Television graduate lands dream job on House of the Dragon

Television graduate Sophie Gray secured a marshal role with a major production company before she had even handed in her final project. What followed was four years of studio work on high-profile productions including Slow Horses and Snow White, before moving into a new role supplying specialist equipment to studios and production houses.

We caught up with Sophie to hear how her time at Falmouth helped set the stage for a fast-paced career in television.

What drew you to the course at Falmouth?

I originally planned to study journalism, but during college I became fascinated by how movies and TV were made. That quickly became my dream career. Growing up in Cornwall, Falmouth was the obvious choice.

What were some of the most valuable things you learnt during your degree?

One of the most useful skills came from our technician, Rich Butler. Cable bashing sounds simple, but it takes practice. Learning how to figure-eight and coil cables properly helped me land my first studio job. I also made a point of supporting other departments, including the brilliant team in the Film and Television department, led by Rich Huggins. On my first show I worked in the COVID department, but I still found time to help other teams. Because I’d earned their trust and was friendly and approachable, they knew they could ask for support.

You landed a role on House of the Dragon while still studying. How did that happen?

It was all about determination. I hired out kit in my spare time and learnt how to use it inside out. I went to the RTS Future Careers Fair, spoke to talent managers, refined my CV and did everything I could to be prepared. My final year was during lockdowns, so I had to get creative with my final project. I used every bit of spare time to prepare for the job I wanted most.

You’ve since worked on Slow Horses, Snow White, The Acolyte and Grime Kids. What do those roles involve?

No two days are the same. The hours can be intense. I once had to sleep in a container because I was too tired to drive home between shifts. In the studio department we are the eyes on the ground for production. We work with every team, making sure they have what they need. That might mean collecting a washing machine or moving 30 trailers to a new location. It’s varied, challenging and never boring.

What’s it like working on huge global sets? Is it as glamorous as it sounds?

Honestly, no. I love working for these companies, but they are the hardest jobs I’ve ever had. There are big decisions, long days and a lot of pressure. Seeing your name in the credits is amazing, but that comes after months of mud, sweat and tears.

What’s your best piece of advice for graduates?

Network. The person sitting next to you might be a marshal now, but in a few years they could be the one hiring you. If you don’t take the time to talk to people or you leave a job on bad terms, people won’t remember you. And if they don’t remember you, they won’t call you back.

Do you have anything new in the pipeline?

I might do! But like most people in the industry, I’ve signed NDAs, so I can’t share anything right now. Sorry!