I'm not the runner, I've got an Emmy: Editor Yasmine Almosawi on discrimination, self-acceptance and resilience

Transcript

Speaker: 00:00:00

The Imposter Club is produced by Talented People, staffing and headhunting company in TV production with a mission to make the industry a happier, more creatively diverse place.

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Coming up,

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I'd gone into the edit.

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I was just pinging in my settings and the director just burst into the room and he went, do not touch anything.

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You are obviously inexperienced, don't touch anything.

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And I was like shaking.

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I was so furious.

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This is The Imposter Club, the podcast uniting all us tv, film, and content folk secretly stressing that everyone else has its sorted.

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Except us.

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I'm Kimberly Godbolt, TV director, turn staff and company founder.

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And each episode I want you to hear the real story of a successful industry figure.

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Not the glossy announcements we usually see, but the truth of their career journey, including the bumpy bits to help you make sense of your own health warning.

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This podcast may incur whiplash from violent nodding plus an unfamiliar, but hopefully welcome feeling of belonging.

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Yasmine Almosawi is an Emmy award-winning offline editor.

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She grew up in a big family in a small London council flat with Middle East and and North African heritage, setting her mind on a career in TV from a young age, she paid her way through university in Portsmouth with no industry contacts.

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Yaz hustled her way in and worked her socks off before getting representation and going on to edit premium content from Netflix doc series like Tour de France.

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Unchained to BBC three's the rap game talent led single films like Danny Dyer on Anxiety for E four to Planet Sex with Cara Delevingne for Hulu, as well as countless fast turnaround, panoramas and Horizons.

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Her documentary for a and e �the day I picked my parents� won the team an Emmy in 2020.

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Yas is an integral part of a supportive WhatsApp group for editors and edit assistants and loves to give back saying, and I quote an online article.

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As an editor, I had to face experiences early on that knocked my confidence and made me question whether I should even be doing this job or if this industry had space for someone like me, which I'm absolutely going to be delving into in a minute.

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So as one of the few female editors in the industry, a role, which by the way I think often goes hugely unsung.

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Yasmin Almosawi welcome to the Imposter Club.

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Hello,

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<laugh>.

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Hi.

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Hello.

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Oh God, <laugh>.

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Hi,

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How are you?

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Feeling well.

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Nervous <laugh>.

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Super duper nervous, but it's fine.

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So yes.

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How would you describe your relationship with imposter syndrome?

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Um, it's an unwanted roommate, <laugh>.

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It's just always there.

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<laugh>, <laugh>.

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I mean, it was there today, <laugh> before coming on.

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Uh, it was there my last job.

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It was, it's almost, it is there in almost every single Goby take in this industry.

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And have you found it's changed over the years?

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Do you know what?

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It got worse over the years.

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'cause when you, when I first came into this industry, I was like full of like confidence and I knew I could edit.

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Like I always knew I could edit and that was it.

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Um, but it was, I think I let other people affect me in a way that over the years it's kind of seeped in.

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Um, I I didn't have it nearly as much at first.

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I mean, I feel like more, it's more like a, a rug than uh, like the imposter syndrome that like one day someone's gonna be like, you don't belong here.

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And they're just gonna pull the rug from underneath me.

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And I mean, I say I feel it all the time.

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It's, it's almost like a, like a slight hum in the back of my head.

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But I do actually love this job, <laugh>.

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Let's take it back then to, um, your desire to get into tv.

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'cause as I understand it, you've always known you wanted to work in tv, yet the family you grew up in don't have any contacts.

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Um, there was nobody, you know, telling you to, to go that way or even influencing you.

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So how did you come to that decision and what did you do about it?

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I think it goes, it is almost like two ways.

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'cause it's like no one was in that industry.

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It wasn't that like they, they probably, my parents wanted me to do something totally different.

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My mom wanted me to be an interpreter.

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My dad wanted me to be a dentist.

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Um, both things that I think I would've fucking hated <laugh>.

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So I was just kind of like going in almost with like childhood naivety or young naivety just going in, going whatever.

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I'm just gonna fucking do it.

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And let's see what happens.

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<laugh>

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Tell me about TV then.

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What were the TV influences in your house that might have made you think I wanna do that.

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It's

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Gonna be sound mad, but like the news <laugh>.

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So a bit of context around this.

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So my, uh, dad, um, my dad's a Iraqi, um, and I grew up within the Iraqi Communist Party <laugh>.

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So, so like we grew up with politics all, oh, I grew up with like politics seeped into my very soul.

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And I remember thinking like the absolute dream would be to do a panorama, um, or to be working on Panorama.

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That was like my dream to be working on panoramas.

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And obviously they were like film influencers as well.

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I remember the first time I watched, it's totally not television, but the first time I watched Train Spotting and I was just like, oh, that's fucking, this is, that's fucking amazing.

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I think it's so, it was just so well put together.

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I was like, I, I just, there's nothing else that I want to do than this.

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Um, so I pretty much at first told, told myself how to use Adobe Premier 'cause that was the only thing I had access to.

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Uh, that was like from like, I dunno, 14 to 18.

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And then when I went to university, I learned how to use Avid and then just hustled, hustled TD <laugh>.

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Let's talk specifically about, um, how you got experience editing then, because like we, we've we've, your background is no contacts side jobs to both pay for Uni and get experience.

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Yeah.

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You've got your first job in Post.

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How do you go from there to getting representation by Indie Post?

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So while I was at Objective, I kind of just hustled my way into, uh, the tech room.

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But there will be things like, do you know how to group?

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Yeah, I know how to group doing grouping syncing.

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And then I kind of was like, can you do an online fix?

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Yes, I can do an online fix.

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So I'd jump on and do online fixes for things like, it would save, I guess it would save the production company having to bring in an online editor for a couple of hours just to have an assistant.

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He could do online fixes for something like The Cube or for Peep Show Toast of London, things like that.

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Um, and then sometimes there was in-house things that maybe they couldn't get the editor or maybe they couldn't, um, maybe they wanted to cut a taster or a teaser or a promo for something.

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Um, or like, yeah, an editor for a broadcast, uh, broadcast show and they just couldn't find it.

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And lo and behold, I mean, objective Post was very good for that.

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Um, they would get us people in tech to do those creative jobs.

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Um, probably to save money.

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But <laugh> also, it gave us the experience that I just don't think you would've had if you were working in the bigger, you know, those bigger facilities.

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But yeah.

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And then I, I was, it kept going, kept going.

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And one day there was kind of like this careers meeting and the woman was like, she, she's a couple of us in the room.

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Um, and then she asked me what I wanna do and I was like, I wanna become an editor.

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There's a lot of edits that I do here, but I don't see how I can progress.

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I'd love to, I dunno, somewhere in the back of my head, I always thought that objective would open up and have like an in-house editor and I could fill that role.

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And it was the late Anthony Owen who was in the room with us.

