SUSTA INAB I L I T Y ROUND TABL E INDUS TRY.
signal to suppliers that the demand for a product is there, even if it’s still relatively scarce or high cost. Every individual on a production has a responsibility to consider ways of reducing their impact, but culture change ultimately comes from the top of an organisation. It’s hugely important that those in leadership positions are driving this shift. MCENALLAY: Offsetting – in any industry – is only a short-term solution. It doesn’t promote behaviour change and the offset market is controversial, as it can be about just paying to shift responsibility. Everyone should be responsible, but not everyone on a production has authority to make these changes. Maybe sustainability champions are useful in the short term, until sustainable choices become more mainstream, as a way of prioritising this area. However, they need to be brought on board at the planning stage to have any impact. Nearly all the challenges could be improved by better international collaboration, but that’s not an issue specific to film. Making the commitment to going green is often challenged by cost, but what is the reality of this measure? BALL: We know these efforts are essential and costs will come down as green approaches become the norm. However, ‘green’ is not always more expensive. We’ve seen big reductions in emissions from ensuring journeys are planned, reducing mileage, pre-ordering meals, cutting food waste and, of course, reusing materials is cheaper than buying new every time. It’s also important to get accounts on board with sustainability, to track costs and savings and fully understand the net impact. MARGRETT: Often in free-market economies, early adopters can be hit by up-front costs, but in many cases the reduced long-term running costs help to pay these back. For example, studies show that the lifetime cost of an electric- powered car is cheaper than a comparable petrol model. We have a number of case studies on our website which show how productions can save money by ‘going green’ and making some changes to the way they do things. The biggest cost savings can be made by productions reducing their international travel, working with local crews and hiring equipment locally, too. Similarly, switching to house power and reducing the reliance on generators in a studio can cut down on fuel costs. MCENALLAY: It all depends how you define cost. For example, LED lights can be more expensive to hire than traditional
journey, to understand the challenges and opportunities. We also ask for a green memo to be sent out before production has started, clearly illustrating their intentions for that production – making sure there’s buy-in from all cast and crew. This memo should come from someone high up in the organisation to really signal senior-level support for embedding sustainability. In our production toolkit, although a coordinator or manager will be filling out the details on the system, it is mandatory that there is a senior person accountable for implementing agreed sustainable goals. The person filling out the Albert carbon action plan will also need to refer to heads of departments throughout the production, to gather data and ensure sustainability commitments are being met across the board. At COP26 last year, we launched a Climate Content Pledge which was signed by CEOs from across the major broadcasters and streamers in the UK and Ireland, so we know there’s now buy in from the top. MCENALLAY: It’s a process, and senior staff need to buy into sustainability as a priority in order for a sustainability coordinator to be effective – otherwise it’s a waste of time and frustrating for everyone. It will get easier, as sustainable options become more mainstream. So now that LED lights are the right tool for the job, the lighting department will be more sustainable by default.
lights, but if you don’t need a generator, or an enormous Luton van, or multiple makeup and costume changes to allow for hot film lights, you are making savings. If you don’t require plastic gels because the light has RGB capacity, or polyboard because you are using a folding Manfrotto Skylite rapid reflector instead, then you reduce transport costs and waste. How do we ensure that everyone working on productions is on the same page? I understand that there are green runners or sustainability coordinators, but many have spoken about how their authority is often undermined when they are on tremendous sets with a large cast and crew. Does there need to be more awareness? And, if so, how can this be achieved? BALL: Increasing internal resources, awareness and expertise are essential steps, but equally important are the messages coming from the top. At Sky, our leadership has maintained sustainability as a top priority, central to our business. We have made our own sustainable production guidelines available, unbranded, through Creative UK for anybody to take and adapt for their own production needs. MARGRETT: At Albert, we advocate for guidance for all levels – we offer free training, which can be done by everyone, from a runner to a CEO. It’s a great way for all staff to kick off their sustainable
35. MARCH 2022
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