Meeting with Valentin Moreau, IESA Graduate, Now Production Assistant at UGC
A graduate of the IESA Master in Audiovisual and Film Production and Distribution, Valentin Moreau is now a production assistant at UGC Images. He works at the heart of film and series projects, between team coordination, financing and project implementation, as close as possible to creation.
Hello Valentin, to begin with, can you introduce yourself?
My name is Valentin Moreau. After working as a construction worker, I went back to school with a BTS MUC, then a bachelor’s degree in organizational management through a work-study program. I then changed direction toward a Master in audiovisual production at IESA. I am currently a production assistant on a permanent contract at UGC Images.
What does your daily life look like?
I work on supplementary financing, notably by filing regional grant applications, as well as on the logistical preparation of productions: searching for prep offices, organizing castings, screen tests, technical readings and previews. I also handle the administrative and social aspects of productions, including hiring freelance entertainment workers, work waivers and filming permits. In addition, I manage relationships with suppliers, the rollout of the CSR strategy on sets, and the standardization of production procedures for films and series. I work within an executive production department of 9 members, characterized by strong cross-functionality. I link my missions between the artistic, financial and legal departments and the set crews. Our department produces between 15 and 20 films and series per year.
Are you fulfilled? What makes you happy in your job?
Yes, absolutely. What is stimulating is the diversity of projects, whether series or films, with varied subjects, formats and broadcasters, as well as the responsiveness and agility this demands day to day. I also particularly enjoy the human side, notably through managing film crews and interacting with my colleagues in my department.
What have you discovered in your daily work about your aspirations, about yourself?
I discovered the importance of being at the center of constant tensions and of taking on a mediating role between artistic needs and financial constraints. I also realized that my practical sense and rigor, drawn from my previous background, are valuable assets for structuring creative environments that are sometimes disorganized.
Which aspects of your IESA training help you carry out your duties? What do you put into practice, for example?
Cultural background and the analysis of works are essential to grasp the references of the projects I work on. In addition, the courses on the collective bargaining agreement and film financing were crucial for the daily practice of my job. Finally, teamwork through the PGR (full-scale project) and workshops in particular is excellent preparation for this profession, where collaboration between departments is constant.
What did you particularly enjoy about your studies at IESA?
I appreciated the school’s caring atmosphere and the quality of the teaching staff. The partnership with other institutions, such as the Cifacom school, was also a memorable experience: it allowed us to collaborate with future technicians and to confront the realities of the field in concrete terms. Finally, I particularly enjoyed receiving instruction taught directly by professionals from the sector.
Can you tell us about your end-of-studies PGR (full-scale project)?
Carried out in a pair with another student, my PGR consisted of organizing monthly theater workshops within an association founded by my partner. The project included the logistical, administrative and financial management of these workshops, as well as the organization of end-of-year performances, in front of an audience, in a cultural venue in Bagnolet.
A standout moment during your studies?
The shooting day during the making of our short film in the 1st year, as well as the professional workshop with director Boris Lojkine, who made the feature film Souleymane’s Story.
In your view, what qualities or skills are needed to succeed in the sector, in a position like yours?
Mastery of Excel and office software. A great capacity to handle stress, the pressure of emergencies and intense working days. Knowing how to navigate professional social networks, mastering the codes of different circles, and having a commercial streak to persuade and negotiate with suppliers.
What advice would you give to a student who wants to get started in film and audiovisual but is still hesitating?
On the artistic side, stay curious: try to watch at least 2 films a week to enrich your cultural background. Develop your network as much as possible, because it is an essential lever. For example, a project is often selected or supported, whether at the CNC or by the regions, because you know one or more members of the committee. Finally, do not aim only at artistic production, a saturated sector. Executive production and the technical or operational roles of audiovisual professions offer real opportunities in the sector.