obviously
how
do
you
define
relevance
and
again,
those
are
points
you
made
so
I
think
it's
because
we've
went
through
a
really
painful
period
of
not
having
money
and
recalibrating
our
strategy
and
figuring
it
all
out.
F
F
K
Do
you
see
our
lesson
on
argument
for
the
industry
to
you
know
not
so
much
downsize
in
terms
of
the
various
organizations
and
the
various
strands
are
there,
but
but
for
a
more
cohesive
approach
in
terms
of
some
of
the
organizations
potentially
joining,
so
that
I
can
actually
gonna
move
forward
and
be
stronger
to
do
that.
Or
do
you
think
that
the
level
of
or
fragmentation
there
is
actually
fine,
but
then
without
were
artists
community,
then
things
will
be
better
I.
Think.
C
I
I
feel
that
it's
it's
about
bringing
people
together.
It's
not
about
simply
it
it's
not
about
simplifying
in
terms
of
making
several
groups
into
one
group,
but
I
think
it
is
about
communication
and
I.
Think
the
thing
with
Scotland
is
that
we
are
small
enough
that
we
should
all
know
each
other
and
be
able
to
speak
to
each
other
and
are
able
to
do
that.
C
So
I
would
really
hope
that
the
the
screen
unit
that
whoever's
responsible
for
the
strategy,
the
skill
strategy,
it
will
kind
of
be
there
to
lead
a
forum
where
we
can
all
meet
together
and
we
can
talk
about,
make
sure
we're
not
educating.
We
can
make
sure
we're
joined
up
and
that
we
can,
you
know,
talk
about
best
practice,
so
I
think
I.
Think
it's
more
about
communication
than
kind
of
streamlining.
K
Because
it's
a
similar
idea,
not
everyone,
there's
going
to
be
it,
be
football
enormous
gonna
be
I
top,
but
it's
everything
else,
it's
less
behind!
So
on
the
issue
of
the
mayor
of
their
careers
advice,
then
you
touched
upon
this
Allison
an
issue
of
the
careers
of
place
and
the
professional,
the
continuous
professional
development.
C
Think
it
is,
it
is
about
it's
about
going
into
school,
it's
about
forming
relationships
with
careers
advisers
and
so
that
when
people
are
talking
about
becoming
an
electrician,
you
know
that
one
of
the
places
they
could
be
an
electrician
is
in
the
screen
sector
and
the
same.
But
you
know
accountants,
all
those
all
those
jobs
that
are
transferrable,
that
we've
talked
about,
and
also
just
as
Mary's
touched
on.
You
know
the
the
wealth
of
jobs.
You
know
we
aren't
just
directors,
writers,
producers
and
cinematographers.
C
F
Already-
and
we
have
in
our
website-
which
we
are
overhauling
to
make
it
simpler
and
more
intuitive,
we've
got
job
role.
Mapping
for
certain
areas,
we've
got
a
little
bit
on
high
end.
We've
got
visual
effects,
just
showing
the
visual
effects
family
across
national
production,
and
what
we
want
to
do
is
actually
make
sure
that
we
are
mapping
the
range
of
job
roles
across
screen
and
in
a
very
simple
way.
So
someone
has
never
ever
been.
F
Who
doesn't
even
understand
our
sector
understands
how
it
might
work
and
then
they
can
tell
if
they
won
so
there's
different
levels
of
curiosity.
The
reason
we
think
that's
important
is,
and
it
is
you
have
somewhere
to
point
to
and
then
I
agree
with
the
point
of
view
made
Linda
and
I
think
you
made
Alison
included
you
about
the
outreach
you
have
to
keep
communicating
at
all
levels.
School
interfilm
does
a
lot
of
work,
but
there
are
others,
and
we've
also
got
to
talk
to
careers
advisors.
F
We've
got
to
also
enable
people
to
realize
the
wealth
and
then
have
confidence.
A
lot
of
people
think
that,
well,
this
sector
isn't
for
us,
because
for
years
it's
been
really
hard
to
get
into
four
years.
