Supporting role: how the UK film and TV sector is making progress on mental health

Source: Film and TV Charity

When Marcus Ryder took over as CEO of The Film and TV Charity in 2023, he noticed a fridge magnet in the office emblazoned with a quote from Nobel prize winning South African bishop Desmond Tutu: ‘There comes a point where we need to just stop pulling people out of the river. We need to go upstream and find out why they’re falling in.’

These words can certainly be applied to the issue of mental health in the UK film and TV industries. In 2019, Ryder’s predecessor Alex Pumfrey launched the Looking Glass survey, research into the mental wellbeing of the UK film and TV workforce. The results revealed the statistic that 87% of those working in the sector had experienced mental health problems.

Since then, industry leaders have been trying to ‘go upstream’ (in Tutu’s parlance) to try and understand the issue. There has been further research - the Looking Glass surveys are now published every two years - and programmes are being put in place to improve the working environment by organisations including the Film and TV Charity, 6FT From The Spotlight and Solas Mind.

As Ryder points out, mental health issues are not directly related to the boom-and-bust nature of production and can occur at any time. Yet, for freelancers dealing with Covid, the post-pandemic production bonanza and the sudden slowdown during the Hollywood strikes, these have been especially turbulent times. The extent of this problem, especially amongst workers from underrepresented background, was highlighted in June’s The Loneliness In The Film And TV Industry Report, published by the Film and TV Charity in collaboration with The Centre For Loneliness Studies at Sheffield Hallam University.

“We all know we have issues around bullying, discrimination and poor management behaviour,” says Ryder. “Often, these aren’t addressed because people think they can tolerate them for the duration of the production.”

Another issue facing freelancers is financial stress. The Film and TV Charity’s 2023 Money Matters report revealed that 45% of industry workers were struggling financially; the next report is due out later this year.

In response, the Film and TV Charity has pioneered its own Whole Picture Toolkit for embedding mentally healthy working practices early on in a production. On productions following the Toolkit recommendations, the metrics for mental health are already “significantly better.”

“People who have a mental health issue will find support within the industry,” observes Matt Longley, co-director and founder of 6FT From The Spotlight, who highlights the fact that little support was available when he set up the nonprofit organization in 2017. “A few of us got together and said we need to do something to change the way the industry works.”

Now, 6FT, which provides wellbeing facilitators on sets as well as consultancy and training programmes, is trying hard to work at the “front end” of productions, to identify in advance any problems which may arise. “Just having a counsellor there is not necessarily going to change anything,” he adds. “It’s changing the way the industry works that will give the long-term benefit and actually make it more sustainable and stay in it longer.”

“There is still no defined minimum standard for mental health best practice across production’ says Anna Mishcon, head of programme delivery at the Film and TV Charity’s new Mentally Health Productions unit. That’s why she and unit co-founder Andy Glynne, head of programme development, have formed a working group of 35-plus organisations, including the British Film Commission along with broadcasters, studios, streamers, commissioning organisations and other industry bodies, to design an industry set of standards. These are expected to be launched later this year – and already have backing from the studios, streamers and broadcasters. 

The Film and TV Charity also aims to ensure that students and new entrants to the industry are fully aware of best practice when it comes to mental health. “We would like to see a world where students are leaving tertiary education and have a greater awareness of the mental health support they can expect when they move into the professional production environment,” says Mishcon. “If we don’t capture that generation, we are missing a vital trick.”

Film and TV workers are themselves becoming more proactive in finding the increased support that is available. Mollie, an assistant director and runner, says that she contacted the Film and TV Charity in 2024, when she hit “rock bottom. I can honestly say their support saved not only my career, but probably my life too. It’s an incredibly difficult industry [and] we all have our part to play to make things safe, more accessible, supportive and kinder.”

Supporting Role

Source: Universal Pictures 'Black Bag'

Actress and trained psychotherapist Sarah McCaffrey founded her company Solas Mind in 2020, after realising the strains that freelances were under. “The majority of people working in this industry are contractors,” she notes. “They don’t have the benefits you would get in a big corporate company and yet they work incredibly long hours in a creative but stressful environment.”

Solas Mind now has a team of 70 fully qualified coaches and counsellors, and offers a digital platform and a bespoke app for each production. The British Film Commission were able to collaborate with Solas and fund crew counselling sessions for a range of productions, including  Black Bag, California Schemin’, Industry, War Of The Worlds and season two of The Pact.

“We can scale up from just offering a really small package of support up to those massive [projects] where a production will have 200 support sessions,” says McCaffrey. “We tailor the support team to suit the content.”

Other new initiatives include mental health training for freelancers and managers and making sure even small productions use an HR consultant, so freelancers have an effective sounding board. Ryder also notes the importance of collating more data around physical well-being. “I’ve worked as a director and exec for over 25 years and I don’t know a camera operator who doesn’t have a bad back. I don’t know a boom operator who doesn’t go to physio.”

Longley, meanwhile, is optimistic that addressing mental health issues will soon become as commonplace for productions as choosing the right camera lenses: something that is completely “routine.”

For McCaffrey, the key to making proper change is to ensure that mental health support becomes a standard part of production planning. “The more we empower people to be compassionate leaders, the better it will be for the industry.”

Source: The British Film Commission ' UK in Focus' for Screen Daily

Code of Silence: Gaining Insight into the Challenges of Deaf and Hard of Hearing Professionals on Set.

