Is the Next Generation ready?

Is the next generation of filmmakers ready?

AS THE 50+ VANISH FROM THE WORKFORCE AND ARE REPLACED BY PREMATURE PROMOTIONS, THERE IS UNCERTAINTY ABOUT THE INDUSTRYS’ STABILITY. IS THE INDUSTRY STUCK IN ITS WAYS? ARE TRAINEE SPACES INCLUSIVE ENOUGH FOR THE NEXT GENERATION OF FILMMAKERS TO MAKE IT THROUGH THE RANKS? The June 2022 Film and TV Charity Retention Report presented an overall consensus that the screen sector would be better off if older workers remained in the industry. Workers over 50 have fallen to a low of 20% and many credit their departure to the difficulty in balancing their professional and personal lives, or that they unable to keep up with the physical demands of the job.

“Labour shortages in the film and TV industry are occurring in the context of an overall UK workforce that has shrunk since the beginning of 2020,” stated the report. “So, without better retention, it may continue to be difficult to meet the staffing needs of the UK film and TV industry.”

Whilst those aged between 30 and 39 dominate the sampled workforce, with under 30s following closely behind, a new generation of workers is on the rise. There are concerns however about the speed at which the demographic is shifting, epecially because of the greater demand to fill more senior roles as those over 50 walk away.

But what is the reality for those who are having to step up to the plate? Camera trainees Isabella Thompson, Zoe Faynaud and Zaynah Javed, along with second AC and videographer Samara Addai, and first Ac Lou Macnamara, sat down with makers to let us know what is really going on.

“We are seeing lots of investment in studios and equipment rental companies but it’s not clear how sufficient crew are entering the industry and building the experience and training required to take up the increase in work this will bring,” commented Macnamara.

“Since the ease of the lockdown there has been a massive influx of shooting due to backlogged projects. Crew is needed more now than ever,” added Addai.

From 12 hour shoot days consisting of a range of responsibilities and sometimes trivial tasks, trainees are thrust into the thick of it. Whether freelance or as part of a programme, the journey to the top can be a slow burn.

“I feel like the film industry is a long game and you have to spend a lot of time learning about the craft and getting better at it,” commented Faynaud. “Knowledge definitely gets passed down to everyone on the camera team and you’re always learning more about new situations the more you get on set. So if you are learning then you are equipped. But everything takes time.”

“Networking is definitely a skill that needs to be harnessed,” stated Zaynah. “The connections you make with people are very important.”

With a shared understanding amongst those in entry level roles, many pass along their experiences with one another to perform better and progress onto their next roles. However, with older white males dominating higher positions, the culture divide is contributing to less comfortable environments and entrants are more likely to create spaces of their own.

Whilst organisations are being set up to welcome new comers into the industry, the issue of diversity and lack of inclusion is still a hindrance. The issue for trainees is not the lack of teaching. In fact, many actually say that they are learning a lot on their jobs.

“Unfortunately the film and television industry is incredibly competitive and still runs by traditional ways of working, which is inspired by the military, commented Addai. “So in turn, a lot of the current ideas of the visual industry are dated. Don’t get me wrong, there is a wonderful community of older folks who want nothing more than to support the next round of industry people. However, a lot of people have spent years building a career to get where they want, and have had to fight for it, so a lot of these people tend to feel suspicious of helping the next generation of film lovers. That means new content, new traditions and a whole new generation, which I think for some is a big pill to swallow. There needs to be more support.”

“Expertise is handed down informally on the job, a bit like an old fashioned apprentice system” added Macnamara. “Freelance Camera Assistants teach trainees while they are at work, until they are deemed able to “step up” and cover the 2nd AC for short periods of time. After getting enough experience on “dailies” work or short films as a 2nd AC, trainees

“WE ARE SEEING LOTS OF INVESTMENT IN STUDIOS AND EQUIPMENT RENTAL COMPANIES BUT IT’S NOT CLEAR HOW SUFFICIENT CREW ARE ENTERING THE INDUSTRY.”

A workshop led by Lou Macanamara & Samara Addai © Lou Macnamara.

THERE ARE A FEW SPECIALISED SHORT COURSES AND SCHEMES RUN BY GBCT, NFTS AND SCREENSKILLS, BUT THESE COURSES HAVE VERY HIGH DEMAND AND ARE EXPENSIVE FOR PARTICIPANTS.

Zaynah Javed & Jarlenn Severino testing out lenses © Lou Macnamara. progress to this next role when they feel ready to start pitching themselves as a professional 2nd AC and taking on jobs in this capacity. There is very little structure to this process or more formal education opportunities like workshops or courses. There are a few specialised short courses and schemes run by The Guild of British Camera Technicians (GBCT), The National Film and Television School (NFTS) and Screenskills, but these courses have very high demand and are mostly expensive for participants.”

The Creative Diversity Network’s fifth annual report saw 12.9% of Black, Asian and minority ethnic groups off screen, with those in higher positions performing even worse. Directors only include 9%, writers at 9.6%, producers at 10%, executive producers at 7.3%. and heads of production at 9.3%. Whilst making up 56.1% of non-senior roles, women only made up 33.4% of writers and 26% of directors in 2021, whilst offscreen representation from those identifying as transgender at 0.3%.

“A lot of people face personal attack on who they are, where they come from, and how they think, because this industry has not been inviting to a lot of people,” stated Addai. “I have seen and heard some people who dip their toe in, and then decide to leave because it is not what they expected it to be.”

“It can be hard to progress if you don’t fit a certain demographic in this industry”, added Macnamara. “A lot of the people with hiring power and management responsibilities have no training in doing this. Most hiring is very informal, based on word of mouth and in an department that is very dominated by cis white men from upper and middle class backgrounds. This often means unconscious bias leads to them hiring people who reflect their own identities.”

With a focus on finding the solutions to the base problem that is standing in the way of finding alternatives to the retention issue, a start has to be made. Addai and Macnamara are at the head for a series of workshops prioritising the voices of Black and POC women, trans and non-binary folx, queer folx, and disabled folx. In partnership with video equipment service company, the free workshops, provide trainees with an accessible support system, sharing their insight on how to navigate the industry.

“Personal support and guidance is what retains people’s passion for the jobs,” concluded Addai.

Macnamara added: “Making sure the workplace is accessible, trainees are paid properly and barriers like transportation if someone doesn’t drive don’t prevent people starting out from getting to work. Changing the narrative around an unhealthy working patterns by decreasing work hours would benefit everyone by making the industry more accessible for more people.

Screen Skills, whilst continuing to make their spaces as accessible to new entrants to the industry, are tackling the demand for more trained crew by offering opportunities for all. With their Higher-End TV Fund (HETV), Screen Skills invested GBP 10 million to combat the skills gap concern, funding training for upcoming industry professionals.

Supporting 1,400 people in 2022 through this programme, Screen Skills with their trainee finder programme creates a direct line of communication between industry professionals and an eager workforce.

As the argument for retention and building back the experienced workforce rises, other industry issues are broken open. With the need for more diverse spaces across the board, and the consequential impact that would have on creative more inclusive and accessible spaces for newcomers, the solution to the depleting workforce may have been there all along.

EDUCATION DIVERSITY

OPPORTUNITIES

“I HAVE SEEN AND HEARD SOME PEOPLE WHO DIP THEIR TOE IN, AND THEN DECIDE TO LEAVE BECAUSE IT IS NOT WHAT THEY EXPECTED IT TO BE.”