BFI trials £1.5m initiative to improve workplace practices in UK screen sector

The BFI has introduced a £1.5m two-year pilot scheme that aims to encourage healthy workplace practices within the UK screen sector, titled ‘Work Wise For Screen’.

The scheme aims to support the industry to improve working culture, work-life balance, recruitment practices and contracting, and offer specific guidance on the Labour government’s incoming Employment Right’s Bill, which was unveiled last week.

The funding supports an online resource, led by consultancy Counterculture, that provides industry with practical resources and guidance. It is also supporting e-learning modules, HR training, a podcast and events programme.

“The sector needs to be more supported to get into the weeds more about certain areas of our employment legislation,” said Sara Whybrew, head of National Lottery Skills programmes.

“Specifically, there are changes coming linked to sexual harassment and the need to be pro-active about preventing that, rather than having procedures for dealing with it, which is the case currently. There has to be pro-active behaviour and actions linked to preventing sexual harassment in the workplace.”

Further changes Whybrew outlined from the Employment Rights Bill include ”banning zero hours contracts; ending bogus self employment; ensuring flexible working is available from day one; and establishing the single worker status [not currently in the bill, but understood to be revisited at a later date] which will combine employee status and worker status, to help remove some of the grey areas.

“What we want the programme to do is help the sector prepare and be on the front foot in terms of operating in line with incoming legislation, but in the process of that, what it also has the potential and power to do is ensure we’re encouraging and supporting fairer practices.”

It is supported by BFI National Lottery funding and targeted at screen sector small and medium-sized enterprises and heads of department, working across production, animation, VFX, gaming, distribution and exhibition. It is a free single point of access to resources and support. The offer will iterate as it responds to the industry’s requirements and the evolution of the Employment Rights Bill.

One key area for the pilot is training for management skills. ”We have a lot of people managing people in the sector who don’t necessarily realise that managing people is part of their function,” said Whybrew. “Managing people requires appropriate skills – we want to up recognition of having those skills. The same applies to inclusive leadership practice – the cultures of workforces are set by people who sit at the helm. We want to encourage and support the exploration of different ways of doing things.”

The BFI hopes this pilot will be complimentary to the Creative Industries Independent Standards Authority (CIISA), set to launch in early 2025.

“We are in close conversation with CIISA,” said Whybrew. ”CIISA is currently focused on bullying and harassment more specifically, not contracting practice, and certain employment legislation compliance. It’s a slightly different part of what we’re doing. Anti-bullying had harassment will absolutely feature in our programme, but what the programme will do is signpost to what’s out there. When CIISA is up and running, will signpost to CIISA, in the same way we’ll sign post the Film and TV Charity.”

The pilot follows recommendations from the Good Work Review, a creative industries report commissioned by DCMS and published in February 2023, and was created in consultation with industry stakeholders including Pact, the Production Guild of Great Britain, Creative UK, Bectu, ScreenSkills, the Independent Cinema Office and individual producers.

An evaluator at Edinburgh Napier University has been commissioned to measure the impact of the scheme.

Industry response

Joy Gharoro-Akpojotor, Fiona Lamptey, Rebecca O’Brien and Ivana MacKinnon were among the producers to welcome the initaitive. 

”We have a fantastic industry, full of wonderful people, but also an industry where everything is done with little time and money,” said O’Brien. ”No-one can argue with the concept of fair working practices - we all want that for ourselves and our employees. The reality of making a film – particularly an independent film – is incredibly pressurised, so support with contracting and HR policies, especially in light of new legislation, is needed.

“Creating a fair and inclusive work environment is not just about policies—it’s about fostering a culture where everyone feels they belong,” said Lamptey. “This initiative is a crucial step towards ensuring that every individual in the screen industry, regardless of their role or background, is seen, respected, and empowered to contribute their best.” 

”As an industry that relies so much on people, we don’t always put people first in our processes,” added Gharoro-Akpojotor. “As producers and storytellers, it’s our duty of care to ensure that those working behind and on screen should have access to adequate resources in order to create a more sustainable working environment.” 

MacKinnon added: ”We fully support an industry-wide conversation around issues of wellbeing and sustainability in the workplace and how the industry as a whole can strive together to make our workplaces happier and more productive.”

This story originally appeared on our sister site Screen

• UK Production Guild announces new equality, diversity, and inclusion committee