How ScreenCraft Works is championing under-represented talent working in film & TV

ScreenCraft Works’ co-founders Elizabeth McIntyre and Rebecca del Tufo provide an insight into the not-for-profit organisation, which supports the international career development of under-represented production and post-production people working in film and TV. They explain the ways the industry is resistant to change, how they define under-represented talent, the most significant barriers these individuals face in the film and TV industries, and how they are working to change things for the better.

To those unaware, what is ScreenCraft Works?

ScreenCraft Works is an international community of cross-border mentoring, talks and networking. We support the international career development of under-represented production and post-production people working in film and TV, at all career stages.

We are a not-for-profit organisation that brings together creative industry talent across all world regions, connect diasporic communities, and help displaced professionals integrate into their new local industry, for fairer, more sustainable productions. We also bring together like-minded organisations from around the world, for knowledge share and stronger connections.

ScreenCraft Works has a unique mission to support under-represented production and post-production talent on an international level. What inspired you to create this organisation, and how did the concept come to life?

We were acutely aware of the fragmentation and inequality of the global film and TV industry, which was highlighted during the pandemic, but also that connectivity was improved as we all learned remote-working and connections. We were also mindful that technical or craft roles are often under-celebrated, and there is an even greater lack of diversity in technical roles than there is in so-called above-the-line roles.

We wanted to play our part in making an improvement across these production and post-production areas, by making connections between craft talent across all global regions, amplifying voices in craft roles, and working to increase diversity in craft roles, for a fairer and, ideally, more sustainable industry.

The roles we support include: writers, editors, post-sound, composers, animators, production management, producers and those working multi-role. We also look at how these departments interconnect.

This was our reason for setting up ScreenCraft Works, with cross-border mentoring at its heart: connecting film and TV craft talent across the global industry, to share perspectives and knowledge, and increase employment networks. Our programmes offer a platform for craft talent to share their professional experience across borders, and support under-represented talent.

How do you define under-represented talent, and what do you believe are some of the most significant barriers these individuals face in the film and TV industries?

Under-represented talent includes anyone who feels marginalised or that their voice isn’t heard and their perspective isn’t recognised.

People face barriers due to sexism, racism, ableism, as well as other protected characteristics, alongside socio-economic barriers in their own countries. Internationally, they additionally face barriers from assumptions based on where they come from.

Freelance dubbing mixer, sound editor and ADR recordist Emma Butt is outspoken about what needs to change in the industry to encourage diversity; how have you worked with her in order to encourage diversity?

Emma Butt is a key industry ally and we are delighted that she is a member of our Advisory Group, bringing her expertise and campaigning on post-production audio roles in the UK to ScreenCraft Works, alongside the rest of our Advisory Group who bring expertise from a range of departments and countries.

ScreenCraft Works supports a wide array of groups, from diasporic communities to displaced craftspeople. How do you manage to tailor your programs and resources to meet the diverse needs of these communities?

Our programmes are intentionally broad and fluid, and are all online, so that they can best meet the needs of each individual and their mentoring partner. We create a platform for international knowledge-sharing and connection, enabling our mentees and mentors to share wisdom and experience, in the best way for them. Needs cover soft and technical skills: for instance someone moving country might need to understand the local industry culture; other people need support with their confidence and how they express their professional identity internationally; others are sharing best practice or technical know-how. There is a broad range of what people cover

The film and TV industry can sometimes be resistant to change. How do you navigate resistance to your mission and encourage industry buy-in for a more inclusive, sustainable approach?

We are a small organisation, hoping to demonstrate that an inclusive and representative approach is good for business as well as ethical, and that small interventions can make a difference. We can’t change everything, but we can make small but significant changes. We hope to demonstrate that every individual person or organisation - whatever the size - can contribute to making a difference, whether that be small or large.

Mentorship seems to play a crucial role at ScreenCraft Works. How do you select and match mentors with mentees, especially when considering cultural and industry differences?

Mentees apply via an online application form where we ask them to tell us about themselves and their career aspirations, and what they hope to gain from international mentoring. This international element is important - if applicants are mostly interested in networking in their own country’s industry, we are not the right choice of scheme for them.

We then meet potential applicants on zoom to get to know them a bit better, and a sense of who they are, what they need from mentoring and their career aspirations - so we can make the best possible match.

Mentors also apply online. Some are recommended by colleagues, others find us online, and others we seek out through our networks when we are looking for a particular specialism, country or area. Again, we make sure we meet them all and start to get to know them, so as to make a good mentoring match. One of our mentors recently complimented our matching abilities, suggesting we set up a dating agency on the side! To make the matches, we look at need, aspirations, country, personal suitability.

Could you walk us through the structure and goals of the Cross-Border Mentoring Scheme? What are the outcomes you hope to achieve with this nine-month program?

We have a particular emphasis on people working in craft roles in film and TV. We match under-represented production and post-production talent with a volunteer mentor from a different country, to share knowledge and experience, widen employment and peer-to-peer networks, and bring new cultural perspectives to the mentoring groups’ local and international productions.

Our mentees will be at any career stage, seeking to enter or return to the industry or to progress their careers. Our mentors have recent relevant industry experience, and are typically one or two career stages ahead of their mentee, or offer different experiences at similar stages.

Mentors include Oscar, BAFTA, Emmy and Ivor Novello award-winners and nominees, wishing to give back.

