(Sort of) Summary of Q & A with Richard Gadd on 07 September 2023. (English only/日本語ないです）

Although I'm just a fan 😅, the event organizer let me join the ZOOM Q&A session with Richard Gadd (RGA). I thought it would be good to share the minutes of this session since it wasn't recorded. Yet, it must be very useful for those trying to break into the showbiz industry. 

Not much in detail, but still better than nothing! 

• The session started with RGA's career pathway. He explained that he started as a stand-up, exploring his ideas and trying them out at the Edinburgh Festival Fringe. He admitted that there was a period of what he called 'artistic prostitution' or 'workaholic tendencies,' when he grabbed every available opportunity to meet and talk to people in the industry. 
• The Edinburgh Fringe is a great place to develop and find your 'voice' and gain exposure. RGA won the Edinburgh Comedy Award in 2016 with "Monkey See, Monkey Do." 
• "Baby Reindeer" was initially a one-hour play performed at the Edinburgh Fringe Festival. His agent invited stakeholders since RGA was already with the agency (Casarotto Ramsay & Associates).
• Regarding how to transform a one-hour stage show into a seven-part Netflix series, RGA commented that it is necessary to allow your work to "mutate" while staying true to the heart of the show. When it comes to attracting the TV and media industry, RGA advised finding a different tone, style, era, and characters that haven't been explored in TV before. 
• The topic of the session shifted to focus on the production process, particularly the transition from the monologue-based one-hour play to seven episodes. Building on his previous comments, RGA emphasised the importance of the creatives who worked with him. Sometimes, it's good to play dumb, asking potential collaborators how they would handle your work (live show in this case) to understand their imagination and creative process. 
• RGA found that his editing process was as if he were rewriting the show twice. 
• Regarding the writing process, RGA said, "Writing is rewriting." He needs to get everything out first, then rewrites it again (and again). By doing so, the initially hazy idea becomes clear. 
• The Q&A moved on to the topic of how to get an agent. RGA answered that he chose his current agent because they gave him honest feedback on the work he submitted. The agent added that they are currently managing approx. 40 clients, which is the right size to be able to provide each client with the attention and support they need. 
• As a tip for approaching and inviting stakeholders, RGA stressed the importance of the Edinburgh Festival Fringe, particularly the Free Fringe, based on his own experience. Admitting he has been a big of a control freak and a perfectionist, RGA advised attendees to focus on their show itself, trying to make it as good as possible. If the show is good, it will naturally attract the people you want to see it. He mentioned "Ha Ha Ha Ha Ha Ha Ha" by Julia Masli as an example, saying that her show, starting at 01:30 AM, was hardly known at the beginning, yet everyone was talking about it toward the end of the fringe run. (The show was nominated for this year's Edinburgh Comedy Award.) 

*His previous shows, such as "Breaking Gadd" and "Waiting for Gaddot," were some of the hottest midnight shows at the time. Everyone was desperately trying to find a way to see them. (They were Free Fringe shows, so we couldn't buy tickets to secure a place to see them!) I found it to be one of the best Fringe experiences, as we had to discreetly grab raffle tickets secretly handed out by a man hanging around in the bar area at a certain time of the day to see the show!