Standard B: Creative leadership and project team

From Heads of Departments, creative leadership to secondary and junior roles across the board, this standard addresses the inclusion the creation of regional employment outside of Greater London and the south-east of England.

Intersectional representation is a vital consideration in this Standard to reflect opportunities to those possessing multiple layers of under-representation (such as Black and Global Majority women, younger LGBTQIA+ people from lower socioeconomic backgrounds, etc.).

At the same time, avoiding stereotypical representation and breaking gender stereotypes for certain roles is important. It will also consider roles designed to ensure the safeguarding and protection of its team especially those from vulnerable and/or under-represented groups.

If applying in pre-production, where roles have yet to be confirmed, provide details of the roles that will be offered, any shortlisted crew and the approach to recruitment for these roles. For example, the types of outreach, as well as barriers removed.

Include information on additional support for access requirements, including travel, and interventions being made for primary caregivers, for example, job-share opportunities, on-set childcare, and flexible working arrangements. 

For all criteria within this standard, the overall size of the film project will be taken into account.

Where the total crew or project team size is less than 25, concessions may be made, particularly in terms of number of individuals required to meet a criteria. Such film projects with smaller teams would need to provide as much information as possible against the relevant criteria in their application.

Future Takes projects should respond to the full criteria, but allowances may be made. 

Other shorts are expected to respond with a summary of how they meet the aims of this Standard overall.

Completing this Standard does not require naming any individuals.

Standard B contents

• B1 – Department heads (you must meet this criteria)
• B2 – Other key roles (you must meet this criteria)
• B3 – Other project team members
• B4 – Regional employment
• B5 – Duty of care policies
• B6 – Duty of care roles

B1 – Department heads (mandatory)

This criteria relates to the leaders across every department working on the film.

Criteria

At least three of the heads of department and/or creative leadership are from an under-represented group(s).

Guidance

Individuals in lead creative and decision-making roles will address under-representation in a meaningful way.

At least three of the following roles are from an under-represented group(s):

1st assistant director; animation director; casting director; composer; costume designer; creative director; director; director of photography; editor;;gaffer; grip; hair and make-up designer; head of production; head of safe-guarding; line producer, location manager; music supervisor; post-production supervisor; producer; production accountant; production designer; production executive; screenwriter; script supervisor; senior animator; sound mixer; storyboard supervisor; technical director; VFX supervisor; head of VFX.

Projects are encouraged to diversify the core triangle of writer, producer and director to ensure these roles are filled by individuals from under-represented groups.  

Concessions may be made for applications from projects with very small teams.

Note on roles

B2 – Other key roles (mandatory)

This criteria relates to the mid-level and other technical roles across every department working on the film.

Criteria

At least six other key roles (mid-level crew, project team and technical positions) are filled by someone from an under-represented group(s).

Guidance

Individuals in secondary roles could be a mix of seniorities including mid-level crew, project team members, and/or technical positions, who address under-representation in a meaningful way.

They are not considered to be a head of department. Second tier roles should also be included where the size of the team or the division of duties within the project warrants their addition.

At least six of the following roles (or similar) are from an under-represented group(s).

Examples include but are not limited to:

1st assistant editor; 2nd assistant director; animators; art director; best boy; camera operator; character designer; compositors; construction manager; costume supervisor; floor manager; focus puller; hair and make- up supervisor; key stunt performer; lighting roles; lighting technician; modelling roles; music editor; pre-visualisation roles; production co-ordinator; production manager; prop design and build props master; prosthetics designer; puppet fabrication; rendering roles; rigging roles; set decorator; set design and build; SFX supervisor; sound editor; special supervisors and consultants (e.g. water, combat and acting coaches); storyboard artist; storyboard assistant; studio manager; stunt coordinator.

Note on roles: If a role does not fall under any of the titles above and/or if there is a role of equal prominence and that addresses under-representation in a meaningful way, this can be outlined here.

We would ask that you consider consistently under-represented groups and their intersections where possible, meaning individuals from multiple under-represented groups and particular roles and departments where there are few people from specific under-represented groups.

For example, there is a lack in our industry of women in technical roles, disabled talent across the board and ethnically diverse producers — think about how your selections here might help to increase representation in these roles and for people from these under-represented groups.

B3 – Other project team members

This criteria relates to the overall make-up of the filmmaking team.

Criteria

The overall make-up of the film’s team meets one, or more, of the following targets:

• 50% gender (50-50 balance of men and women identifying within the gender binary)
• 40% ethnically diverse (London)
• 30% ethnically diverse (UK-wide)
• 10% LGBTQIA+ (including those outside the gender binary)
• 18% disability (including those with a longstanding physical or mental condition and those identifying as D/deaf or neurodiverse)
• 39% working class background 
• a significant number are based in the UK outside of London and the South East of England

Guidance

The entire project team involved in the making of the film represent diversity per the criteria to meet the outlined percentages. Since this requires diversity information on all of the crew and/or project team members, it is suggested that this is collected upon contracting them.