It's
felt
it's
all
word
of
mouth.
For
years
it's
been
difficult
and
I
think
now,
there's
genuinely
everywhere
a
recognition
that
we
need
to
widen
and
have
a
very
broad
thank
God,
skilled
workforce,
which
is
a
good
thing.
But
how
do
you
convey
and
enable
people
to
truly
believe
that
this
could
be
for
them?
K
B
Think
it
needed
to
be
proportionate
with
a
growth
strategy
for
our
industries
and
that's
the
role
that
the
screen
unit
leadership
can
play
and
ensuring
that
whatever
investment
it
is
in
education
and
training
is
proportionate
to
the
ambition.
Now
it's
happening
elsewhere,
I've
been
in
reading
face
moment.
It's
a
it's
a
it's
a
long-term
aim
strategy,
that's
required
for
my
drawers
and
proportionate
I.
L
Much
I'm
trying
to
handle
on
it's
worthless,
stamps,
generating
the
supply
of
skills
with
the
track
productions
to
come
to
Scotland,
as
opposed
to
hoping
the
productions
come
to
Scotland
to
help
us
cheer
up
people
for
the
future.
So
I'd,
like
you
to
comment
on
that
point
and
related
to
that,
is
a
ticket
that
20
or
30
years
ago.
Cgi
was
perhaps
the
the
big
thing
and
the
countries
that
dreamed
up
people
in
CGI
would
help
attract.
L
But
productions
are
we
thinking
about
skills
required,
giving
the
fast
development
of
the
industry
in
ten
years
with
technology
advancing
and
how
we
can
get
ahead
of
the
game
so
that
we
the
skills
available
and
then
the
productions
which
is
expanding.
Order
in
the
world
are
looking
for
the
rate
skills
they'll.
Think
let's
go
to
Scotland!
That's
where
the
skills
are
a
question.
B
On
the
first
part
of
that,
you
need
to
have
the
productions
to
train
the
people.
So
it's
in
a
in
answer
to
your
question
about
you
know
it
will
having
having
changed.
Crew
will
certainly
encourage
productions
to
beat
here.
But
to
get
to
that
point
we
have
to
have
the
productions
to
achieve
people
also.
It
has
to
be
a
strategic
growth
strategy
and
but
also
having
kind
of
Trini
ships
having
apprenticeship
systems
which
aim
you
can
offer
to
productions
that
come
here
or
indigenous
productions
having
the
infrastructure
to
have
a
done.
B
The
outreach
and
selected
the
trainees
to
be
able
to
offer
them
on
to
the
production
is
an
executive
for
productions
and
really
it's
the
infrastructure
that
we
need
to
be
able
to
have
those
trainees.
Lady,
when
productions
come
because
general
is
quite
short
notice.
When
we
have
productions
appear
and
opportunity,
opportunity
arise,
I.
L
Wishes
that
not
be
part
of
the
strategy
but
you're
also
seen
as
we
do
have
a
strategy
in
school
and
that's
my
famous,
so
it's
sort
of
difficult
to
grasp
as
how
these
decisions
are
taken
and
who's
taking
decisions,
because
you
know
if
we
want
Scotland
to
be
head
of
the
rest
of
the
world
when
it
comes
to
student
options
and
film
production
and
say
20
years
or
15
years,
we
have
to
think
now.
What
are
the
skills
are
going
to
be
required
then
and
start
sealing
up
people
just.
J
L
Me
do
if
it
was
such
a
day
and
hospitals
are
going
to
do
with
their
and
and
ICT
so
who's
taking
those
decisions,
who's
making
sure
it
happens
in
Scotland's-
and
you
know,
is
that
happening.
Why
are
the
skills
by
the
way?
What
what
your
views
are?
The
skills
that
we'll
get
Scott
on
the
head
of
the
game
in
say
10
years,
I.
C
A
C
Yep
but
I
think,
but
we
need
to
broaden
it
out
and
I
also
think
that,
to
a
huge
extent
the
skills
that
we
require
now
look.