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And he was just, he just told me straight and I really, I respected when people are just straight and frank with you.

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And he said, if you want to become an editor, you can't do it here and you need to go and you need to find, uh, someone or some, some place that you can do that.

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But this is not the place where you it's gonna happen.

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Um, which he was.

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Right.

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'cause a couple of years later, uh, objective post closed down, but, but how did

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You feel hearing that at the time?

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That's quite brutal.

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It is brutal, but I kind of prefer it when people tell you things frankly rather than beat around the bush and go, oh, maybe or potentially, potentially that could be your future.

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Yeah.

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Because actually they could have, they could have kept you and used you for the good that you were doing, you know, in a, in a relatively cheap way and you were getting more experience, but they could have kept a lid on you.

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And actually he was saying, you need to fly the s Yeah.

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Yeah.

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And I think, I think after I, I heard that from Anthony, I remember going outside, having a fag, I'd go smoke and thinking to myself, I need to fucking leave this place that I just, I like, I, I remember just being, I was still quite young at that time as well.

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I was 24.

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I was like, I need to leave.

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But I was just thinking like, I need to go.

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It wasn't though, I never had that barrier in my head that editors are often older than you.

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Much older than you've seen editors.

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They don't look like you.

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There wasn't, that barrier hadn't come up just yet.

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<laugh>.

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Yeah.

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And then I, the only freelance agency I knew, I gave them a call and they told me to come in and I, they said, write down everything that you've done.

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And I came in and they Tash who I love so much who's taken such good care of me, to be honest.

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I remember she looked at my CV and went fucking how <laugh>, you need to leave <laugh> and you need to come to join us <laugh>.

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Um, and I did.

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Um, I did.

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Why

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Was she so shocked?

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I think it's because I, I don't, I don't know, I maybe it was like my age and I'd done so much.

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And also something I'd completely forgot to miss out.

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I'd already done a feature that had gone to multiple award shows while working at Objective.

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Um, I honestly dunno how I did it.

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'cause I still partied proper hard <laugh>.

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But I was like working at Objective from like doing a normal eight hour shift and then I'd run off to Clearcut.

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Uh, and I was cutting a film, uh, called Breaks with this woman called, uh, Mercedes Grower, who was this actress who just knew all these huge comedy actors like Julian Barrett and Noel Fielden and Julie Davis.

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And they kind of did this film for her pro bono.

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Um, and she was just like, I haven't got the money to pay for an editor.

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Can you do it <laugh>?

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And I was like, no one else gimme a chance, so why the fuck not?

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Um, and then we were in the cutting room for about two years.

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So yeah, I was like, this is my cv.

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I've got features on there, I've got, um, other things on there.

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I'd also done another feature doc, which is mad now I think about it.

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That is mad.

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So you had a staff role as an edit assistant where you occasionally managed to hop in and do online fixes or the occasional something extra that's more of what an editor might do.

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Yeah.

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Whilst then running off to cut a feature doc for free Yeah.

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And going out partying with your mates <laugh>.

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Um, and then like at 24.

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Yeah.

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Going to an agent going, can I, I don't know if I can join you or not.

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And they go, uh, heck yeah.

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Pretty much.

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That's pretty much how it went.

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<laugh>.

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What

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I love about this point in your career is that you sound like you are, you've, you've admit there were, were no barriers.

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You kind of sky's the limit quite, you know, perhaps naively, but ambitious and excitable and doing well, doing really well by working hard.

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Also being completely yourself.

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Yeah.

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Yeah.

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Right.

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Being, you know, like you say, purple hair, not really thinking too much about what people might think of you.

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How once you were sort of on board with an agent and then getting kind of bigger credits, how did your relationship with imposter syndrome change over time?

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It was, it was experiences with certain people, like multiple experiences.

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Some of them were much harsher than others.

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There was a particular one I was booked in for a dock.

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I came in at that time, I had like cotton candy, pink hair.

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It was constantly changing.

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It was like clementine a turtle, sunshine.

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And I'd gone into the edit.

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I was just putting in my settings and the director just burst into the room and he went, do not touch anything.

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You are obviously inexperienced, don't touch anything.

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I hadn't even said hello to the guy I hadn't even said I use, this is a line that I usually use is, okay, so you've got me contracted for X amount of time.

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If you don't like what I do by the end of the week, let's call it a break of contract and you can find someone else.

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It's, it's my literal go-to line <laugh> for when shit like this happens.

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It just happened a couple of times.

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So the director walked in and he didn't, did he know he, did he know who you were?

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Was he involved in hiring you or anything like that?

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Well,

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I, I thought he would've been, but he obviously wasn't.

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And

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What did he do then?

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Um,

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He went and had a discussion with the PM and he said he came back into the room and he said, fine, we'll keep you on for however long.

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And I mean, I, I worked for it for a couple of weeks or weeks or so.

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And bearing in mind this was a, it was a historical documentary about World War ii, which needed, you know, facts, figures.

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I was cutting one episode and all I was given was six bullet points for that whole time.

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So I'm having to watch all the interviews, one of which was in French.

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They had no idea I could speak fluent French at the time.

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So <laugh>, so, whoa, they had no

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Idea.

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That was a bit fluky.

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Um, so I was watching this interview and they'd, I think maybe they put it through a, like an online interpreter 'cause their transcription was totally wronged.

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Um, and I had to mention the fact that transcription was, anyway, it was about two weeks until we had the viewing with the channel.

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And he came into my suite and verbatim said, hi Yas, we've got a proper editor who's gonna finish the, finish this up before the viewing.

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Um, I've got a perfect job for you.

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Which is when the other editor came in, we went into his room and he was just like, I, he was so apologetic and <laugh>, he was like, um, he basically wanted to tidy up my project.

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And I remember coming back into the room I was in, I was like shaking.

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I was so furious.

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Uh, told the director to go fuck himself, <laugh>, uh, took my stuff and then went to the toilet and cried <laugh>.

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And this is after two weeks of editing with him though, and proving that you are excellent.

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Four weeks in.

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And he had never come into the editor.

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So he had stuck to the original assumption of what he, whatever he had thought of you as a what, mid 20 year old female editor.

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Mm-hmm.

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And then decided despite your work, had he watched the cut?

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No.

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No.

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He'd not seen anything.

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Yeah, it was absolutely horrendous.

221

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And what is

222

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Going through your head under that sort of pressure once you've cleared the air of, look, just work with me and I'll, you know, I'll prove it to you.

223

00:15:32,600 --> 00:15:35,060

Um, but that whole time, what is going through your mind?

224

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I just carried on as normal.

225

00:15:38,090 --> 00:15:45,130

I didn't think it was weird that all I was given was like six bullet points, <laugh>, and he wasn't coming in or having a look at anything.

226

00:15:45,310 --> 00:15:52,530

And at the time it was the AP who's now like a friend of mine, um, who was coming in and she was like, she was another woman.

