Accessibility
Introduction
We have an industry-wide problem with regards to Diversity. By making productions more accessible we not only create the possibility of expanding the workforce, we’re also taking a practical approach to diversifying the workforce. As an industry we can and must take action to include the 24% of persons in the UK with disability. We must be more active and that is done by Anticipating, Asking, Assessing, Adjusting and Advocating, as outlined by The TV Access Project (TAP) in the Five As.
In 2021, Jack Thorne’s MacTaggart Lecture at the Edinburgh TV Festival lambasted the media industry’s lack of disability representation on screen and the paucity of employment opportunities behind the camera for people who are Deaf, Disabled and/or Neurodivergent (DDN). From Jack’s speech and the campaign by Underlying Health Condition (UHC) came the role of Access Coordinator.
Disability is a spectrum. To paraphrase the UK’s Equality Act 2010, someone is disabled if they have one or more physical or mental conditions that are long-lasting and have a substantial adverse effect on day-to-day activities. This covers a wide and diverse range of conditions, impairments, injuries and illnesses, including those which are not immediately apparent such as mental health conditions, chronic conditions, neurodivergence or learning disabilities or difficulties.
It is for each person to decide if they identify as disabled under this definition. Many people have conditions or impairments which are not immediately apparent to an outside observer but definitely entitle them to identify as disabled. Some have conditions or impairments which, to an outside observer, might meet the criteria and will choose not to identify as disabled. Others may choose not to disclose or share openly that they are disabled. Please note, you may still have legal duties towards all these groups under the Equality Act 2010.
In this section the term 'disabled' has been used, which also includes those who are deaf and/or neurodivergent. We recognise that some people prefer to use the full term 'deaf, disabled and/or neurodivergent', or other terminology – and that terminology changes over time.*
Below are details that we hope will support and potentially add to the positive actions already being taken around accessibility. Links have been provided if there is only one site. However, if there are multiple options the links to anything referenced below can be found in the Bibliography and also the Directory section of this resource.
*Quote from Jack Thorne talking on John August, paraphrasing as per the BBC website page on standards for disability inclusion.
Policies, Guidelines & Best Practice
| Policies, Guidelines & Best Practice | Description |
|---|---|
| Best Practice Inclusivity One-Pager/Guideline |
A one page mission statement could be sent out as well as the below documents that outline the SPV’s commitment to be an inclusive and accessible workplace for all and signposts to the Equality Act 2010. Click here for an example from the Film and TV Charity's Whole Picture Toolkit. |
| Diversity, Equity and Inclusion Policy for SPV |
To circulate to all cast and crew |
| Equality Act 2010 (Policy) |
To circulate to all cast and crew. The Act provides a legal framework to protect the rights of individuals and advance equality of opportunity for all. It provides Britain with a discrimination law which protects individuals from unfair treatment and promotes a fair and more equal society. The nine main pieces of legislation that have merged are:
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TV Access Project 5As Guidelines |
The 5As are: Anticipate, Ask, Assess, Adjust, Advocate. In order to ensure the full and equal inclusion of Deaf, Disabled and/or Neurodivergent talent, both behind and in front of the camera, the TV Access Project (TAP) produced a set of simple guidelines and principles which any organisation in the industry is welcome to adopt. |
| Access Rider Best Practice |
As an optimal step following implementation of The 5As your production may wish to develop an Access Rider to circulate to cast and crew. Some talent may have their own, so it would be best practice to discuss within normal accessibility conversations, but to offer to the whole crew. Click here for an example of an Access Rider. |
Training
The below listings are included in all the totals of the Example Tables of Indicative Allowances:
| Training | Description | Band 1 | Band 2 | Band 3 | Band 4 |
|---|---|---|---|---|---|
| ScreenSkills Neurodivergence and Inclusion in the Screen Industries: Leaders and Managers | This course focuses on the role that screen industry professionals can play to ensure inclusion for people from neurodivergent communities, in particular those professionals in management roles who can help shape company policies and practices. | Online ScreenSkills Module - free of charge (FOC) | |||
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ScreenSkills Deaf Awareness Training |
For all HETV freelancers. Training to be taken where appropriate. | Online ScreenSkills Module - FOC | |||
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ScreenSkills Disability Awareness for Hirers Training |
For all HETV freelancers. Training to be taken annually by (at least) executives, script team, management, HOD's and supervisors. | Online ScreenSkills Module - FOC | |||
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ScreenSkills E-learning: Diversity, Equity and Inclusion Training |
For all HETV freelancers. Training to be taken annually by all executives, writers and crew. | Online ScreenSkills Module - FOC | |||
| Access Representative |
Regular emails to crew throughout prep about Access requirements and details of appointed Access Representative. If this is not an Access Coordinator, then it should be a senior member of production management. Note on every call sheet re: access requirements. |
Carried out by Access Coordinator or member of the Production team | |||