We
were
going
to
continue
to
use.
You
know
the
industry
isn't
going
to
change
so
much
even
in
the
next
15-20
years
and
while
I
think
there
will
be
obviously
technological
advances
and
changes.
As
you
see
you
know,
20
years
ago,
with
CGI
I'm
I
think
we
can
probably
respond
to
those
quite
quickly
once
we
once
we
have
the
intelligence
to
see.
This
is
what's
happening.
B
Decisions
can
be
made
kind
of
locally
and
case
if
skill
set
do
scale
surveys
and
there's
other
there's,
there's
quite
a
few
different
other
surveys
that
come
my
range
from
time
to
time.
But
again,
what
we
lack
is
the
strategic
consistency
of
an
approach
for
collecting
data
to
get
an
overall
picture
of
the
landscape
in
Scotland
we
generally
funding
is
based
on
the
figures
that
scale
say:
will
collate
and
identified
kind
of
skills
gaps
for
the
UK,
which
isn't
necessarily
reflective
of
the
situation,
specifically
in
Scotland.
So
we
welcome
in
the
aim
survey.
B
That's
been
done
by
skills,
development,
Scotland
and
a
creative
Scotland
at
the
moment,
but
very
much
hope
that
that
is
an
annual
survey
that
becomes
embedded
in
the
industry.
We
are
promoting
it
through
both
hit
the
ground
running
and
I'm
Vic
to
get
the
Soviet
to
feel
like
such
to
try
and
get
a
realistic
picture
of
the
landscape.
My
data
based
evidence
base
from
which
decisions
can
be
made
because
from
experience
you
know,
there's
certain
grades,
there's
certain
parts
of
the
industry
who
respond
to
surveys,
but
for
a
lot
of
the
freelance
crew.
G
Linda's
comments
on
skills,
development
Scotland
are
helpful.
We
took
evidence
from
skills.
Development
Scotland
are
one
of
the
bodies
that
set
within
the
board
and
we
took
evidence
from
them
and
along
with
Scottish,
Enterprise
and
and
other
Kenickie
partners,
and
what
is
she
to
experience?
I
mean
I'm
struck
by
at
the
beginning.
You
said:
there's
a
lack
of
strategy
and
there's
fragmentation
and
I
kind
of
think
well,
where'd
the
skill
development
Scotland
set
into
this.
Is
this
not
partly
their
responsibility
and
it's
of
interest
and
what
your
experience
has
been
working
with
them.
C
C
So
sorry,
that's
a
slightly
separate
point
about
the
apprenticeships
but
I
think,
certainly
in
terms
of
SDS.
It
feels
has
felt
laterally
until
actually
until
the
discussion
around
the
screen
unit,
as
if
the
focus
has
been
very,
very
firmly
on
apprenticeships.
I,
don't
know
if
that's
other
people's
experience.
D
A
lot
of
deal
in
every
sector,
but
our
no-talking,
just
over
the
last
few
weeks
about
a
that
came
the
access
sector
that
we
belong
to
around
the
country
taken
on
a
foundation.
Apprenticeships,
it's
what
we
actually
host
young
people
and
then
support
them
through
the
learning,
because
they
are
a
different
age.
They're
younger
they're,
maybe
not
ready
for
that
college
or
experience
and
question
marks
around
as
as
college
is
the
best
place
for
that
to
be
taken
place.
D
Because
the
way
we
work
is
we
can
work
quite
intensively
with
small
groups
and
and
do
quite
a
lot
of
work,
yeah
and
so
there's
more
discussions
to
have
that's
the
main
part
of
what
we've
been
doing.
We
along
say
that
teams
doing
their
certificate
for
what
readiness
we
certain
young
people
and
stuff
so
that
that's
what
experience
it
up.
F
F
We
can
work
in
a
very
collaborative
way
and
the
reason
for
that
is
I
think
you're,
absolutely
right
that
some
in
the
past
creative
skill
set
used
to
do
censuses,
in
my
view,
and
I
would
say
that,
because
I
come
from
a
different
world,
they
weren't
as
business
intelligent
as
they
might
be
there
weren't
responsive.
