Business, Innovation and Skills CommitteeWritten evidence submitted by Pact

Executive Summary

The television and film production sectors are diverse industries where many women hold senior-level positions.

Pact is concerned about the inequalities in pay between men and women working in this sector. However, further analysis is required to find out more about the reasons behind these differences.

Pact does not consider that legislative quotas are the most appropriate means of promoting gender diversity in the television and film sectors.

Rather we support many industry measures to promote diversity of access and opportunity within the creative industries.

We believe that the best way to encourage greater access for women in the workplace is by helping to promote the many advantages which this brings to businesses with the premise that equality is good for business.

Pact will continue to lead and support industry-led schemes and incentives to promote gender equality in the workplace.

The Government could support working parents further by providing additional support for childcare, especially for people who regularly have to work outside of normal office hours, including evenings and weekends.

Introduction

1. Pact is the trade association which represents the commercial interests of the independent production sector. The sector produces and distributes approximately half of all new UK television programmes1 as well as content in digital media and feature film.

2. The UK independent television sector is one of the biggest in the world, with revenues of nearly £2.4 billion in 2011.2 The sector employs more people than the television divisions of the BBC, ITV, Channel 4 and Five combined.3

3. Pact’s remit is to work on behalf of independent film, television and new media producers to ensure the best legal, regulatory and economic environment for growth in this sector.

4. One of Pact’s core principles is to promote social responsibility within the independent production sector. Encouraging and supporting diversity in the workplace forms an important part or this goal.

Women in the Independent Production Sector

1.1 Film and television are exciting industries to work in. They are sectors which attract a significant amount of new talent each year in a wide range of posts with different levels of experience.

1.2 According to a report by Creative Skillset which was published in September 2010, 42% of the creative media industry’s workforce is female, compared with 46% of the workforce across the wider economy.4

1.3 The report found that within the creative sector, the industries with more stable, permanent (rather than freelance) employment models had the largest representation of women. For example, almost half (48%) of people working in terrestrial television were women, with a similar picture in broadcast radio (47%).

1.4 Pact is concerned that the report highlighted a decline in the number of women working in the independent television sector between 2006, when 46% of the sector were women, to 2009, when the figure was 38%.

1.5 In film, according to the latest Creative Skillset Creative Media Workforce Survey (from 2010, another survey is due to be published shortly), 22% of employees and 39% of freelancers working in the UK film industry were female.5

1.6 According to the figures collected by the BFI, of the films released in cinemas in the UK in 2011 only 18.9% of the writers and 15% of the directors on these productions were women.6

1.7 Whereas this data is extremely helpful in identifying the number of women working in the film and television industries at a given point in time, it is extremely difficult to gather detailed analysis on the reasons why fewer women than men are working in the sector.

1.8 However in order to tackle any barriers to women working in the sector there is a strong need for more robust data and information about women’s experience in the workplace and the reasons behind differences in pay and working hours, for example.

1.9 Pact considers the issue of gender equality to be extremely important. As such, we have a full-time diversity advisor whose role is to promote equality issues within the sector and to encourage and support independent producers in working together to combat discrimination and ensure fair access to work for all.

1.10 Pact also supports relevant campaigns by organisations such as Women in Film and Television (WFTV), Creative Skillset and the Creative Diversity Network (CDN) to promote equality of access and conditions for women working in the television and film sectors.

Question 1: Do the Gender Equality Duty and the Equality Act go far enough in tackling inequalities such as gender pay gap and job segregation between men and women in the workplace?

1.11 We were extremely concerned by the significant disparity in pay between men and women which was highlighted in a 2010 Creative Skillset report. It reported that in 2009, the average salary of a man working in the television industry was £38,930, whereas the average salary for a woman was £32,341.

1.12 Unfortunately, we do not have comparable data to be able to assess whether this gap has narrowed since the introduction of the Equality Act in 2010.

1.13 Furthermore, we do not have the necessary information to identify the reasons why the average salary for women is lower than for men. It is possible that this is due to more women than men working part time, or working fewer hours if they are freelancers.

1.14 The next Creative Skillset workforce survey is due to be published shortly. We look forward to seeing if and how the pay gap between men and women has changed in the television sector since this legislation was introduced and to consider some of the reasons behind this difference, if the data is available.

Question 2: What steps should be taken to provide greater transparency on pay and other issues such as workforce composition?

1.15 As with other sectors, remuneration and benefit levels differ significantly depending on factors such as the circumstances of the hiring company, the type of contract issued, the number of hours worked and the individual’s level of experience.

1.16 There are, however, some publicly available sources of information which help to provide transparency and which individual’s can use these as a benchmark to compare how their salary matches with sector averages for their role.

1.17 One such benchmark is the Televisual Annual Pay Survey. Now in its 17th year, the survey breaks down the average salary of respondents in different roles—from runners to more senior production staff such as executive producers, managing directors and commissioning editors.

