BAFTA
As a world-leading independent arts charity for the screen industries, BAFTA exists to champion talent, recognise exceptional storytelling and make the creative industries a fairer and more sustainable place. There is no other charitable organisation in the world that brings together 11,500 extraordinary creative minds across film, games and TV. Our global membership is the very heart of BAFTA. Through this unparalleled professional network and our influence, honed over 75 years as a leading force in UK culture, BAFTA convenes the screen industries, and drive the progress that is needed on accessibility, inclusion and sustainability in the screen arts.
Behind the scenes, they are doing everything in their power to remove barriers to opportunity so that all talented people have the chance for their work to be seen and recognised for its artistic merit. They encourage talented creatives and practitioners from underrepresented groups to join BAFTA, vote in their awards and become leaders in their industry. From BAFTA bursaries and career development initiatives to their screening and events programme, their year-round activities support and showcase the diverse range of talent in film, games and TV. Their programmes share industry expertise democratically, so that everyone can access the insights they need to progress their career. With global headquarters in London and offices in Cardiff, Glasgow, New York and Los Angeles, they champion and inspire talent wherever it resides.
BECTU
Bectu is the union for creative ambition. They represent over 40,000 staff, contract and freelance workers in the media and entertainment industries. Bectu members work in non-performance roles in live events, broadcasting, film and cinema, digital media, independent production, leisure, theatre and the arts. Their members are ambitious, even when they face uncertainty and precarious conditions in their career. As a union, Bectu is ambitious, too. They will support members when something goes wrong at work and they will stand up for their rights and protect their jobs.
BFI
The BFI is a proud strategic partner with TIME’S UP UK, having worked so closely with the Time’s Up movement on developing our guidance and principles to prevent and pro-actively deal with issues relating to bullying and harassment. We have shared objectives to strive for greater inclusion within the creative industries. The BFI set out its strategy BFI2022 and is committed to its goal of all producers active in the UK signing up to the BFI Diversity Standards, driving change in terms of representation, leadership and creative control, talent pipelines, audience development and distribution. The BFI also annually publishes its performance against targets for who it funds and who it employs.
The British Black List
The British Black List is a media platform that celebrates the work of UK-based Black creatives and those of the wider Diaspora who work across Screen, Stage, Literature, and Sound. Since 2012 The British Blacklist has been the go to platform for information about the exciting work of UK based Black storytellers from new talent to established household names to those who have become a part of Hollywood’s elite.The brand consists of two entities, The British Blacklist editorial platform which features News, Reviews, and Interviews with Black Creatives from the UK and the wider Diaspora. And the soon to be relaunched black | listed Database of Black Creatives a comprehensive list of Black Creatives based in the UK and their body of work to date.
Black Lives in Music
Talent is distributed evenly, opportunities are not! Black Lives in Music addresses the current inequality of opportunity for Black, Asian and Ethnically Diverse people aspiring to be artists or professionals in the Jazz and Classical music industry. Black Lives in Music believes in real equality for Black, Asian and Ethnically Diverse people to learn musical instruments at grassroots level and to allow them to pursue and realise their musical ambitions. Black Lives in Music is made up of a number of partners who are all working towards the same goal: to dismantle structural racism in our industry. We aim to support the industry in providing better professional opportunities. We also want to achieve equality for Black, Asian and Ethnically Diverse professionals at all levels and in all areas of the UK Jazz and Classical industry. Representation matters, we need to take action together and create a level playing field for everyone to have an equal chance to succeed. Black Lives in Music stands for equal opportunities – for Black, Asian and Ethnically Diverse people to be able to work successfully in the UK music industry without being the subject of discrimination.
Director’s UK
Film and TV are a great British success story, and directors are crucial to that success. Directors UK exists to ensure that the importance of directors and their work is recognised, and to give directors a powerful and united voice at the centre of the industry. Directors are authors of their work under copyright law. Directors work in a multitude of ways. Some write, some produce, some make feature films, some make television programmes, some direct music videos, others are involved in commercials and games. What unites directors is vision. Director’s UK makes things happen: the position, status, and security of directors is not simply good for us, it is also good for the industry. Director’s UK works with them at every stage in their career to protect and enhance directors’ creative rights – this means ensuring their control of their material, protecting them from bad working practices, supporting them collectively.