227

00:15:52,630 --> 00:15:54,850

She was just like, this is a fucking shit show.

228

00:15:55,510 --> 00:15:57,570

Uh, it was like a total boys club, this place.

229

00:15:57,950 --> 00:16:07,150

And yeah, I mean, so I, I didn't think that that would happen because I'd never heard it happening to anyone else, <laugh>.

230

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So I just didn't think it would ever happen.

231

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Coming up

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A person's ability to tell a story is not defined by their race, their gender, their sexuality, any of those things.

233

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Their age is not defined by.

234

00:16:19,550 --> 00:16:21,510

So why is it in TV that it's defined by that

235

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You are listening to the Imposter Club and this episode is with Yaz.

236

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Almosawi.

237

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Was that the first experience you'd ever had of negativity to you in the workplace?

238

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Yes.

239

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To that degree.

240

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Yeah.

241

00:16:43,340 --> 00:16:43,630

Yeah.

242

00:16:43,650 --> 00:16:47,270

So after you'd had that cry in the loo, what, what did you do about it?

243

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I phoned the agency and there's a woman called Becky and she was just so apologetic and she didn't know what to say 'cause I, I don't even know if she's ever dealt with something like that.

244

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And I went home and I remember I just cried for about two days.

245

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I honestly really bothered me.

246

00:17:07,380 --> 00:17:13,510

Um, which is, it is, it sounds so silly, but I think it's 'cause I'd hustled so much.

247

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And I get to a job and like Pure, I'm guessing is purely based on the way that I look all my age.

248

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At that time I was made to feel like I really just didn't belong.

249

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And that's kind of, that's the source I think, <laugh> of all of this.

250

00:17:32,400 --> 00:17:49,130

Um, and then as the years have gone by, there's been number, a number of other instances like walking into edit suites and the producer asking me if I can get them a coffee and some tea or some toasts.

251

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So this was another one.

252

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Um, I came into this edit and bearing in mind I was like wearing a I, so I was wearing a puffer jacket and a backpack <laugh> and sold in.

253

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And the guy was like, oh.

254

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I said, morning.

255

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He said, oh, morning, can we get some toast and some coffees please, <laugh>.

256

00:18:06,940 --> 00:18:09,260

I was so okay, <laugh>, here we go.

257

00:18:09,720 --> 00:18:10,100

Oh wow.

258

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And

259

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Then I sat on my edit suite and I put in my settings and then he just didn't stop <laugh>.

260

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He was like, are you an assistant here?

261

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And I was like, no, <laugh>, no, I'm not an assistant here.

262

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I am your editor son.

263

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I was so angry at that point.

264

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I just went, I am your editor's son.

265

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This guy was in his late sixties <laugh>.

266

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So, so I don't think he appreciated being called son to be honest.

267

00:18:36,280 --> 00:18:36,500

Um,

268

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Well you didn't appreciate being called an assistant.

269

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Exactly.

270

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Um, and then he phoned his PM and was like, basically you've got a child in here and <laugh> all this kinda shit.

271

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And yet again, I used the same line, if you don't like what you see the next week, let's call it a call, a break of contract, you can find another editor simple as <laugh>.

272

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It's like the, it's like, it was my go-to line four years and it's kind of stopped happening after a while.

273

00:19:04,370 --> 00:19:17,580

Well the fact that it's having to rest there, taking up any brain space at all is a a an unfortunate and horrible, um, reflection of bias in the industry, isn't it?

274

00:19:17,580 --> 00:19:17,780

Yeah.

275

00:19:17,780 --> 00:19:18,460

Yeah, I think so.

276

00:19:18,730 --> 00:19:19,140

Well, and

277

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What do you think, what, what can be, what can be done about, about that and how should, how should we be handling this as an industry do you think?

278

00:19:30,060 --> 00:19:30,500

I don't know.

279

00:19:30,760 --> 00:19:31,900

Um, that's the thing.

280

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That's the question.

281

00:19:32,860 --> 00:19:33,860

I, I have no idea.

282

00:19:34,140 --> 00:19:43,940

I mean, we, I, we've try with like, I've got a WhatsApp group with female editors and gender nonconforming editors and we kind of all support each other, give each other advice.

283

00:19:44,160 --> 00:19:51,820

And if things like this come up or even jobs or whatever, but you, you, there's like a support system there, which is, I've only had it for like two years now.

284

00:19:52,730 --> 00:19:56,490

Um, but I honestly don't know.

285

00:19:56,610 --> 00:20:06,410

I feel like a part of me thinks that if those people could see what they were doing outside their own body <laugh>, if they could see it happening in front of, they'd be disgusted by it.

286

00:20:07,030 --> 00:20:11,760

Um, even now, I've been editing for almost 10 years.

287

00:20:12,470 --> 00:20:14,640

It's so difficult to get an opportunity as an editor.

288

00:20:14,790 --> 00:20:25,470

It's so difficult 'cause there's not the mechanisms for editors to come up and, and if they are trying to come up, they have to deal with, especially if you're female.

289

00:20:25,930 --> 00:20:33,070

And I don't, I always feel uncomfortable saying it, but especially if you're an ethnic minority, I, I feel <laugh> at some point.

290

00:20:33,940 --> 00:20:35,750

There's fucking black barriers there.

291

00:20:35,780 --> 00:20:43,020

There's, there's barriers that, and when you're a woman as well in, in post there's, there's barriers.

292

00:20:43,400 --> 00:20:55,540

Um, I don't know what those, I I just don't fucking get it because I guess when we are making films, we're making docs, whatever it is, um, we're telling stories essentially.

293

00:20:55,920 --> 00:21:04,030

And a person's ability to tell a story is not defined by their race, their gender, their sexuality, any of those things.

294

00:21:04,080 --> 00:21:04,710

Their age.

295

00:21:04,820 --> 00:21:05,590

It's not defined by.

296

00:21:05,690 --> 00:21:08,510

So why is it in TV that it's defined by that I just

297

00:21:08,510 --> 00:21:19,670

Well, and actually yes, to add to that, isn't it that having a diverse team from all walks of life, from different economic backgrounds, um, heritage, yeah.

298

00:21:20,010 --> 00:21:30,750

Um, disabilities isn't, isn't having all of that behind the camera inputting and influencing the content that we're making only going to make the content richer and better.

299

00:21:31,030 --> 00:21:31,150

300

00:21:31,150 --> 00:21:31,470

Think so.

301

00:21:31,990 --> 00:21:33,350

I absolutely agree with that.

302

00:21:33,610 --> 00:21:50,330

Um, the more people of different walks of life you go on a show is, there's, there's a quote by, uh, Benjamin Zeff and I that he said years ago on <laugh> on question time, but, and it's kind of related to this, um, it was about multiculturalism.

303

00:21:50,330 --> 00:21:52,650

But I think the same thing applies to, to tv.

304

00:21:53,160 --> 00:21:58,730

He's like 35 different cultures living in a community is 35 different ways to make a potato <laugh>.