1.18 As with the earlier Skillset survey, we are concerned that the average salary for women working in the television sector (£49,000) was considerably lower than that of men (£56,000).7

1.19 However as stated above, the Televisual survey does not include analysis on the possible reasons for this pay gap between men and women.

Question 3: What has been the impact of the current economic crisis on female employment and wage levels?

1.20 Pact considers that the economic crisis is likely to have had a mixed effect on female employment and wage levels in the television and film production sector.

1.21 Overall, the UK independent production sector has bucked the economic trend with year-on-year revenue growth.

1.22 This has been driven by UK independent producers working harder to seek additional revenue streams to become co-investors in their content to meet funding deficits and get their programmes made.

1.23 We do not yet have reliable data on the impact which this has had on the workforce in this sector. A significant proportion of respondents to the Televisual survey (46%) claimed that their earnings rose year-on-year between 2011 and 2012. However we do not know whether there was any gender differentiation in this rise.

Question 4: How should the gender stereotyping prevalent in particular occupations, for example in engineering, banking, construction and the beauty industry be tackled?

1.24 Gender stereotyping is an issue which is rooted deep in society, and which transpires in the workplace.

1.25 In the television and film production sector, there are often fewer women than men working in more technical roles, such as post production (12%), outside broadcast facilities (17%) and animation (20%).8

1.26 Pact considers that the best way to tackle gender stereotyping is by ensuring that both men and women from a range of different backgrounds have fair access to and awareness of opportunities available to work in this sector.

1.27 One of the ways in which Pact is striving to improve equality of access in the television production sector is by supporting the development of a new entrant independent production diversity scheme for people from under-represented groups.

1.28 The recruitment process for this new scheme is now underway and the successful candidates will start the training scheme at different independent production companies and broadcasters in early 2013.

1.29 Another important scheme which supports equal access within the television and film sectors is run by Women in Film and Television, who are a member organisation which represent the interests of women working in creative media. WFTV run a mentoring scheme for women in the sector which is designed to support women who have more than five years experience working in TV, film or digital production or business roles (such as writing, directing, producing, vision mixing, cinematography, composing, sales and acquisitions) with their career progression.

1.30 Over six months, selected participants receive six hours of mentoring contact with an experienced industry figure, combined with an intensive programme of seminars, training workshops and networking opportunities. Pact is very supportive of this scheme and several independent producers, and Pact staff, have acted as mentors to women participating on the scheme.

Question 5: What more should be done to promote part-time work at all levels of the workplace and to ensure that both women and men have opportunities to gain senior positions within an organisation while working part time?

1.31 Career progression is often linked to training and opportunity. Formal training courses and coaching can offer employees a means of learning valuable skills to equip them with the knowledge and confidence to progress in their professional careers.

1.32 Independent producers recognise this and as such, invest into funds which offer financial support for training for people working in the TV and film sectors—whether they work full-time, part-time or as freelancers.

1.33 The Indie Training Fund (ITF) is a non-profit organisation funded by independent production companies which delivers specialist training for professionals working in TV and digital media production throughout the UK.

1.34 The ITF develops its courses in collaboration with industry bodies such as Pact, Creative Skillset and Bectu (the trade union for production crews) to ensure that the content is up-to-date and relevant to the specific training needs of people working in the media production sector.

1.35 The Creative Skillset TV Skills Fund is funded by UK broadcasters and independent producers. Its purpose is to distribute financial grants to training organisations to deliver courses and development activities that will benefit the UK television industry, including freelancers.

1.36 HM Treasury outlined in the consultation document on creative sector tax reliefs that “the Government believes that investment in UK skills and talent development is a critical element to sustaining UK production.” Pact supports the Government’s proposal to consider how the benefits from the proposed tax reliefs for animation, high-end television and video games can be utilised to invest in UK skills and talent development.

1.37 We will work with Creative Skillset and other relevant organisations to consider the most appropriate model in which this additional support for the creative industries could be used to support training opportunities for both men and women working in the sector.

1.38 Whilst training is very important as a means of enabling people in the sector to attain senior positions, one way in which the Government could support parents in the sector—both men and women—to progress more easily in their careers is by considering additional support for childcare.

1.39 Television and film production often involves working long hours, sometimes overnight. It can therefore be difficult for parents to make suitable childcare arrangements which can be costly, particularly outside of regular working hours.

1.40 Pact would strongly welcome any additional support or investment by the Government to facilitate the cost, flexibility and availability of childcare for working parents.

Question 6: To what extent have the recommendations in Lord Mervyn Davies’ Report “Women on Board” (published in February 2011) been acted upon?

1.41 Pact is not in a position to comment on the details of Lord Davies’ recommendations about women on the boards of FTSE 350 companies.