You
do
a
survey
once
a
year.
It
doesn't
really
give
you
the
pain
points
in
a
sharp,
detailed
way.
F
I
also
think
within
our
sector
I'm
talking
in
general,
we
don't
have
an
agreed
approach
to
the
lexicon
or
the
taxonomy
as
you
describe
it
in
terms
of
different
job
roles
and
classifications.
The
government
data
centrally
doesn't
have
that.
So
what
we're
trying
to
do
now
in
this
new
guys
is
actually
work
in
collaboration.
So
when
we
look
at
job
roles
or
look
at
skilled
shortages,
we
can
go
down
a
granular
detail.
F
So
the
approach
can
be
consistent,
hopefully
across
the
UK,
because
the
industry
is
global,
but
we're
SDS
would
be
absolutely
brilliant,
is
to
have
more
detail
place-based
data
and,
if
we're
doing
horizon
scanning
sometimes
can
we
share
because
the
more
collaborative
we
are,
the
more
helps
everybody.
So
that's
what
I
would
welcome
I'm,
really
in
a
collaborative
approach
where
we
know
what
SDS
is
doing,
they
know
we're
doing.
We
share
information.
We
work
together
because
you
know
if
we
do
I
think
everybody
wins.
A
We've
talked
about
SDS,
delivering
a
plane
to
ships
the
Scottish
funding.
Council
has
agreed
to
support
a
single
network
of
colleges
and
universities
across
the
creative
industry
and
to
focus
on
the
sector's
needs.
I
just
wondered
if
witnesses
were
the
weed
of
that
and
what
their
views
were
or
not
proposal.
A
E
Like
to
come
back
to
the
point,
sir
and
school
level
and
education
I,
we
as
a
committee
were
quite
impressed
by
the
approach
taken
in
Northern
Ireland
to
this
before
we
went
over
and
it's
came
up
quite
consistently
in
the
written
evidence
and
all
evidence
Kevin
turns
over
the
last
few
weeks.
The
one
of
the
key
differences
are
was
a
number
but
Northern
Ireland
has
a
thriving
industry.
E
It
also
has
a
far
smaller
population
and
geographically,
it's
far
easier
to
get
round,
because
the
approach
taken
there
was
all
essentially
a
school
by
school
approach
that
the
industry
was
able
to
work
with
individual
schools
to
develop
that
kind
of
that
culture
and
the
appreciation
for
the
the
subjects.
That's
also
a
much
more
challenging
approach
to
take
here
if
you're,
to
get
around
everywhere.
E
So
it
seemed
that
approaching
through
local
authorities
in
education,
Scotland
there's
a
more
effective
way
to
try
and
get
that
overall
reach,
but
whose
responsibility
would
that
ultimately
be
because
it
seems
the
way
it's
it's
happened
in
Scotland
so
far
is
within
the
industry.
Individuals
or
organisations
have
taken
the
initiative
and
tried
to
reach
as
many
schools
as
they
can,
but
there's
no
overarching
strategy
and
overarching
responsibility
that
you
presume
would
come
from
a
public
body
to
make
sure
that
that
approach
is
being
taken
within
every
education
Authority.
D
It
would
have
to
be
it'll,
be
their
education
within
the
film
unit,
a
which
is.
Currently,
I
go
through
the
change
in
whoever's
in
charge
in
education.
It
has
to
be
that
lead,
but
I
know,
historically
even
about
his
score
screen
days.
There's
been
preference
for
gone
down
that
route,
a
of
Northern
Ireland,
which
wasn't
taken
up
by
government
and
wasn't
taken
up
by
education,
Scotland
wasn't
taken
up
by
Eskie,
so
actually
the
industry
body.
The
whole
time
has
been
saying.