305

00:21:59,830 --> 00:22:00,650

And it's,

306

00:22:01,290 --> 00:22:01,890

I love that.

307

00:22:02,190 --> 00:22:05,610

And it's like the same thing with rushes.

308

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I mean, with films and whatever, you put the same rushes in front of 35 different editors, you get 35 different ways to cut a show.

309

00:22:14,930 --> 00:22:16,170

They'll cut it 35 different ways.

310

00:22:16,310 --> 00:22:17,890

No one will cut it in the exact same way.

311

00:22:18,510 --> 00:22:23,210

And it's the exact same for shooters and script writers or whatever.

312

00:22:23,240 --> 00:22:25,370

Like no one will make the same thing.

313

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'cause we all bring something different to the table.

314

00:22:27,960 --> 00:22:31,530

It's, it's why like when I did Cara Deign, I absolutely loved it.

315

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'cause there were people from different who were different genders, different sexualities, different ethnic backgrounds and 'cause it was like a project about like the world <laugh>.

316

00:22:45,710 --> 00:22:48,650

But we bought all, put in something of ourselves into it.

317

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And I absolutely loved, loved that production.

318

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Not just because of the actual content.

319

00:22:52,510 --> 00:22:53,650

It was the people we worked with.

320

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Shout out to Fiona Caldwell and Kate Dart, it was so great, honestly.

321

00:22:59,030 --> 00:23:12,170

But like we, 'cause we were all from different walks of life and we were all very careful on how we present people on TV as well because it's, it is, another thing about this industry is how people are represented.

322

00:23:12,550 --> 00:23:21,210

And it's something that's always bothered me <laugh> because obviously I'm, I'm not just some, I varied, varied backgrounds.

323

00:23:22,070 --> 00:23:26,570

Um, Iraqi Georgian in there, there's French Algerian.

324

00:23:27,270 --> 00:23:35,570

But when I think about, so for example, when you say to the average person on the street, what do you think when you think Iraq, they think sadam terrorism, they think bombs.

325

00:23:35,920 --> 00:23:40,930

When I think of Iraq, I think of uncles in a hall complaining about when the food's gonna be there.

326

00:23:41,670 --> 00:23:43,410

Cigars and vodka <laugh>.

327

00:23:44,600 --> 00:23:45,640

It's, it's <laugh>.

328

00:23:46,220 --> 00:23:55,030

The representation of the people that I grew up with is, has never been accurately shown on tv.

329

00:23:55,410 --> 00:23:55,630

330

00:23:55,630 --> 00:24:14,270

You think there's a part of you that has been so determined to, to make it in this field that you've chosen outta stubbornness as well because you want to represent the youth, um, females and mixed heritage backgrounds?

331

00:24:14,930 --> 00:24:15,910

Oh yeah, absolutely.

332

00:24:16,150 --> 00:24:19,590

I mean, to be fair, I think it is a toxic trait of mine.

333

00:24:19,650 --> 00:24:23,870

It is like my red flag is that I will do anything to prove people wrong.

334

00:24:24,430 --> 00:24:29,430

<laugh>.

335

00:24:26,180 --> 00:24:27,350

It's honestly, it's terrible.

336

00:24:27,830 --> 00:24:32,830

<laugh>

337

00:24:28,860 --> 00:24:34,990

Yass, what is the cost of this determination and stubbornness to prove people wrong all the time?

338

00:24:35,180 --> 00:24:44,790

When you walk into a suite and you are worried that someone's going to make an assumption about you and start calling their PM again to tell them they don't want you on their project.

339

00:24:44,940 --> 00:24:46,510

What is the personal cost to you?

340

00:24:47,030 --> 00:24:56,190

I mean, when I came into this industry, I was filled with just positivity and confidence and excitement and enthusiasm.

341

00:24:56,450 --> 00:24:59,430

And one thing, I do not want to be as jaded.

342

00:24:59,770 --> 00:25:09,470

Um, and I have met plenty of people, <laugh> who as the, the years have gone by in this industry, have become incredibly jaded.

343

00:25:10,130 --> 00:25:13,270

And I feel sometimes myself becoming that way.

344

00:25:13,590 --> 00:25:17,750

I never had imposter syndrome when I first started maybe arrogance of youth.

345

00:25:17,840 --> 00:25:22,710

Maybe I was just so confident in myself that I didn't think anything could stop me.

346

00:25:22,710 --> 00:25:24,110

It was me against the world kind of thing.

347

00:25:24,450 --> 00:25:32,400

But my experiences with, and it's not, the thing is it's not been, it's not every single person I've met in the industry.

348

00:25:32,400 --> 00:25:34,360

It's been a few dickhead <laugh>.

349

00:25:35,100 --> 00:25:36,800

And it is naivety, isn't it?

350

00:25:37,020 --> 00:25:44,480

You just think, I'm just gonna come in and create <laugh> And you don't think there's gonna be politics that you have to deal with or the

351

00:25:44,480 --> 00:25:45,200

Fact, no.

352

00:25:45,460 --> 00:25:53,360

And it makes me sad to hear you say that and it's, it is a massive shame that people can break your spirit like that.

353

00:25:53,380 --> 00:25:54,160

And look, I hear you.

354

00:25:54,190 --> 00:26:01,520

It's not all the time and you're still incredibly upbeat and excellent and you, you know, we should talk about what you do to put back, right?

355

00:26:01,520 --> 00:26:11,280

Because some of these experiences actually have led you to, to do something about the industry or to help others.

356

00:26:11,820 --> 00:26:20,960

Uh, I mean, how, how has, how have those bad experiences kind of manifested, um, for you and, you know, how have you turned them into something a bit more positive?

357

00:26:21,470 --> 00:26:30,480

Well, I mean, I, I mentioned I've got this WhatsApp group, it's not mine, but, um, I joined it last year and we kind of support each other.

358

00:26:30,860 --> 00:26:35,080

And it's, it, a big part of it is imposter syndrome.

359

00:26:35,440 --> 00:26:36,360

'cause we all get it.

360

00:26:37,020 --> 00:26:42,120

It doesn't matter if you are award-winning or not you or just starting out.

361

00:26:42,140 --> 00:26:44,480

We all get imposter syndrome at some stage.

362

00:26:45,220 --> 00:26:49,920

And being part of this group in the past two years has made me feel like I'm not fucking insane <laugh>.

363

00:26:50,550 --> 00:26:51,760

Like it's not just me.

364

00:26:52,180 --> 00:26:54,530

Um, and we support each other.

365

00:26:54,670 --> 00:26:57,930

We go for picnics where I made everyone fucking freeze <laugh>.

366

00:26:58,630 --> 00:26:59,890

Uh, it's big.

367

00:27:00,010 --> 00:27:01,690

I was about 10 o'clock and everyone's like, I'm freezing.

