UK TV and film directors are facing financial instability due to irregular employment and a reduction in opportunities to work and earn, according to new research.
The independent survey of UK TV and film directors – conducted by CREATe, the Centre for Regulation of the Creative Economy based at the University of Glasgow, and commissioned by Directors UK – found that 78% of directors feel that their income is unstable. The report also highlights poor working practices.
Looking at the financial year 2022/2023, the survey found that 32% of directors undertook non-paid creative work, such as developing new ideas or writing scripts, showing that a significant part of their working time is dedicated to invisible, unpaid labour.
39% of directors reported that the value of residuals and royalties have decreased – a particular challenge being the change in how directors are compensated for the use of their work in a digital market.
Andy Harrower, Directors UK CEO said: “With employment being so unpredictable, and opportunities to work as a director decreasing, our members are finding the instability of work challenging, which is why royalties are extremely important to make directing a viable and sustainable career. Collecting and paying out the royalties directors are due is at the heart of what Directors UK does. The survey tells us that programmes we all enjoy watching are made by directors that are working long, often unpaid hours, with no idea where the next job is coming from. That is why we continue to fight for directors’ rights to be recognised. The work that they do must be fairly remunerated.”
Natasha Moore, Head of Insight at Directors UK said: “The drop in programme commissioning by UK broadcasters, and their focus on making fewer works with greater commercial appeal has been widely reported across industry press. And directors tell us there’s greater competition for work and lower budgets on projects. What we couldn’t show until now, was the impact this shift was having on the economic stability of directors. The numbers in this independent report are sobering. How can anyone secure, or regularly pay, a mortgage if the income they get is unreliable, unpredictable, and there are long periods of unemployment? A steady income that enables people to plan their lives shouldn’t be exceptional, but this report shows that for directors, it is.”
The survey also found that when directors are in work, 56% report working 41-60 hours a week, with 31% exceeding 60 hours, and some even noting 17-hour work days.
In response to the survey, directors shared their concerns around the hiring and working practices of the industry.
“You can’t push back on things. If you do and it upsets someone, they’ll find some reason to get rid of you, because someone else will do it.”
“There’s some traumatic moments that should be in a courtroom, but you have to go with it. Because if you make waves you might not work again.”
“I or anyone else in the industry, can’t afford to make an enemy of any company, no matter how badly you’ve been treated.”
“Even when I’ve signed the contract, I still don’t believe that I’m 100% going to do that job until it is day one. Even the day before, I should be starting the job tomorrow. But I also could not be.”
The report also highlights the lack of diversity among directors.
CREATe’s Dr Amy Thomas and Dr Arthur Ehlinger, who led the reports, noted: “Compared with other creative industries we have surveyed, directors are among the least inclusive and diverse. For example, only 31% of directors are women, 6% of directors have a disability, and more than half come from a socio-economic background with the highest levels of privilege. This tells us that people without financial safety nets, or who require any kind of flexibility for project-based work, cannot sustain themselves in an industry where irregular income is pervasive.”
The report concludes its findings by stating that “while the industry is undergoing important changes, addressing the working conditions of directors offers a valuable opportunity to strengthen the sector’s resilience. By ensuring fairer contracts, equitable pay structures, and sustainable employment practices, the audiovisual industry can not only support its creative workforce but also position itself for long-term growth and competitiveness.”
Jon Creamer
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