D
This
is
what
we
need
and
it's
the
other
say
that
the
educational
body
seen
it's
not
what
we
need
so
there's
a
kind
of
a
log
jam
that
is
maybe
need
a
new
case
to
sort
of
I
would
say
and
I
known
the
Northern
Ireland
thing
as
it's
more
than
just
our
individual
school
approach.
It's
it's
across
that
entire,
a
entire
small
country,
because
everybody
takes
up
moving
image.
Arcs
and
we've
ran
that
for
three
years.
D
So
we've
got
you
a
team
go
over
to
Northern
Ireland
once
a
year,
catch
up
for
two
days,
a
training
and
stuff
catch
up.
We
teachers
that
are
delivering
over
this
and
sadly
just
to
do
we
the
the
set
up
of
clip
Scotland
that
no
ends
that
ends
next
month
and
we
can't
run
it
again
because
wider
clay
of
Scotland
doesn't
doesn't
see
the
rule.
So
it's
not
the
film
team
but
wait.
D
Okay
of
Scotland
there's
an
issue
of
doesn't
see
their
role
as
a
funding
qualifications,
except
what
we
were
actually
using
it
for
was
beyond
school
age,
as
well
as
taking
young
people
that
really
needed
it
to
get
themselves,
progressed,
industry,
wise
or
to
university,
and
maybe
come
for
more
challenging
backgrounds.
So
I
would
say
overall,
a
film
units
responsibility,
the
agent
on.
E
D
Know
it
also,
but
I
think
on
a
Scotland
way
basis,
because
this
year,
actually
it
was.
It
was
we'd,
also
support
leading
court
in
Inverness.
So
it's
getting
running
Inverness
as
well
and
actually
quite
sad
that
it's
running
for
a
year
name
stops
so
again,
it's
just
that
hotchpotch
things
that
are
happening
and
thank
organizations
liquor
sales,
it's
about
working
with
us
to
work
with
schools
as
well
and
education
departments.
E
Just
on
a
different
note,
looking
at
public
service
broadcasters,
obviously
the
the
BBC
and
their
responsibilities,
their
public
services
to
do
more
than
just
create
entertaining
content
and
there's
a
responsibility
there
to
create
the
kind
of
n
work
opportunities
to
develop.
The
industry
overall
I
think
that
seems
to
have
happened
quite
successful
in
wheels
off
the
back
of
what
spun
out
of
Doctor,
Who
and
Torchwood
and
Industry
there.
And
do
you
think
that
the
BBC
in
Scotland
have
a
clear
sense
of
their
responsibilities
to
the
wider
industry
and
their
responsibilities
to
workforce
development.
C
You
know
I,
think
I
think
they
do
understand
that
and
certainly
I
know,
they've
supported
the
drama
training
programme
which
then
does
running
and
which
I
used
to
run
but
it.
But
it
does
come
back
to
the
programmes
who
need
the
programs
for
people
to
get
that
workplace
experience
on,
but
hopefully
with
you
know
the
investment
and
the
new
channel,
those
those
opportunities
are
going
to
be.
There.
E
A
D
There
wasn't
much.
Basically
it
was
the
person
who
previously
was
running
an
organization
who
left
back
in
October
a
just
once
the
funding
came
through
and
stuff.
The
note
then
came
through
for
the
meeting
and
basically
go
informed.
The
best
were
funding
it
for
this
year,
I
was
the
first
to
include
Scotland,
directly
funded
it
the
previous
two
years.
D
It
was
Scottish
film
education
that
funded
that
which
is
obviously
a
bit
of
money
from
BFI,
but
also
creative
Scotland
again
as
a
test
pilot,
because
their
rule
was
obviously
to
the
cpdt
teachers
in
Scotland
as
much
as
the
Canon
cost
us
and
wanted
to
try
that
out
as
well
and
in
so
it
was.
Basically,
it
was
a
wider
than
the
film
team
was
we'll.
Do
it
this
one
year
and
then
basically,
it's
not
a
rule.