368

00:27:02,050 --> 00:27:05,090

I was like, enjoy yourself <laugh> fuck sake <laugh>.

369

00:27:05,830 --> 00:27:06,050

Um,

370

00:27:06,620 --> 00:27:08,890

We'll have fun in the British freezing summer.

371

00:27:08,960 --> 00:27:09,450

Exactly.

372

00:27:10,040 --> 00:27:10,330

Yeah.

373

00:27:10,430 --> 00:27:33,640

So, and there's like support is, and it also, my, also my agents are fucking awesome, but like within this group we're looking for ways to actually help younguns start to get into post-production or come editors and trying to find the mechanisms, mechanisms in which they can do that.

374

00:27:33,700 --> 00:27:37,320

For me, it was jumping on absolutely everything that I could.

375

00:27:37,500 --> 00:27:45,080

And then when I joined Indie Post, it was doing a few kind of edit assistant jobs and then that was it.

376

00:27:45,160 --> 00:27:47,840

I got Horizon and then the ball was rolling from there.

377

00:27:48,380 --> 00:27:49,040

But that's it.

378

00:27:49,040 --> 00:28:00,120

Like you, you've, what is interesting over the course of what we've talked about is that you entered the industry wide-eyed, super hardworking, no barriers, you know, threw yourself into it.

379

00:28:00,120 --> 00:28:02,800

It was totally yourself with your pink, purple, orange, whatever hair.

380

00:28:02,800 --> 00:28:03,240

Oh yeah.

381

00:28:03,710 --> 00:28:12,160

Then unfortunately, some experiences as you went through the ranks, um, were negative and sort of

382

00:28:13,340 --> 00:28:15,810

Broke or chink gave your chink in that armor.

383

00:28:15,880 --> 00:28:16,410

Yeah, yeah.

384

00:28:16,570 --> 00:28:17,770

I suppose is one way of putting it.

385

00:28:18,630 --> 00:28:38,800

But now you kind of, you are, you are bringing it back round to going, I'm just gonna use that as a kind of energy to make a difference and to push on and to help the junior people come through the ranks to sort of future proof the industry by bringing new editors through.

386

00:28:39,340 --> 00:28:49,930

But also, I mean, you and me talking like this, you seem, despite some nerves that you've admitted, you seem totally comfortable in your own skin.

387

00:28:50,310 --> 00:28:57,010

And I dunno how you felt during that time where you were, you know, you were trying to prove yourself more as a more junior person.

388

00:28:57,310 --> 00:29:03,010

But I doubt, I doubt you were particularly comfortable back then and being yourself.

389

00:29:03,590 --> 00:29:04,490

No, absolutely not.

390

00:29:04,770 --> 00:29:08,870

I mean, like it's an extreme, it's an extreme.

391

00:29:09,830 --> 00:29:10,870

I dunno if it's extreme.

392

00:29:11,070 --> 00:29:18,910

'cause I, I think that people who come from same economic backgrounds, same ethnic backgrounds, similar ethnic backgrounds have all experienced this.

393

00:29:19,630 --> 00:29:22,830

I eventually change, changed my hair to natural hair color.

394

00:29:23,430 --> 00:29:29,070

I changed the way that I literally changed my accent <laugh> for years, <laugh> for years.

395

00:29:30,050 --> 00:29:35,310

Um, so people wouldn't realize that I am not from where they're from.

396

00:29:35,490 --> 00:29:36,270

Do you see what I mean?

397

00:29:36,740 --> 00:29:37,030

Yeah.

398

00:29:37,210 --> 00:29:40,170

Um, like you call it code switching.

399

00:29:40,250 --> 00:29:41,360

I literally had to just code.

400

00:29:41,420 --> 00:29:43,160

And I know everyone does it to a degree.

401

00:29:44,150 --> 00:29:46,890

Um, they have to change the way that they are doing works.

402

00:29:46,910 --> 00:29:52,930

But I, I fundamentally changed things that were part of me so I could be accepted in this industry.

403

00:29:53,470 --> 00:30:08,900

Um, and now I look back at it, I fucking shouldn't have <laugh>, but it's because I I, I just didn't see those, those kind of horrible moments made me think that I can't, there's no, they won't let me in.

404

00:30:09,160 --> 00:30:12,180

It was, was the, the thought that was always in the back of my head.

405

00:30:12,410 --> 00:30:14,980

Like, they, they just won't let me in if I don't do these things.

406

00:30:15,000 --> 00:30:16,380

Or if they don't see me as one of them

407

00:30:18,760 --> 00:30:19,380

In a sec,

408

00:30:20,180 --> 00:30:28,780

I got this notification and then I, I I went onto it and then I get a WhatsApp message just where like, we've been fucking nominated for an Emmy.

409

00:30:36,560 --> 00:30:44,090

This is The Imposter Club, the podcast bringing a sense of solidarity to creative types now on with the good stuff.

410

00:30:46,900 --> 00:30:56,010

Isn't that a shame, like that you felt that you had to be someone else and speak in a different way and look differently to be taken seriously in your career?

411

00:30:56,160 --> 00:30:56,450

Yeah,

412

00:30:56,450 --> 00:30:57,090

Yeah, yeah.

413

00:30:57,190 --> 00:30:58,210

It is, it is a shame.

414

00:30:58,620 --> 00:31:10,490

Which is kind of why like, I wanna help younguns from all different backgrounds try and get into this industry and like, it sounds crazy, but last, it's total tangent.

415

00:31:10,630 --> 00:31:15,730

But I remember last year watching the BAFTAs, uh, the Big Zuu one.

416

00:31:16,150 --> 00:31:16,370

Uh,

417

00:31:17,670 --> 00:31:19,330

And we have very similar backgrounds.

418

00:31:19,390 --> 00:31:20,050

Me and a Big Zuu.

419

00:31:20,440 --> 00:31:24,930

He's half, but he's from west half West African, half Middle Eastern.

420

00:31:24,990 --> 00:31:26,770

I'm half North African, middle Eastern.

421

00:31:27,550 --> 00:31:28,090

And he won.

422

00:31:28,150 --> 00:31:34,690

And like, I'm not a very emotional person apart from the times where I said I got angry and enough started crying during this podcast.

423

00:31:34,910 --> 00:31:38,800

But, um, I'm not really, I don't cry.

424

00:31:38,920 --> 00:31:39,320

I don't.

425

00:31:39,380 --> 00:31:45,860

And I just burst into tears 'cause he was like so himself and I thought that I had to change myself to be successful.

426

00:31:46,040 --> 00:31:50,740

And there was this young guy who changed absolutely nothing about himself, was just authentically, genuinely himself.

427

00:31:51,600 --> 00:32:00,530

And I felt like I had something to prove or like, I felt like I had to do what I did to make it successful, make be successful within my career.

428

00:32:00,950 --> 00:32:01,930

That's bullocks now.

429

00:32:01,930 --> 00:32:02,290

I know that.