Our mentoring scheme and its administration is based on the UK’s ScreenSkills / British Film Institute model. We were a Mentoring Partner of ScreenSkills in our first year and are grateful for our continued relationship. 

  The mentoring programme lasts nine months - nine one-hour zoom sessions - and we want this to be enjoyable as well as productive for both mentee and mentor. In fact, a number of our 2023 mentoring cohort are electing to continue meeting and keep in touch, because they enjoyed their new connection.

ScreenCraft Works’ networking approach acknowledges different levels of social ease and access. How do you create an inclusive environment for people with varying social comfort levels?

We offer two different programmes to suit people’s networking needs: online networking events, usually co-hosted with other international organisations, and one-to-one ‘coffee’ zooms for those who prefer that smaller setting. We also ask people to tell us their access needs and do our best to accommodate them, for example if someone is deaf or hard-of-hearing. We invite people to turn on their camera but are comfortable if they choose not to; and some people prefer to connect in Chat rather than by speaking.

The Cross-Border Conversation talks are an innovative way to connect global talent in which film and TV craft experts share their knowledge and perspectives on a range of production and post-production topics including editing, music composition, sound design, mixing and more. What goes into curating these events, and how do you ensure they address the needs of both newcomers and mid-career professionals?

The topics are predominantly chosen by the mentees; the speakers are usually mentees, with some mentors and other community members. They cover a range of career stages, but always include a first-time speaker, and are from different countries and a mixture of departments, to create an engaging and interesting talk. 

We deliberately do not have a moderator but leave the speakers to initiate questions and listen as well as talk, to avoid a gatekeeper. This leads to surprising and inspiring insights. The recordings of the conversations are then available on our YouTube channel, so people who couldn’t attend can still hear, learn and connect. We are grateful that the Cross-Border Conversation strand of talks is supported by Genelec.

How do you think cross-border mentoring and knowledge exchange can reshape the film and TV industries in terms of inclusivity and cultural representation?

Film and TV people are interested to join us right across the globe, in developed industries such as the USA, UK, Germany, and in smaller, less well-funded industries such as Jamaica, South Africa, Nigeria and Pakistan.

We have found community members who want to be connected across their diaspora and with their country of origin or heritage, and we have a strong focus on integrating people displaced through war, persecution or climate change into their new local industry.

People can exchange different opinions on best practice and ways of doing things, and they find it exciting and effective to hear fresh takes.

Pakistani producer Carol Ann Noronha found the support from her mentor, UK producer Yu-Fai Suen, helped her get to both Cannes and TIFF where her two co-pro films, The Queen of My Dreams and In Flames, were screening.

Sound designer Michela Di Nichilo, in the UK, is now collaborating with her mentor, Eric Horstmann of Genelec in Germany.

How do partnerships like Genelec shape your approach to delivering quality programs and resources?

We are very fortunate that our sponsors and supporters work with us in a collaborative and supportive way. They come from around the world, and we draw on their advice as we shape our programmes. Their support is vital for the continued growth and success of ScreenCraft Works.

What are your long-term goals for ScreenCraft Works? Are there specific areas or regions you hope to reach or programs you want to develop?

Our aim is to consolidate our four existing programmes: Cross-Border mentoring, talks, networking and coffees. We already cover all world regions, with members across 65 countries, although we would love to expand, particularly in the Global South.

We aim to develop a directory of our members so that people can search the community via our website, for hiring, collaboration or co-pros. We also plan to build the alumni network, to connect people across our community and to measure the impacts of our programmes. Finally, we want to offer further outreach to all under-represented film and TV people, including those displaced from their home countries.

What are some of the biggest challenges you’ve faced in building and sustaining an international, virtual community?

Our not-for-profit organisation is virtual, to keep running costs low. All our brilliant mentors give their time voluntarily. But like any organisation, we need to cover our costs. We welcome discussions with new supporters who are interested in coming with us on this journey.

What has been the most rewarding aspect of running ScreenCraft Works, and is there a success story that stands out to you from the program so far?

Getting to know an amazing, diverse group of talented people from all around the world, who want to make change and bring representative stories to new audiences.

Mentee Nazim Kadri-Zade, who is now in the UK having had to leave Ukraine due to the war, was introduced to Spring Films for a Cross-Border Coffee, and edited their documentary Meeting Zelenskyy.

Composer Karina Rivero from Mexico tells us that, after just two mentoring sessions, her mentor Simon Ratcliffe had given her valuable advice on increasing the professionalism of her website and pitches, leading to new commissions and work.

Having come to the UK as a refugee, sound engineer Veronika Malakhova joined our community and, as a result of building contacts at a networking event, has now gained employment in sound post-production in London.

If you could give one piece of advice to an aspiring filmmaker or craftsperson from an under-represented background, what would it be?

Find your allies, find your tribe, find the people who will boost you, and create communities. Find your way of networking. You might be freelance, which can be very lonely, so try to find people to connect with.

Anyone looking for mentoring for themselves should consider what outcomes they are hoping for and research mentoring opportunities accordingly. A mentor may come informally in their network or more formally through an organisation like ours, or a local or national organisation.

Mentoring can happen and be beneficial at all career stages, not just for those starting out. Many people reach out to someone they are working with and ask them to be an informal mentor; others like the structure and support of a programme.

Ours offers people a chance to be connected with a professional in a different country, and that is why people apply to us. To become a member and receive our newsletter or apply for our mentoring programme, go to our website screencraftworks.org.