D
D
You
know,
as
kids,
that
have
been
any
notice
school
and
things
like
that
kids
have
been
in
care
yeah
and
then
others
that
just
needed
that
kinda
qualification
to
get
them
towards
film
school
with
Napier
and
things
like
that
yeah
but
I-
think
it's
a
great
it's
a
great
program
that
it
be
very
what
well
actually
being
in
the
Scottish
particular
and
supported
properly,
where
they
came.
The
infrastructure
over
the
others
organisation
similar
to
us,
the
nerve
centre.
There's
one
in
Derry
there's
one
in
Belfast
and
they
came
to
support
that
whole
infrastructure.
L
L
A
On
in
this
session
there
they
need
to
reach
out
and
provide
training.
An
opportunity
to
across
Scotland
can
I
just
at
Mynt.
Ask
you
a
little
bit
more
about
something
else.
You
mentioned
I
think
it
was
Linda
in
particular
mentioned
there,
new
entrants
training
scheme
and
there
you're
not
the
only
person
to
have
pleased
it.
We've
got
a
lot
of
written
and
oral
evidence
that
have
pleased
that
scheme.
A
The
kind
of
tone
of
that
place
tends
to
be
almost
as
if
it's
something
from
the
past
and
I
wonder
if
you
could
tell
us
kind
of
what
the
pilot
status
is
so
know
why
people
are
talking
about
it
almost
as
if
it
says
something
that
said
in
the
past.
Why
isn't
it
still
happening
if
everybody
agrees
that
it's
so
great
I.
B
Think
we've
talked
about
in
that
way
because
it's
been
running
for
such
a
long
time.
It
was
as
far
as
I'm
aware
the
first
structured
sort
of
placement
based
training
program
in
you
kick
em,
because
it
was
a
bit
fun.
19:17
thing,
I
think
is
when
it
started
and
it's
been
through
different
guises
across
that
across
the
40
years.
It's
actually
changed.
B
That
say
the
way
in
which
it's
been
delivered,
but
it
has
a
the
respect
of
the
industry
because
many
people
have
been
through
I
have
been
through,
but
it
you
know,
provides
a
really
valuable
way
and
for
people
who
haven't
got
any
connections
for
the
industry
and
previous
to
that
existing
it
was
old.
You
know
families,
members
and
neighbors
who
were
working
in
the
industry
and
the
last
time
it
was
funded
was
through
the
screen
skills
front
which
him
they
came
through
creative
Scotland.
B
There
was
a
million
pounds
for
skills
that
was
a
number
of
years
ago,
know
him
and
it
was
delivered
him
at
that
point
for
around
about
a
year,
I
think,
with
with
only
four
treaties,
part
of
the
more
dollars.
It's
small
numbers
of
individuals
who
are
placed
within
specific
departments
and
those
are
identified
based
on
what
the
industry's
leaders
you
know,
I,
looking
really
on
a
granular
level
at
four
aim,
because
it
specifically
for
drama
mostly
so
they,
where
the
gaps
coming
up.
B
So
it's
anticipating
that
so
what
it
provided
was
a
constant
stream
of
really
high
quality
training
and
a
really
high
success
rate
because
of
the
recruitment
procedures
and
the
buy-in
from
the
industry
to
change
those
individuals
and
we're
kind
of
suffering
for
the
lack
of
it.
Now
why
we
have
skills
gaps
that
I
can
a
higher
level
is
the
lack
of
continuity
of
pervade
in
that
stream,
and
we,
we
are
a
big
industry.
B
You
know
it's
very
specific
in
areas
where
we
can
aim
have
interventions,
we
we
would
struggle
with
them
begging,
increase
and
name
the
volume
of
new
entrants
who
are
looking
to
work
in
the
industry
in
terms
of
the
capacity
to
accommodate
them.
So
what
the
new
entrants
program
does
say
is
responsive
to
the
needs
of
the
industry.
A
weird
sight
at
the
moment
is:
there
was
no
repeat
funder
for
the
screen
skills
fund
and
it's
it's
an
expensive
program
to
Riley,
because
it's
fully
funded
in
for
the
individuals
who
are
being
the
Chinese.
It's.