430

00:32:02,350 --> 00:32:03,770

But I didn't have the time <laugh>.

431

00:32:03,970 --> 00:32:04,930

I think that is brilliant.

432

00:32:05,270 --> 00:32:11,770

And and a really lovely example actually of how that hit home to you personally.

433

00:32:11,830 --> 00:32:12,170

Oh yeah.

434

00:32:12,170 --> 00:32:13,530

When he accepted that award.

435

00:32:14,330 --> 00:32:14,570

Absolutely.

436

00:32:14,870 --> 00:32:16,930

And we should, we should talk about your Emmy actually.

437

00:32:17,060 --> 00:32:20,570

Sorry to cut in there, but I'm like, you've won an Emmy yas.

438

00:32:20,570 --> 00:32:20,810

Yeah.

439

00:32:20,930 --> 00:32:26,330

I mean we're talking about all this, you know, being called a child in an edit suite and asking for tea and toast.

440

00:32:26,510 --> 00:32:28,570

You have an Emmy.

441

00:32:28,800 --> 00:32:29,090

Yeah.

442

00:32:29,570 --> 00:32:29,650

<laugh>.

443

00:32:29,890 --> 00:32:31,890

I mean that is incredible.

444

00:32:32,670 --> 00:32:32,890

445

00:32:32,890 --> 00:32:32,970

Was.

446

00:32:33,040 --> 00:32:34,050

Tell me about that project.

447

00:32:34,490 --> 00:32:37,010

I mean, it was a show that I'd cut on.

448

00:32:37,590 --> 00:32:40,200

Um, but we won the Emmy together collectively.

449

00:32:40,580 --> 00:32:42,080

I'm downplaying it <laugh>.

450

00:32:42,080 --> 00:32:43,240

Nice, nicely done.

451

00:32:44,300 --> 00:32:47,040

Um, but, uh, yeah, it was for a and e Networks, naked tv.

452

00:32:47,380 --> 00:32:49,880

Um, and it was a show called The Day I picked my Parents.

453

00:32:50,580 --> 00:33:00,730

And it was, it was a very difficult edit, but I was really lucky to be with the people who I was, I was working with, uh, eda, who absolutely loved called Teal.

454

00:33:01,470 --> 00:33:06,810

Um, and then later on with Reer Busbar who we became really close in the edit suite.

455

00:33:06,930 --> 00:33:12,530

I feel like when you are on those productions where it feels like you're fighting a war <laugh> that connection.

456

00:33:12,600 --> 00:33:12,890

Yeah.

457

00:33:13,690 --> 00:33:18,690

<laugh>.

458

00:33:14,790 --> 00:33:15,250

Oh man.

459

00:33:15,250 --> 00:33:16,010

I've been there.

460

00:33:16,070 --> 00:33:18,770

And sometimes they're short projects, but they're so intense.

461

00:33:18,840 --> 00:33:19,130

Yeah.

462

00:33:19,200 --> 00:33:22,530

That you, those relationships last longer than the longer projects.

463

00:33:22,590 --> 00:33:23,730

Oh yeah, a hundred percent.

464

00:33:24,070 --> 00:33:28,770

And this, this went on, this was, there was one like a mid project, it was like three months.

465

00:33:29,630 --> 00:33:41,170

Um, and yeah, it was lots of back and forth and <laugh> with the studio and it came at like a, it was a really difficult time for me personally.

466

00:33:41,810 --> 00:33:46,050

'cause my dad was dying at the time and halfway through post he actually died.

467

00:33:46,710 --> 00:33:48,450

And then Oh yeah.

468

00:33:48,450 --> 00:33:49,050

It was rough.

469

00:33:49,350 --> 00:33:49,850

It was rough.

470

00:33:49,850 --> 00:33:50,890

Especially awful

471

00:33:50,890 --> 00:33:51,130

Time.

472

00:33:51,530 --> 00:33:51,770

I know,

473

00:33:52,300 --> 00:33:53,930

Especially I know I'm laughing.

474

00:33:53,930 --> 00:33:56,410

It's 'cause I always laugh when I'm nervous and awkward <laugh>.

475

00:33:57,110 --> 00:33:57,330

Um,

476

00:33:57,910 --> 00:33:58,690

No, I get it.

477

00:33:59,150 --> 00:34:02,810

And uh, yeah, he, uh, yeah.

478

00:34:03,110 --> 00:34:06,970

And um, I remember the day he died, we had his funeral on the Saturday.

479

00:34:07,090 --> 00:34:09,170

I went back to work on the Monday, which was a fucking mistake.

480

00:34:10,889 --> 00:34:23,530

Um, and because I've just had this thing of just like, just work through it <laugh> because I've just, I've just, I've put so much of my work, so much of my life into my work, which is not exactly which I'm learning.

481

00:34:23,560 --> 00:34:28,489

It's not exactly the most healthiest relationship with the worklife balance <laugh>.

482

00:34:29,070 --> 00:34:32,010

Um, and no, it's difficult to separate things out then, isn't it?

483

00:34:32,070 --> 00:34:33,889

So is it a kind of coping mechanism for you?

484

00:34:33,909 --> 00:34:34,850

Do you see, do you think works?

485

00:34:34,850 --> 00:34:35,210

Sometimes.

486

00:34:35,210 --> 00:34:36,050

Sometimes it is.

487

00:34:36,429 --> 00:34:38,820

Um, sometimes I think it is.

488

00:34:39,120 --> 00:34:45,610

Um, but yeah, it was not on this production <laugh>, so I, they eventually had to take a couple of days off.

489

00:34:45,790 --> 00:34:56,330

Um, but yeah, we finally made something that we were happy with and it, we, by the time we'd finished everything, do you know when you get to that point of the edit where you are just edit line, so you're like, I dunno what this looks like anymore.

490

00:34:56,469 --> 00:34:57,410

Oh, enjoy it.

491

00:34:57,500 --> 00:34:58,370

Can't see it anymore.

492

00:34:58,510 --> 00:34:59,010

No, no.

493

00:34:59,010 --> 00:35:00,650

In fact, I don't even want to watch it anymore.

494

00:35:00,730 --> 00:35:00,850

495

00:35:00,850 --> 00:35:02,690

Never, I actually never wanna see that show <laugh>.

496

00:35:03,230 --> 00:35:13,850

Um, and then a year later we was like lockdown and um, I got this notification and then I, I I went onto it and then I get a WhatsApp message.

497

00:35:13,990 --> 00:35:17,610

The swear was like, we've been fucking nominated for an Emmy <laugh>.

498

00:35:18,510 --> 00:35:25,770

And then I, because I I literally everything that I do, I don't, I never, I always see the mistakes while it's so bad.

499

00:35:26,070 --> 00:35:29,170

And I remember just going, why <laugh>?

500

00:35:29,240 --> 00:35:31,490

Like, I was like, why were we even nominated?

