CAREERS
who are in casting, we have directors, producers. There is an entire network.” “The joyous thing is the community element of it, and finding solace in other people who have experienced similar things,” admits Arnold. “Having people that just get it is so refreshing.” ALL ABOUT ACCESS What started as an online forum quickly evolved into something much greater. Arnold considers her work with DDPTV twofold – internal and external. The internal side involves hosting networking events, while the external side includes liaising with studios and working to increase industry representation. DDPTV collaborates regularly with the BBC and Channel 4. Events like Channel 4’s ‘speed-networking’ scheme have been “brilliant,” says Arnold, “because they’re a quick way of meeting people – and jobs come out of it.” Pheby echoes this sentiment: “Our members are getting work out of these events. You can see these career paths – you can actually see it happening.” DDPTV is part of the TV Access Project, a programme created by Jack Thorne to increase accessibility. “He held up a mirror to the industry and said, ‘Look how shit you’re treating the disabled people,’” Arnold summarises. “It’s been the start of an incredible journey. We are fundamentally changing the industry from the inside out.” ‘Access’ is not a uni-dimensional concept. In certain ways, “it’s about transparency,” explains Arnold, especially in how jobs are advertised. In other ways, it’s about funding – funding which will ultimately go towards installing wheelchair-friendly facilities and hiring access coordinators. “Promises are being made by everybody to create better representation,” Arnold points out, “and we’re holding studios and post- production spaces to account.”
started, lots of conversations were around the fact people were being discriminated against,” says Pheby. Members would discuss rates, transport, interviews and so on. “This is what’s so good about the group – people being so open,” explains Pheby. “We’re seeing more and more people coming out,” Pheby continues. “It’s surprising that people I’ve known for years have ‘come out’ as disabled.” But as someone with an invisible disability, Pheby understands why some might prefer to stay ‘closeted’ – to avoid being treated differently. “I’m privileged that I’m able to turn up, and people don’t necessarily see my disability,” he shares. “I can not talk about it if I choose.” That’s why it’s so important to create change – to increase understanding and stamp out stigma. Pheby urges everyone to “research the social model of disability, and don’t make assumptions.” Of course, the onus shouldn’t fall solely on the individual. “It’s important to have people who are at the senior level, to filter that change downwards,” argues Arnold. “For me as a producer, any production I work on I make sure is fully accessible. It’s hard to do that when everybody’s junior.” HERE TO STAY The production industry faces turbulence, exacerbated by strikes and the cost-of- living crisis. “We’re going to lose amazing talent because people are going to get other jobs,” stresses Arnold. “Disabled people are normally the first to go,” she
explains, because they’re not receiving ample support. “We’re constantly fighting for basic rights, while also ensuring that we’re not being a burden.” There is demand for deaf, disabled and neurodivergent employees – but they can’t be made to order. “Suddenly, you’re getting calls saying, ‘I really want a visually impaired sound recordist,’” describes Pheby, “and you’re saying, ‘Well, actually there aren’t that many of them. You haven’t been looking after them for the last ten, 15, 20 years.” Retention is an industry-wide issue, identity and access aside. “People are coming in, but we need things in place to keep good talent.” HIGH HOPES DDPTV’s directors have produced some impressive projects, including Then Barbara Met Alan , a fictionalised account of Disabled People’s Direct Action Network (DAN) founders Barbara Lisicki and Alan Holdsworth. “I’m working on two projects that both have disabled leads, which I’m really, really excited about,” gushes Arnold. She and Pheby also allude to some upcoming DDPTV events – the details of which are still under wraps. Despite struggles and setbacks, Arnold and Pheby are wholly positive about where the industry’s headed. “It actually feels like there’s a change coming,” says Arnold. “It’s an exciting time for those who are deaf, disabled and neurodivergent.” The organisation continues to grow as word spreads. To those interested in joining, Arnold promises: “There’s a community out there for you. There is a space for you in this industry.”
OUT IN THE OPEN If the production industry were perfect, DDPTV might not exist. “When the group
STRONG ADVOCATES Bryony Arnold (top left) is a drama producer whose credits include Peaky Blinders. Charlie Pheby (top right) is an executive talent and casting director
Learn more at ddptv.org
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