The Inclusive

Production Toolkit
A Guide for Authentic Inclusion Behind the Camera
This document belongs to Unilever but may be used by other organisations in advertising and
marketing in order to improve inclusion. Please note this document is intended to provide help
and guidance and does not amount to legal advice.
What is Disability?
1. Social model of disability
2. Medical model
3. Economic model
4. Charity model

According to Article 1 of the United Nations Convention on the

Rights of Persons with Disabilities (UNCRPD), “persons with
disabilies include those who have long-term physical, mental,
intellectual or sensory impairments which in interaction with
various barriers may hinder their full and effective participation in
society on an equal basis with others”.1

Currently, in alignment with the UNCRPD, it is best practice to view

disability via the social model of disability, which we outline below.
Refer to page 52 to learn more about the social model of disability
and other disability models.

It is interesting to note when looking at disability that it is a

minority cohort in which any of us can find ourselves. We can
acquire a disability at any stage in our lives, due to age, genetics,
injury or illness. We can’t change our cultural background, race or
age but we can move from being a person without disability to a
person living with disability. It is a paradigm that is an inherent part
of the human experience.

1. www.un.org/development/desa/disabilities/convention-on-the-rights-of-persons-with-disabilities/article-1-purpose.html
2
A Method Headline contributions on and off-screen (UK)2B

Backed by
Off-screen UK national On-screen UK national
contributions workforce contributions population

Female 52.8% 47% 52.4% 51%

Research Transgender

50 and Over
0.3%
21.7%
0.8%
31%
0.7%
25.4%
0.8%
36%
Professor Kyja Kristjansson- without the interference of Black, Asian &
Minority Ethnic 12.9% 13% 20.9% 12.8%
Nelson’s international research attitudinal barriers.” The diagram
into the theory of dispositions below is adapted from her thesis. Disabled 6% 17% 8.3% 18%
in filmmaking and leadership LGB 15.6% 6.4% 14.2% 6.4%
concluded: “Working toward The research also noted:
Total 650,532 209,071
[inclusive production practices] “Inclusive leadership and inclusive
will place greater emphasis on filmmaking, combined with a collaboration between team talent are made up of people
the need for an inclusive culture, ‘people first’ purpose, created members who are committed living with disability.2B
in which all voices can participate an inclusive culture driven by to the social impact of their
work. At the heart of these In the US, people with disabilities
The Ripple Effect of Inclusive Filmmaking relationships, transformation are the largest minority group
was evident; transformation at approximately 20% of the
Social of students, transformation of population, yet the disability
Change
industry professionals, and the community is often forgotten in
transformation of audience conversations about diversity and
Transforming perspectives.”2A inclusion.2B
Dispositions

The 2021 “Fifth Cut” report Almost 80% of people surveyed in

Diverse
Representation made it clear that people with CDN’s “Doubling Disability” report
disabilities are significantly stated that management’s poor
under-represented in the understanding of disability and
Power of
Inclusive
production industry. While this discriminatory views about people
Storytelling group comprises 18% of the UK’s with disability had limited their
population, only 6% of production career progression.2C
crew and just 8.3% of on-screen

2A. Professor Kristjansson-Nelson is Full Professor of Film at Minnesota State University Moorhead. She holds a Doctor of Education in 2B. www.reativediversitynetwork.com/wp-content/uploads/2022/03/TheFifthCut-Diamond-at-5.pdf
Education Leadership. www.red.mnstate.edu/cgi/viewcontent.cgi?article=1323&context=thesis 2C. www.creativediversitynetwork.com/wp-content/uploads/2021/06/Interim-Briefing-Report-on-Doubling-Disability.pdf 3
 Inclusive Disposition Dimensions of Filmmaking
in Filmmaking2A Culture and Leadership2A

Inclusive
Culture

Leadership
Practice

Inclusive Inclusive
Inclusive Team
Disposition Disposition Purpose Identity

Inclusive
Collaboration
Culture Mutual Strengths Mentoring
Respect Team

Transformation

Bottom Vision
Inclusive Purpose/ Machine
Line of One
Filmmaking People
Practice First
Social
Impact
Gate
Ego Keepers