501

00:35:32,190 --> 00:35:39,640

Um, but then, yeah, and then after, after that couple of weeks later, it was during lockdown as well.

502

00:35:39,660 --> 00:35:43,240

So we, it was just this weird moment where we couldn't actually celebrate together.

503

00:35:44,220 --> 00:35:45,440

Um, and

504

00:35:45,440 --> 00:35:48,200

Then we on a Zoom window going Yay <laugh>.

505

00:35:48,940 --> 00:35:50,720

And I was just watching it live on night.

506

00:35:50,720 --> 00:35:52,240

I think it was like Facebook Live or something.

507

00:35:52,420 --> 00:35:55,240

And then we, we won it and I was like, oh shit.

508

00:35:56,800 --> 00:35:56,960

Emmy

509

00:35:56,960 --> 00:35:57,160

Man.

510

00:35:57,160 --> 00:35:58,080

Amazing <laugh>.

511

00:35:58,640 --> 00:36:03,960

I mean if you, if you ever needed a, uh, a confidence boost about your editing skills, surely that was it.

512

00:36:04,710 --> 00:36:05,000

Yeah.

513

00:36:05,730 --> 00:36:06,720

You'd think <laugh>,

514

00:36:07,080 --> 00:36:11,160

I mean you should, you shouldn't need to with an Emmy to feel good about yourself.

515

00:36:11,280 --> 00:36:11,520

I know.

516

00:36:11,740 --> 00:36:25,680

Um, but, and, and clearly two years later you're still having self-doubt, but surely me telling you again that you are an Emmy Award winner and that your CV is unbelievable and that indie post love you and took you on at 24.

517

00:36:25,840 --> 00:36:30,120

I mean, you must believe somewhere inside you now that you are good at what you do yet, right?

518

00:36:30,280 --> 00:36:30,560

I do.

519

00:36:30,560 --> 00:36:33,680

And don't sometimes I'm just like, nothing can stop me.

520

00:36:33,700 --> 00:36:34,720

I'm great at this <laugh>.

521

00:36:35,100 --> 00:36:56,560

And then other times I'm just like, someone is going to clock on to the fact that I'm actually not very good, which is this I know is madness and I know it's stupid, but sometimes if I do feel particularly impostery, then I will will start being like, I've done this, this and this.

522

00:36:56,560 --> 00:37:01,680

And when I've done this and when I did this, like I see myself doing it and it fucking annoys me.

523

00:37:02,300 --> 00:37:08,200

Um, but it sits and I know that it's because I feel like an imposter.

524

00:37:08,780 --> 00:37:12,600

But then it sounds like I'm just like being really arrogant and being like, I'm amazing <laugh>.

525

00:37:12,870 --> 00:37:14,080

It's just stupid.

526

00:37:14,860 --> 00:37:16,240

Oh, it's complicated, isn't it?

527

00:37:16,300 --> 00:37:17,120

It is complicated.

528

00:37:17,260 --> 00:37:17,600

It is.

529

00:37:17,840 --> 00:37:27,320

I, I understand exactly why you do that, but hopefully you'll come to a point in your career where you don't feel the need to be proving it to other people.

530

00:37:27,670 --> 00:37:27,960

Yeah.

531

00:37:28,180 --> 00:37:28,400

Um,

532

00:37:28,640 --> 00:37:29,720

Unwanted roommate.

533

00:37:29,990 --> 00:37:30,280

Yeah.

534

00:37:30,550 --> 00:37:30,840

They

535

00:37:30,840 --> 00:37:31,000

Just

536

00:37:31,000 --> 00:37:32,360

Won't, the unwanted roommate.

537

00:37:32,500 --> 00:37:34,000

I'm not, I'm, I've written that down.

538

00:37:34,230 --> 00:37:38,480

I've also written down there are 35 different ways to make a potato <laugh>.

539

00:37:38,830 --> 00:37:39,120

Yeah.

540

00:37:39,240 --> 00:37:41,080

I love that so much, honestly.

541

00:37:41,080 --> 00:37:41,720

And so great.

542

00:37:42,320 --> 00:37:42,800

I love that.

543

00:37:43,220 --> 00:37:59,320

Um, last question for you then, as for as we wrap up at one of your lowest moments then when you were crying in the loos after that awful experience with the director, what would you say to that person that, that version of Yaz?

544

00:37:59,720 --> 00:38:09,640

I would probably tell her that you'll be meeting dickheads, but you'll also be meeting people who will absolutely trounce those dickheads and have absolute faith in you.

545

00:38:10,490 --> 00:38:14,540

Um, and that you can really succeed.

546

00:38:15,300 --> 00:38:27,750

I mean, I should, uh, definitely need to see a shout out to Simon Frederick for that from a f l because he was the job I took on after and I was, I was actually properly ready to leave the industry.

547

00:38:28,530 --> 00:38:35,540

Um, and I remember having a sit down interview and it was one of the first jobs for a long time that I didn't put on an accent.

548

00:38:35,850 --> 00:38:36,880

There was no accent.

549

00:38:37,280 --> 00:38:39,830

I just, maybe it was like I don't give a shit.

550

00:38:39,930 --> 00:38:46,190

Or maybe it was not like I don't give a shit about the job or I just, maybe it was like, I don't give a shit about what this person's gonna think about me.

551

00:38:46,750 --> 00:38:54,310

'cause regardless of what happens, he's gonna have a judgment regardless of what accent I pan or how my hair looks or whatever.

552

00:38:55,130 --> 00:39:01,070

Um, and it, I was, I was, I was very ready to leave at that point.

553

00:39:01,250 --> 00:39:05,670

And I remember he told me about this project that he had and it was fucking incredible.

554

00:39:05,970 --> 00:39:08,780

Um, uh, it's called Black Comedy Legends.

555

00:39:09,000 --> 00:39:13,700

So currently on <laugh> Black Hollywood, they've gotta have us love it.

556

00:39:13,880 --> 00:39:14,380

The eye player.

557

00:39:14,380 --> 00:39:16,140

Shameless plug, <laugh> Shameless.

558

00:39:16,800 --> 00:39:24,700

Um, but yeah, we had this interview and he just had faith in me like that I could do it.

559

00:39:25,100 --> 00:39:34,630

'cause he was, I guess the story that he was trying to say tell from a lot of the people who he was still a lot of the contributors.

560

00:39:34,630 --> 00:39:38,510

And also his own story was like, I'm not gonna compare myself to fucking Woody Goldberg.

561

00:39:38,530 --> 00:39:40,030

But <laugh> was similar.

562

00:39:40,200 --> 00:39:44,310

There was the, it was the feeling that you don't belong there, but you forced your way in.

563

00:39:44,690 --> 00:40:02,240

And yeah, he hired me on the spot and I remember like, I like walked, I was like by the Oxo Tower and I kind of walked towards Gabriel's wharf, looked around, had a cry, <laugh>, so stupid, had a little cry and then phoned my agents and I was just like, oh my God, they got the job.