In the event the film is yet to fully crew up, provide a statement outlining intended recruitment processes that go above and beyond traditional methods for example, targeted outreach or inclusive language in the job description.

B4 – Regional employment

This criteria relates to the hiring crew or project team members from local nations and regions.

Criteria

The film offers local employment in the UK outside of Greater London and the South East of England. 

Guidance

Demonstrate that the film has created employment and work opportunities in the UK outside of Greater London and the South East of England.

This includes all stages of production and may comprise of multiple areas/regions.

Where work is taking place in relevant areas of the UK, indicate the region and the type of work taking place there.

In the event of filming taking place both in and outside of Greater London, outline what portion of the film will be shot outside Greater London and detail the amount of local employment created (for example, rough estimate of the budget, number of jobs involved). 

Having the production company located outside of Greater London is not enough in itself to meet B4, the filmmakers will also need to demonstrate that substantial local employment is created through the film. 

The following examples would not meet this criteria:

• work at major studios in the south-east of England such as Leavesden, Pinewood, Shepperton, Longcross and Ealing.
• hiring local crew and/or project team in a non-UK film project. However, such individuals can count towards other criteria in Standards B and C if they are from under-represented groups. 

Greater London is defined as the area governed by the Greater London Authority, comprising 32 boroughs plus the City of London. Find out which areas comprise the Greater London area.

B5 – Duty of care policies

This criteria relates to the safeguarding policies and guidance for everyone involved in the film project.

Criteria

There are policies and initiatives in place to ensure appropriate monitoring and safeguarding of everyone involved in the making of the film, especially vulnerable and under-represented groups. 

Guidance

Demonstrate policies, processes, and practices to foster a safe, positive, healthy, and supportive working culture. Include details of all initiatives related to establishing ways of working, rules, and guidelines aligned with values and expectations to foster a positive workplace culture. Professionals that provide proper advice and on-set guidance are covered in B6. 

Examples of formal documentation and related practices include but are not limited to: 

• adoption of BFI’s Dignity at Work Policy and Prevention of Bullying, Harassment and Racism Guidance and similar guidelines 
• equality, Equity and Discrimination policies, especially when hiring  
• related Disciplinary and Grievance procedures  
• mediation interventions and channels  
• onboarding and induction for all team members and service providers on these policies and guidelines

Note: A film project may be visited or further enquiries made to ensure that these policies and practices are in place and are being adhered to properly.

B6 – Duty of care roles

This criteria relates to any safeguarding roles or other senior team members responsible for any safeguarding policies.

Criteria

There are designated senior level roles assigned to ensure appropriate monitoring and safeguarding of everyone involved in the making of the film, especially vulnerable and under-represented groups. 

Guidance

In addition to B5, the film must ensure that all involved, especially vulnerable and under-represented groups, are safeguarded, protected, and treated correctly in line with BFI’s Dignity at Work Policy and Prevention of Bullying, Harassment and Racism Guidance. 

Duty of Care roles must be operating at a senior level, equivalent to a head of department or key project team role that carries proper autonomy and accountability.

Provide details outlining intent and investment in how Duty of Care roles are (or will be) addressed.

Proper onboarding is compulsory for all appointed in any of these roles towards providing clarity at the outset for the film project’s values and expectations of safeguarding everyone.

These roles will ensure and safeguard the following (non-exhaustive list):

• bullying and harassment
• psychological safety and mental health
• wellbeing facilitator
• anti-discrimination; zero tolerance for racism, sexism, ableism, classism, ageism, homophobia, transphobia  and any other forms of discrimination.
• accessibility coordinator for accessibility and specific considerations
• reporting grievances or complaints

Additionally, film projects may consider the services of a dedicated ‘Diversity Marshal’, someone who can be available to provide advice to the leadership across all areas, to further ensure that all projects are committed to creating diverse, inclusive, and accessible workspaces.

Having a dedicated person can provide the necessary professional level input, guidance, and accountability. 

The film project could also appoint an existing team member in a related role, or someone who has the ability, seniority, autonomy, and capacity to act as a safeguarding representative who is also well-versed with the overall policies around non-discrimination, bullying and harassment, zero-tolerance commitments, codes of conduct, and emergency contacts.

Note: Criteria C6 (Upskilling) can provide a sustainable revenue stream to fund the training and development of the professionals leading in these roles.