EON Productions
Albert R Broccoli, (1909–1996) also known as ‘Cubby’, was the driving force behind bringing James Bond to the big screen. Broccoli started his producing career in 1952 when he came to England and launched Warwick Films with Irving Allen. Broccoli’s interest in Ian Fleming’s ‘Bond’ stories led him to Canadian producer, Harry Saltzman. Together they formed EON Productions and in 1962 produced the first James Bond film, Dr. No. When Harry Saltzman sold his share in EON Productions to United Artists in 1977, Broccoli continued as the ‘man behind Bond’, producing a further seven films before passing the torch on to his stepson Michael G. Wilson and daughter, Barbara Broccoli. Michael G. Wilson and Barbara Broccoli have produced some of the most successful Bond films ever made including Casino Royale, Quantum Of Solace, Skyfall, Spectre and No Time To Die. Danjaq is the US based company that, with MGM, co-owns the copyrights in the existing James Bond films and controls the right to produce future James Bond films. EON Productions, an affiliate of Danjaq, is the UK based production company which makes the James Bond films. Danjaq and EON control the rights to all worldwide traditional Bond merchandising, and with MGM control the rights in other areas of Bond licensing such as location based entertainment.
ERA 50:50
ERA 50:50 is campaigning for 50:50 gender balance on British stage and screen. Currently women are systemically under-represented in what we see. This does not accurately represent our society – it distorts our view of the real world. ERA50:50’s mission is a simple one – to see women represented on television, stage and screen in equal numbers to men to achieve equal representation for Actresses, for Audiences, for All.
ERA 50:50 supports the work of TIME’S UP UK because our joint mission to tackle systemic gender inequality across film, television and theatre will create a culture of true representation and inclusivity for future generations.
Birds’ Eye View Films
Birds’ Eye View (BEV) is a charity whose mission is to bring ever-greater audiences to films by women in order that film truly represents wider perspectives on the world. Originally a film festival, it’s now a year-round agent for change, with backing for its Reclaim The Frame project from the British Film Institute. It is a network of influencers in 10 cities at 11 cinemas, who galvanise around a new and classic films by women to bring as large an audience to them as possible. Birds’ Eye View also supports emerging female filmmakers and their allies through its Filmonomics programme, and female executives through its Future Leaders In Distribution programme, backed by Screen Skills.
BEV is proud to be partnering with TIME’S UP UK because, as Director-At-Large Mia Bays (a producer of an Oscar winner and multiple BAFTA-nominated shorts and features) states: “The up-swell of energy, anger and passion-for-change following the revelations of widespread sexual harassment and misconduct in Hollywood and beyond has strengthened our resolve to tackle gender inequality and the power imbalance in film. The time for change is now, and we take great strength and vigour from the work so many are doing to effect change, and we stand shoulder to shoulder with our allies. Time’s Up is a great way for us all to talk and connect and has been a real shot in the arm that keeps us moving forward.”
Primetime
Primetime is a centralised database for all women working above and below the line in the entertainment industry. Founded from a call-to-action from Time’s Up UK meetings by actor Victoria Emslie, it is a practical solution to one of the industry’s most frequently asked questions, “Where are all the women?”
We are proud to partner with Time’s Up UK to promote its commitment to safe and dignified workplaces for all. Increasing the visibility of women on set and in positions of power is our goal, and we also want to achieve this in the safest way possible. This is why we are thrilled about our partnership with Spot, an online harassment and discrimination bot, that helps keep our members safe at work. We know that working alongside Time’s Up UK, our sister organisations and male allies, will give us the best chance at changing the conversation behind the scenes and also ensuring that best practice is held up as the industry standard for all.
Raising Films
Raising Films believes conversations make change happen, and wants things to change. We are losing too much talent to the choice many filmmakers are forced to make, between being a parent/carer and making films. We don’t believe this choice is necessary, but rather a product of social and economic conditions, and we want to start a conversation about how change can be made for filmmakers who want to have and support a family and continue their careers.
Raising Films supports the work of TIME’S UP because of our joint mission to tackle systemic gender inequality. Women continue to struggle for representation across the film industry globally. One social barrier particularly affects women, although it applies to everyone: Family vs Film.
The Film and TV Charity
The Film and TV Charity supports everyone working behind the scenes in film, TV, and cinema – from researchers to writers, people in casting and on productions, to those in post-production, sales, distribution, and exhibition.
As the Charity celebrates its centenary year in 2024, it continues to provide its free, 24/7 Film and TV Support Line, legal advice, financial support, including Stop-Gap Grants for urgent financial needs, and a Bullying Advice Service. With many more service and resources available, the Charity has a wide range of support for your mental health, financial wellbeing, physical wellbeing, and to help promote equity and inclusion in the industry. To find out more, please visit the Charity’s website or call its Support Line on 0800 054 0000.
And if you’re interested in news about the Charity’s services, events, opportunities and industry insights, then click here to sign up to its monthly newsletter!
Women in Film and TV UK
Women in Film & TV (UK) is the leading membership organisation for women working in creative media in the UK, and part of an international network of over 13,000 women. Members of our organisation come from a broad range of professions spanning the entire creative-media industry