564

00:40:02,380 --> 00:40:04,120

I'm so happy and fuck me.

565

00:40:04,120 --> 00:40:04,720

It was a hard job.

566

00:40:04,900 --> 00:40:15,360

But yeah, it was like, it basically talked talking heads for Greek chorus with fair dealing in a completely unique and different way.

567

00:40:16,940 --> 00:40:20,640

No edit producer, 48 interviews all three hours long.

568

00:40:21,070 --> 00:40:26,120

Just me in the edit sometimes with someone else creating these stories.

569

00:40:26,750 --> 00:40:27,240

Baptism.

570

00:40:27,460 --> 00:40:27,680

Wow.

571

00:40:27,760 --> 00:40:28,920

Fucking fire <laugh>.

572

00:40:29,500 --> 00:40:31,480

But he interviewed you based on your cv.

573

00:40:31,480 --> 00:40:31,720

Yeah.

574

00:40:31,840 --> 00:40:32,640

I would imagine, right?

575

00:40:32,670 --> 00:40:32,960

Yeah.

576

00:40:33,420 --> 00:40:37,360

And then he met you, loved your attitude, your background.

577

00:40:38,020 --> 00:40:43,320

I'm sure you brought fire to that interview 'cause you were really passionate about the content, so that's why he hired you.

578

00:40:43,380 --> 00:40:50,680

And it is so important that people in hiring positions use their gut about people like that.

579

00:40:50,740 --> 00:40:56,600

And don't just hire based on someone who's got the perfect credits on the cv.

580

00:40:56,720 --> 00:41:00,320

I I really feel passionately about that, that you proved yourself in that interview.

581

00:41:00,580 --> 00:41:09,120

He wanted to bring you on for who you are as well as the credits that all amounted to someone that he could see had real potential to do.

582

00:41:09,120 --> 00:41:09,280

583

00:41:09,710 --> 00:41:11,120

Editors, us editors.

584

00:41:11,780 --> 00:41:15,840

We can, I can pro, I can promise you most of us can do any genre.

585

00:41:17,140 --> 00:41:18,630

Most of us can do any genre.

586

00:41:19,350 --> 00:41:30,950

I can, for example, on my CV in the space of a week, I did the last episode of the rap game and then I did a panorama two totally different genres and edits.

587

00:41:31,410 --> 00:41:44,320

We can do multiple genres, but I think people get stuck in, they'll look at CV going, it's very current affairs heavy, or it's very, um, reality heavy and they don't think that they can do other forms, which I just, I just think is absolutely

588

00:41:44,440 --> 00:41:44,720

Bollocks.

589

00:41:44,790 --> 00:41:45,080

Yeah.

590

00:41:45,080 --> 00:41:45,600

Personally,

591

00:41:46,140 --> 00:41:49,360

And actually it's a, it's a fault of the industry in general.

592

00:41:49,490 --> 00:41:50,320

Other roles too.

593

00:41:50,700 --> 00:42:03,440

Um, I know that from experience of like working in talent for a long time, people get too pigeonholed and, um, then they look at a CV of someone who's done lots of varied things, um, and go, what, what are they actually good at?

594

00:42:03,500 --> 00:42:05,080

Rather than seeing it as a strong point.

595

00:42:05,080 --> 00:42:05,360

Yeah.

596

00:42:05,500 --> 00:42:07,280

Um, and being able to turn your hand to anything.

597

00:42:07,280 --> 00:42:07,560

Yeah.

598

00:42:07,560 --> 00:42:07,840

Yeah.

599

00:42:08,180 --> 00:42:10,560

Oh, well, yeah, it is been amazing talking to you.

600

00:42:10,580 --> 00:42:11,000

Thanks.

601

00:42:11,480 --> 00:42:12,640

I can't believe you were nervous.

602

00:42:12,740 --> 00:42:20,680

You've got all this, all this passion and fire to give and so much experience in the industry alongside your Emmy, which was a team effort.

603

00:42:20,800 --> 00:42:25,200

'cause it's not all about you, it's not <laugh>, but you know, it's, it's not, but um, thank you for sharing.

604

00:42:25,540 --> 00:42:38,560

It is, I know it can be hard to share personal experiences, but you know, the aim of the Imposter Club is to reassure people that it's not just you that has these experiences and actually that you can turn them to, to a good thing.

605

00:42:38,860 --> 00:42:51,580

And by talking about them like this, I'm hoping that if we just reach one person's ears who might have otherwise made an assumption about a female editor from a minority background sitting in their edit suite, they won't do that now.

606

00:42:51,580 --> 00:42:51,740

Yeah.

607

00:42:51,760 --> 00:42:55,700

Or they'll check themselves before they say a single thing about Tea and toast.

608

00:42:56,010 --> 00:42:59,580

Because that story is, I don't want that repeating No.

609

00:42:59,720 --> 00:43:00,620

Um, ever again.

610

00:43:00,800 --> 00:43:01,220

Me neither.

611

00:43:01,720 --> 00:43:02,140

Me neither.

612

00:43:02,960 --> 00:43:03,180

Um,

613

00:43:03,520 --> 00:43:03,740

No.

614

00:43:03,740 --> 00:43:06,860

But seriously, congratulations on an incredible career so far.

615

00:43:07,060 --> 00:43:09,780

I can't believe you're only 34 and you've done all that.

616

00:43:10,360 --> 00:43:13,700

You've got so much, um, more to give back to the industry.

617

00:43:13,700 --> 00:43:13,900

Oh.

618

00:43:14,120 --> 00:43:15,380

So, um, yeah.

619

00:43:15,590 --> 00:43:16,500

Thank you so much.

620

00:43:16,630 --> 00:43:17,100

Thank you

621

00:43:17,100 --> 00:43:17,660

For having me.

622

00:43:19,440 --> 00:43:23,300

That's it for this episode of The Imposter Club, brought to you by Talented People.

623

00:43:24,080 --> 00:43:30,820

I'm Kimberly Godbolt and it has been lovely to hang out with you while you commute slash gym slash dog walk or whatever you're doing.

624

00:43:31,560 --> 00:43:38,140

If this has struck a chord, please go ahead and share it with your friends in that closed WhatsApp group, I'm not in or on your social networks.

625

00:43:38,440 --> 00:43:45,820

Our aim is to reach as many fellow imposters as we can to share love and learnings and create a sense of belonging.

626

00:43:46,400 --> 00:43:50,740

And if you haven't already, follow or subscribe to the pod so you don't miss an episode drop.

627

00:43:53,470 --> 00:44:00,900

Thank you to Talented People, produced and hosted by me, Kimberly Galt, exec producer Rosie Turner, editor Ben Mullins.

628

00:44:01,440 --> 00:44:02,020

See you later.

I'm not the runner, I've got an Emmy: Editor Yasmine Almosawi on discrimination, self-acceptance and resilience

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