Inclusive Exclusive
Culture
Disposition
2A. www.red.mnstate.edu/cgi/viewcontent.cgi?article=1323&context=thesis
4
Changing the Narrative
Storytelling that Aligns with the Social Model and United
Nations Convention on the Rights of Persons with Disabilities
When filmmakers and creatives ask us how better to be dead than have a disability, such
to go about writing a story about disability, as the 2016 romance film “Me Before You”,
the question we often ask back is: who are which had major backlash from the disability
your friends with disability? More often than community. These are all variations on a
not, people without disability who have theme that is often presented in storytelling
no connection to the community, and no around disability.
friendships or relationships with people with
disability, try to represent disability on screen. However, if we change the narrative towards
a more inclusive and empowering point
What often happens is that their own ableist of view we can create a volume of endless
point of view pervades. This includes those dynamic and respectful stories through
people who have family members with our craft. Reflecting on the social model of
disability; the stigmas, prejudice and low disability and drawing from the UNCRPD, we
expectations that pervade society also should “undertake to ensure and promote
infiltrate the mindsets of family members. So the full realization of all human rights and
just being related to someone doesn’t mean fundamental freedoms for all persons with
you can tell the story authentically. In order to disabilities without discrimination of any kind
do this, you need inclusivity. on the basis of disability”.

Disability is often seen through the lens of Consider creating content involving people
tragedy and “inspiration porn” – showcasing with disability that moves past the disability,
people with disability doing well or achieving setting stories of people first, who just happen
success “despite” their disability to extract to live with disability. Rather than focus
sympathy. Other strong tropes are that people on their disability, treat it as an incidental
with disability are asexual; that we must save aspect of their lives. This can only be achieved
or fix the person with disability; we must pity through co-creation and collaboration with
them; excuse bad behaviour from them; or people with disability and getting involved in
mock or ridicule them. In some cases film this community.
narratives have told the audience that it is
5
Inspiration Porn:
What is it and Why it is it Harmful?
Inspiration porn is when someone calls a disabled person
inspirational just for existing and doing everyday things. This is
something many disabled people experience frequently and it
often makes them feel uncomfortable. It may be well meaning, but
it often comes from a position of pity rather than equality.

Check that your theme, story and content uplifts and doesn’t feed
into the pity model of disability.

6
Cultural and Social
Benefits of Inclusive
Commercial Film
Production
Cultural Benefits of the
Commercial Film Industry
Commercial production and advertising are powerful tools to share
culture between communities and promote cultural connections.
Inclusive commercial filmmaking helps break down stigmatised
attitudes to disability that can be present in some communities. It
helps progress disability rights and showcases to the community
the capacity, capability and contribution of people with disability
to our society.

The connection we gain through seeing other cultures and people

different from ourselves on screen helps bring people together,
breaks down the barriers to understanding and encourages
sharing when we see others in the stories of our communities.

Seeing people with disability living fulfilling lives where they are
contributing members of society reinforces the fact that people
with disability are not to be pitied or praised for simply living their
lives. They are people like everyone else who want to belong, be
accepted and included in all aspects of society including open
employment.

7
Cultural Benefits of Inclusive Commercial Production
in Advertising
The commercial film set culture of all projects orders. This pyramid structure can often lead
should be positive and encouraging – a place to negative consequences in the lives of crew
where people are celebrated, respected and and fosters exclusion. Commercial productions
valued no matter what role they take on. The generally do not have an organisational
director of the projects within a framework structure which allows for accountability to a
of inclusive commercial production is not an Human Resource manager.
auteur; whilst they show leadership and direct
the film production, they should aim to work Those leading the projects seldom ever have
shoulder to shoulder with the cast and crew experience in HR, conflict resolution training
to ensure that the experience of making the or dealing with complaints of bullying,
commercial is just as rewarding as the end harassment and abuse. It is one of the
result. reasons why we have witnessed the #MeToo
movement; a lack of accountability and abuse
An inclusive director will not sit above the of power in a hierarchical structure means that
crew, they’ll chip in and help where needed. people can become exploited without any
For example they might take out the trash and consequences for fear of not being hired again
make cups of tea for the other crew members, later on.
which is traditionally not how a set is run.
Inclusive commercial production leans into Inclusive commercial film production works
servant leadership, where people in leadership in the opposite way to traditional commercial
positions understand that the reason why we film production: instead of auteurship, where
are making this commercial film is to include the project is more important than the people
people who are traditionally excluded and to making it, the people on the project are more
transform and challenge the way commercial important than the work. Leadership is driven
film projects are conventionally made. by values such as valuing crew wellbeing and
ensuring people are included, so that we make
Traditionally, the organisational structure of a great product while treating people well.
production is severely hierarchical; advertising
execs and above the line roles are at the top
and below the line roles are expected to follow

