FIRESIDE CHAT INDUSTRY
but they often receive the least support themselves. Creating cohorts of senior women to share experiences, advice and challenges has been game changing. DEF: And where are you seeing genuine progress? KB: Female directors – especially in unscripted work – are increasing in number, which is brilliant. We’re seeing more female-founded companies across the UK too. And I think women are also getting bolder about saying: “This is what I do, and I can do it.” Rather than undermining themselves. This shift in confidence is significant. DEF: Has progress been linear, or does it move in cycles? KB: Right now it feels cyclical. With the downturn in the industry, so many freelancers are out of work and a lot of brilliant women are leaving. Other sectors with more stability and flexibility are benefitting from talent that we’ve spent years training. It is a huge waste. Conditions – especially the hours – are incredibly challenging for parents and carers. We’re at real risk of a talent drain. DEF: How would you describe the wider landscape of UK film and TV KB: Challenging. There are so many disruptive forces: changes in content consumption, the dominance of streamers, falling advertising revenue at the moment?
and shrinking budgets. And then there’s AI – which is reshaping everything from storytelling to production to audience engagement. We’ve launched a major survey on AI, and the resulting picture is completely polarised. Post-production is embracing it, while writers and actors are furious about it. Some people hope it will go away, but it won’t. Our role is to guide our members through the next two years: educating them about its impact, the ethical and rights issues and helping each role understand what AI means for them. I can see a gender gap forming in the uptake of AI. Historical issues about women in tech, and a sense that using it might be ‘cheating’, mean fewer women are engaging. The dataset biases are also huge. If you type ‘documentary filmmaker’ into an AI tool, it will likely show you a man with a camera. We can’t let women be left behind – or replaced by men who’ve embraced these tools faster. Upskilling is essential. DEF: What do you think organisations like broadcasters, streamers and production companies should prioritise if they want to nurture and retain female talent? these aren’t ‘women’s problems’ alone. Men can be extraordinary advocates by championing female colleagues and making sure female talent is always in the mix for jobs. Mentoring is also very powerful. Everyone can benefit from it. KB: Backing women. Supporting them properly. Recognising that
Setting up internal schemes helps women grow, be seen and stay.
DEF: WFTV’s mentoring scheme is highly regarded. What makes it
so effective?
KB: It’s been running for 16 years and is aimed at women mid- career who want to make a change – returning after children, moving from writing to directing or stepping up into new roles. They identify a clear goal, suggest someone who’s already done that journey and we match them. The mentor-mentee relationship is bespoke and driven by the mentee. Around that we build a toolbox: CV overhauls, finance sessions, personal branding, diversity, AI – whatever that cohort needs. Each mentee also gives a seminar on their area of expertise, which is like night school: you learn so much. The real magic, though, is the cohort. The groups bond and support each other for years, sometimes decades, sharing jobs, wins, worries and contacts. People tell us it’s life-changing, transformative and like an elixir. We create the network; they carry it forward. DEF: Finally, when you picture the future of film and television, what change would you most like to see? KB: Equity. A fair industry where talented, committed people get the same opportunities as everyone else and people are treated with kindness. It really is as simple as that.
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