Source: Kevin Williamson (1 AC, A camera), Joe Shrubb (Producer)

Working on Code of Silence gave our camera team a new perspective on the unique challenges faced by deaf and hard-of-hearing professionals within the film and television industry. More than just a technical production, this project became a journey of understanding, adaptation, and growth, as we strived to not only highlight these challenges but actively make the set more accessible and inclusive.

Before we began filming, our team participated in a day of deaf awareness training.

Rose Ayling-Ellis & Kieron Moore

This session was incredibly insightful, laying the foundation for how to approach and communicate with deaf and hard-of-hearing individuals on set. We learned the basics of sign language, as well as important dos and don’ts when interacting with people from the deaf community. It wasn’t just about learning the language—it was about understanding the culture, nuances, and etiquette surrounding deafness, which are crucial when trying to create an inclusive environment.

The training helped us become more mindful of the challenges that deaf professionals face on a day-to-day basis, and more importantly, it allowed us to communicate with those around us in a respectful and effective way. In a fast-paced, high-pressure set environment, where much of the communication relies on verbal cues, having a solid understanding of sign language and deaf culture was indispensable. It made the entire process smoother and ensured that everyone, regardless of their hearing ability, could work cohesively.

One key individual who made the experience so impactful was Rose, our lead on the project. She worked tirelessly to make sure that every member of the crew was onboard with the inclusion efforts. Her leadership in fostering a culture of accessibility and respect was evident throughout production.

To keep the atmosphere light and engaging while also facilitating learning, Rose introduced a "sign of the day" for the crew. This fun daily practice not only helped us expand our sign language knowledge but also created a sense of camaraderie and inclusivity on set. Each day, we would learn signs related to our specific work—whether it was related to equipment, action cues, or set-specific terminology—which helped integrate everyone into the environment, regardless of their hearing abilities.

Sam E Riley (GBCT), 1st AC, B camera

The energy on set was palpable. Sign language, being such a visual and expressive form of communication, brought a unique dynamism to the space. The physicality of the language added an extra layer of vibrancy, and this reflected in the overall atmosphere. Everyone, from the crew to the interpreters, was motivated and enthusiastic, making the challenging

nature of the project feel like a shared, collective experience

The set itself was a busy place—often cramped, with not only the crew working in tight spaces but also interpreters needing to be on the floor to ensure clear communication. It could get pretty tight in certain moments, but the understanding and respect for the need to accommodate everyone created a sense of unity and patience.

While it was a bit of a logistical challenge, everyone made the necessary adjustments to

Sammy Johnson (GBCT), 1st AC (Dallies)

ensure that both the deaf and hearing members of the crew could work together without issue. The awareness of each other’s space and role on set helped create a positive, supportive environment where everyone could contribute to the project’s success.

One of the most unique aspects of the production was the number of scenes that were completely silent, adding another layer of complexity to the technical aspects of filming. In these moments, pulling focus on dialogue—usually a core part of cinematography—was impossible without the presence of an interpreter. For example, the director would rely on the interpreter to ensure that the performers were saying the right things at the right times, and that the pacing of the scene was maintained.

This reliance on interpreters in silent scenes was essential, and without them, capturing the correct performance would have been a difficult task. The interpreter’s role extended beyond simply translating spoken language; they became integral to the overall rhythm and flow of the scene, ensuring that the technical aspects like timing and emotional delivery matched the director’s vision.

The script supervisor also worked closely with an interpreter, who helped them follow the dialogue and ensure that everything was being said in the right places. This was particularly important for keeping continuity and maintaining the integrity of the story, especially in scenes where precise timing was critical.

Perhaps one of the most beautiful aspects of working on Code of Silence was witnessing the interactions between the directors and actors. With sign language as the medium, the conversations felt more considered, more deliberate. The absence of quick verbal exchanges allowed for a deeper, more thoughtful connection between the director and the actors. It was clear that every gesture, every sign, carried weight and meaning.

The careful and considered way in which actors communicated with each other and their directors created a deeper sense of authenticity. Watching these interactions unfold on set, it was easy to see how much effort and care went into making sure the performances felt real and true to the experience of the characters.

All of these elements—deaf awareness training, Rose’s leadership, the experience of working with interpreters, learning some sign language, and communicating with our deaf trainee— transformed what could have been a challenging set into a truly rewarding experience. While we did face hurdles, such as adjusting to different interpreters and figuring out the best ways to communicate without disturbing the flow of production, the overall sense of inclusivity and collaboration made it all worth it.

There’s something incredibly fulfilling about knowing that your work is actively helping to create a more accessible environment for everyone involved. For those of us on the camera team, this project wasn’t just about capturing a story; it was about making sure that every voice on set could be heard, regardless of whether it was spoken or signed. The project pushed us to think outside of our usual technical roles and to see the bigger picture of representation and accessibility.

David Barrett (GBCT Trainee)

While Code of Silence may have been just one project, it has left a lasting impact on those involved. The experience has sparked important conversations about how to continue proving the accessibility and inclusivity of the film and television industry, and how to make the set environment more welcoming for everyone, regardless of ability.

Looking forward, it’s clear that there’s still work to be done—but the lessons we learned on this project have equipped us with the tools and understanding to continue fostering a more inclusive industry. Having the chance to learn some sign language, engage with deaf professionals, and contribute to the creation of a more inclusive workplace has been

both challenging and rewarding.

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