The problem with who-you-know industries
13/August/2024
Like many sectors of the creative industries, film is an industry where who you know and financial independence more often than not dictate one's ability to get a foot in the door. If you are lucky enough to sneak into the industry, finding a continual flow of work is an endless battle plagued with uncertainty.
As a filmmaker who is yet to work on a feature film set and has only worked on short films and music videos, I write this article from the stance of someone looking into the industry, myself hoping to plonk my foot firmly into that door.
Unlike most industries where jobs, especially entry-level roles, are advertised, film rarely does this. Due to the fast-paced nature of Film Production companies, Producers and department heads, more often than not, hire based on word of mouth. Through talking to friends and colleagues who work within the industry both in the UK and Hollywood, it is clear this system is one which has become unofficially the norm and ingrained within the film industry. It is also something I am guilty of preferring to do myself when crewing up for my short films and music videos. I think this is the case for a number of reasons.
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Once you have built up a network of trusted professionals it is quicker, easier and more reliable to work with who you already know. A loyalty and sense of trust is built up where you know if
you hire this individual, they will perform their role to the standard needed. As with anyone you have worked with for a long time, you also develop a shorthand language and friendship with them which is one of the most valuable and important factors as days on set are often long, tiring and can be stressful.
With this said it is these very factors that have created an industry which can often feel closed, distant and somewhat mysterious when it comes to trying to enter as an outsider. This mixed with the financial uncertainty of unsteady work makes the film industry a daunting one, if not an unviable one for people wanting to enter from marginalized backgrounds. Recent research by the Creative Industries Policy and Evidence Centre has shown that six in 10 of all arts and culture workers in the UK now come from middle-class backgrounds compared with just over 42% of the wider workforce. The class divide in film is clear: 8% of creatives are from working-class backgrounds, while over 60% of people working in film, TV and radio are middle or upper-class – the biggest disparity in a decade.
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Even if you haven’t had the opportunity to talk with other young hopefuls working to enter the industry, this is a clear indicator that those from lower socioeconomic backgrounds are struggling to make a foothold within film and more needs to be done to create a fairer and more inclusive industry. Your ability to grow a career in film should not be determined by where you come from, how much money your parents earn or who you know. If you are talented, hard-working, passionate about the industry and love the collaborative nature of making a film with a like-minded team, then you should be able to find those opportunities.
There are organizations and charities doing great work to level the playing field within film, such as ScreenSkills and Creative Mentor Network. However, more needs to be done from both inside the industry and from governmental interventions. More trainee programs from streaming services, production companies and film studios need to be rolled out, offering entry-level roles
to young people who are passionate about getting into film. We should also create more programmes that introduce and educate school children about the vast roles needed in film
crews, including roles such as electricians, set accounts, various PA roles, craft services and transportation coordinators, to name a few. These are roles which are often overlooked but are vital to the smooth running of film productions.
A lot must be done, and it is no easy fix with issues and complex factors in multiple areas, however, if we can better educate children from all socioeconomic backgrounds about the wide range of opportunities within film, and then make sure the systems are in place for them to progress into the industry, we will see it a far stronger and more inclusive one. I am confident the future is bright for film, especially in the UK! In 2022, the UK spent £1.97 billion on film production, and in 2023, 207 films were put into production. Finally, most recently in March 2024, the UK government announced a package of measures to support the creative industries, including a 53% tax credit for independent films with budgets under £15 million and 40% relief on business rates for eligible film studios in England until 2034. Therefore the investment is there, the films are being made, and the government understands the industry's importance to the UK economy, we just need to work together to make the industry a more supportive and
fairer environment for those looking to enter.