1.42 However, we broadly support the recommendations not to support the introduction of quotas for female employment and to introduce voluntary measures to improve transparency about senior-level appointments.

Question 7: To what extent should investors take into account the percentage of women on boards when considering company reporting and appointments to the board?

1.43 We consider that in order to make an informed decision when considering company reporting and appointments to the board, investors should consider a range of factors including the range of expertise, knowledge and experience of the board members.

1.44 With regards to boards of companies in the creative sector, Pact is very supportive of the work of the Creative Industries Council and Creative Skillset looking at introducing virtual boards to assist SMEs in the creative sector. The aim of this project is to offer a low-cost, high-value solution for SME boards to seek input and expertise from experts in the sector as required.

Question 8: Why are there still so few women in senior positions on boards, and what are the benefits of having a greater number?

1.45 In the television sector, there are many examples of women in senior positions on boards.

1.46 Debbie Manners, Pact Chairman and Managing Director of CEO Films, eloquently expressed her views of the benefits of having a diverse board in the quote below:

“In business, good leadership skills aren’t exclusive to men or women. But good leadership can make a business. I’m good at finding talented people and letting them do their jobs, while being supportive. Maybe being a woman helps because our natural inclination is to enjoy watching people develop and grow.

At Keo I am the only woman on the board, but when the shareholders first recruited me as a non-executive director the fact that I was a woman was a factor in their decision. When I was appointed MD we discussed the attributes we all believed were valuable in the role, and we felt these were at least in part because I was a woman—including communication, openness, talent/staff development, training and good management practices.

Of course there are many men who have all these characteristics. However, I can speak for all the board members when I say we feel that the feminisation of the MD role at Keo has been a positive change.

The UK’s independent TV production sector recognises the importance of diversity—it’s become more representative of its audience. At Pact, our Board is a 50/50 male-female split and we’re seeing more women in top jobs throughout the sector.

It can be a juggling act for some women. I’m a single mum with three children. I used to be bad at asking people to help me. When I was younger I had this incredibly strong coping thing. I had to be able to do it all—full-time job, kids, husband—and I wouldn’t ask for help. I’ve got better though. Now I think, “Why wouldn’t I say yes?’ when people offer me help.”

1.47 Earlier this year, WFTV published a power list, in association with Screen International and Broadcast magazine, of the top 50 women working in the sector.9 This is an impressive list of female executives, producers, directors, talent and writers who are leading one of the most successful television and film sectors in the world.

1.48 Many independent production companies are also run by women. There are numerous examples of women at the top of this sector. Some examples of women working at the top of the independent television and film sector include:

Debbie Manners, Pact Chairman and CEO of Keo Films, who produce popular television and digital content, including hart-hitting documentaries such as Hugh’s Fish Fight and Terry Pratchett: Chossing to Die.

Beryl Vertue and her daughters, Sue and Debbie, who run Hartswood Films (which produce the hit-series Sherlock).

Eileen Gallagher, who co-founded Shed Productions and co-created Bad Girls and The Fugitives.

Elisabeth Murdoch (Chairman) and Alex Mahon (CEO) of Shine Productions, one of the biggest independent television production companies responsible for world-renown formats such as Masterchef and popular dramas like Merlin.

Jane Turton, Chief Operating Officer of All3Media, a global production and distribution company who produce popular shows such as the Cube, Peep Show, Derren Brown, Hollyoaks, Midsommer Murders and Undercover Boss.

Sara Geater, CEO of Fremantle Media UK, one of the UK’s most successful production companies encompassing a group of labels including Boundless, Retort, Talkback, Thames and a digital division, FremantleMedia UK Interactive.

Joely Fether, CEO of Zodiak UK which produces shows such as The Inbetweeners and the Secret Millionaire.

Rebecca O’Brien, who has worked with the director Ken Loach on many of his films, including The Angel’s Share which won the prestigious Jury’s Prize at the Cannes Film Festival in 2012.

Andrea Calderwood, the producer and managing director of Slate Films including the Last King of Scotland which won a Bafta for Best British Film.

Question 9: How successful is the voluntary code of conduct (a recommendation of the Davies Report) which addresses gender diversity and best practice, covering relevant search criteria and processes relating FTSE board level appointments?

1.49 We believe that the best way to boost gender diversity is by highlighting the benefits which it can bring to business and ensuring fair access and opportunity for all.

1.50 In his report, Lord Davies of Abersoch found that imposing quotas would not be a suitable means of promoting gender diversity as “board appointments should be made on the basis of business needs, skills and ability.” We strongly support this claim.

1.51 However we do see the merit in voluntary codes and pledges which can have a positive effect on changing attitudes towards gender diversity.

1.52 One example in the television sector is the CDN Diversity Pledge. To date, around 370 independent producers have signed the pledge which is a public commitment by independent production companies, in-house producers and other suppliers to take measurable steps to improve diversity in the industry.

12 October 2012