| Jack Thorne MacTaggart Lecture | To circulate to all cast and crew. A powerful speech by one of the most successful screenwriters of our times highlighting the importance to focus our energies and efforts to include disabled crew and talent on productions. |
Available to watch via the Edinburgh TV Festival YouTube channel. | |||
| Access Ally Training |
In-depth Access training carried out at the start of production with the individual in the production department who will be liaising with the Access Coordinator. Training addressed to the Appointed Crew Member dealing with Production Access. The Training should cover:
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£500.00 - £750.00 per session. Basic allow would be one Session. Indicative Range: £500.00 - £750.00 |
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| Creative Diversity Network Training |
Available for individuals or organisations to learn practical measures to implement The 5As, be an accessible production and to understand disability representation. |
£1,500.00 per session for organisations £100.00 for individuals (subsidies available) |
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Initiatives
The below listings are included in all the totals of the Example Tables of Indicative Allowances:
| Service | Description | Band 1 | Band 2 | Band 3 | Band 4 |
|---|---|---|---|---|---|
| Targeted Recruitment | Allowance for targeted advertising from companies working specifically in the fields. Some are free, others charge a fee or percentage. Lots of organisations provide this service. Your investment will vary depending on your requirements and what networks you already have access to. | Indicative Range: £500.00 - £1,500.00 | |||
| Access Audit |
Carries out in-person review of studios/offices and stages/builds Informs of requirements to be legally compliant, as well as proposing additional measures Carried out by trained professionals (not part of Access Coordinator role) |
Indicative Range: £1,000.00 - £1,500.00 per day. Allow 3 days - one day review prior to signing agreement with your chosen studio, one day when production is in and builds are underway, one day for write up). Indicative Total: £3,000.00 - £4,500.00 Does not include travel or accommodation if required |
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| Access Coordinator (Prep/ Post) |
The above are the basic actions of the Access Coordinator during prep. If a production has crew or cast with known disabilities the requirements and employment period might increase. |
£300 - £450 day Allow 3 Days Indicative Range: £1,200.00 - £1,350.00 Rates vary depending on experience. |
£350 - £500 day Allow 5 Days Indicative Range: £1,750.00 - £2,500.00 Rates vary depending on experience. |
£400 - £650 day Allow 8 Days Indicative Range: £3,200.00 - £5,200.00 Rates vary depending on experience. |
£500 - £800 day Allow 8 Days Indicative Range: Rates vary depending on experience. |
| Service | Description | Band 1 | Band 2 | Band 3 | Band 4 |
|---|---|---|---|---|---|
| Access Coordinator (Pre-Prep) |
It may be that the work in development covers this depending on who is in the writers’ room. However, if there are significant updates to the scripts and production process then there is great value in having a second review. Much as you would with a second pass of a production schedule or budget once the Line Producer and 1st AD are on board. |
£250.00 - £400.00 per episode. Indicative Range (minimum 6 episodes, maximum 8 Episodes): £1,500.00 - £3,200.00. •Rates vary depending on experience and requirements. *The HETV Skills Fund has funding available for placements for a cohort who have recently completed Access Coordinator Training. N.B These funds are limited so productions might budget to pay for Access Coordinators. |
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| Access Coordinator (Shoot/Wrap) |
Allowance for support of cast and crew during principal photography and wrap. *Dependent on how many cast/crew require support An Access Coordinator can of course be brought on full-time. These weekly rates (right) should be independently negotiated based on requirements and band of production. |
£300 - £450 per day. Estimated cost to Production: £3,000 - £4,500 |
£400 - £800 per day. Allow 2 Days per week throughout production. Estimated cost to production: £8,000 - £16,000 |
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The below listings are not included in the Example Table of Indicative Allowances as they are bespoke services.
| Service | Description | Band 1 | Band 2 | Band 3 | Band 4 |
|---|---|---|---|---|---|
| Access Coordinator – Additional Services |
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Quote tailored to project requirements. | |||
| Reasonable Adjustments |
Recommended budget allowance for reasonable adjustments. This is part of Employment Law. Reasonable adjustments are changes an employer makes to remove or reduce a disadvantage related to someone's disability. For example:
Reasonable adjustments are specific to an individual person. They can cover any area of work. It's not enough for employers to provide disabled people with exactly the same working conditions as non-disabled people. Employers must make reasonable adjustments by law. Some disabled people might not need or want adjustments, although this might change over time. |
Tailored to project requirements. However, an allowance should be made in the budget. |
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Please note: HETV Skills Fund training courses are regularly reviewed and new training programmes are commissioned each Spring following the convening of the 12 industry working groups and their discussions and recommendations based on the annual HETV Skills research. The details included in this resource about available ScreenSkills HETV courses should not be seen as definitive so please check with the HETV Skills Fund Team about training available for your production.
ScreenSkills delivers annual DEI training for productions and freelancers in line with industry need. Please check their Training and Opportunities page for the latest updates.