The High-end TV Skills Fund's Make a Move initiative was designed to provide on-the-job learning opportunities for those ready to take the next step in their careers.
Now marking its tenth anniversary, the programme has supported over 1,200 freelance crew members advance to a more senior role.
Identified by the show's director as ready to take the step up, Jon Beer used Make a Move to do just that on the production of Lisa McGee's hotly anticipated follow up to Derry Girls, How to Get to Heaven From Belfast.
We spoke to Jon about his time working on the production and how Make a Move helped progress his directing career.
Tell us a bit about your work in screen so far
My screen journey started in quite a different place. I studied sculpture at art college where I experimented with photography, video art and then eventually I landed in narrative film making. It’s a combination of all the creative elements that I love; composition, design, story and performance.
When I moved to Belfast I set up a production company as a vehicle for my work and made a few short films, music videos and some commercial work in the early days. I won an RTS award for a series of adverts I made for the Police Federation of Northern Ireland that were quite hard hitting and impactful and my short films started to get shown at more prestigious film festivals. My last short won the Academy Qualifying Tiernan McBride Award at Galway Film Fleadh and that helped me apply for more directing work. In 2024, through ScreenSkills I got the opportunity to work as a shadow director and 2nd Unit Director across all eight episodes of Lisa McGee’s Netflix comedy-drama; How to Get to Heaven from Belfast, due for release in February 2026.
What impact did Make a Move have on your career?
Make a Move allowed me to step into the hot seat of a high-end TV show. I was brought on as a Shadow Director with the understanding that any 2nd Unit directing would fall to me. Make a Move and the producers of the show were keen to get me in for prep (as well as all three blocks of photography) so I was able to spend 8 weeks alongside the director as they were pulling the final pieces of the puzzle together before the 111 days of photography! I was on set every day and managed to get multiple weeks of 2nd unit directing under my belt, including stunt sequences, drone units, scenes with main and supporting cast and a car chase. It was an invaluable experience and one that has redefined how I approach my work.
How do you think initiatives like Make a Move can support the screen workforce?
Being able to step up and feel supported is the key here. Sometimes the next big step can feel daunting so undertaking initiatives like Make a Move offer a sort of dress rehearsal in your career trajectory. And it benefits all parties, on the one hand the individual gains confidence moving towards their desired role and the production is supported as it facilitates the move.
What’s next for you, have you got another project lined up?
Since Make a Move I took a bit of time to get my head down and write. I was full of energy from being on set for half a year and I poured that into my writing. I now have a feature script which I am really happy with and am seeking funding for. If this project moves forward, I will certainly feel more confident and prepared because of my experience taking part in Make a Move.