8
Disability Pride and
Deaf Culture
Disability Pride
People with disability are the largest and most diverse under-
represented group within populations worldwide, representing
all abilities, ages, races, ethnicities, religions and socio-economic
backgrounds. It’s also a community anyone of us can become part
of at any point in our lives.

Disability Pride has been defined as accepting and honouring

each person’s uniqueness and seeing it as a natural and beautiful
part of human diversity. Disability Pride is an integral part of
movement-building, and a direct challenge to systemic ableism
and stigmatising definitions of disability.

Around the world, July is Disability Pride month. This movement

supports and drives people with disability to celebrate their
community and push back on ablest ideals and discrimination. The
“Cripping Up‘’ by non-disabled actors to play disabled people is
one aspect that has fuelled the Disability Pride movement, as the
community takes back ownership of their culture and identify and
pride themselves in being disabled.

9
Non-Visible Disability
There are visible disabilities as well as non-visible disabilities, meaning not all disabilities are
apparent.

A non-visible disability is a disability or health But they are not usually visible to others. Non-
condition that is not immediately obvious. It visible disabilities are named this way because
can defy stereotypes of what people might you cannot always easily see the nature of
think disabled people look like. the disability. Some people with non-visible
disabilities might use mobility aids, whereas
Many disabled people self-identify in different others will not.
ways. There are several ways of talking about
non-visible disabilities. Also, some people with non-visible disabilities
might have a “dynamic disability”. This means
Some people with disabilities that are not that sometimes they might use a mobility
obvious prefer the phrase “non-visible”. This aid, but other times they might not need it.
is because the word “invisible” can erase Likewise, sometimes they might need to use
the legitimacy of the disability, or imply the a priority seat on busy public transport. Other
disability does not exist. times they may not feel they need to. A person
may make a request or act in a way that seems
“Hidden” disability can imply a person is strange to you. That request or behaviour
hiding their disability on purpose. “Less- may be disability-related. For example, you
visible” disability does not encompass those may give seemingly simple verbal directions
whose condition is completely non-visible. to someone, but the person asks you to
With non-visible disabilities it is important to write the information down. He or she may
emphasise that even though the disability have a learning disability that makes written
cannot be seen, it does not mean it does not communication easier. Even though these
exist. Some “non-visible” conditions are visible disabilities are hidden, they are real.
or obvious sometimes. Also, they can be “seen”
by some people who might have a better
understanding of the condition.
10
Inclusive
Language
It can be difficult to keep up with what is the acceptable
terminology in relation to disability. People with disability prefer to
define who they are, so as you build relationships with individuals
with disability you will learn what they prefer. For instance, the late
Stella Young3 preferred being called a disabled person. That term
has been politically incorrect in the past, but many people are now
reclaiming it.

When it comes to the UNCRPD, the terminology of impairment

is an accepted way to refer to disability, as the individual is
impaired because social and environmental structures are not
accommodating of them. However, many individuals prefer not to
use this term.

Recognise the person’s individuality:

Focus on the person rather than disability, be respectful and
just get to know them as an individual. It is so important that everybody recognises
themselves in the stories that we absorb on TV, in
Extend appropriate language to facilities that support people with advertisements and online. When people with disability
disability: regularly do not see people that look and sound like them,
they are subconsciously told that they do not fit and do not
Accessible facility e.g. toilet/car space matter.

Disabled facility So, if 20% of the population are people living with disability,
we should be seeing a lot closer to this number of people
Learn the local vernacular of disability language where you live with disability reflected in our stories. And not just as a
and work. If in doubt ASK! As we have seen with pronouns (he/him,
lowly character with a disability, but as prominent, world-
she/her and they/them) and many people self-identifying how they
changing characters. A more accurate portrayal.
prefer to be acknowledged, with disability, asking someone how
they like to be addressed is best. Henry Smith
Co-Founder and CEO, Taste Creative
3. Stella Young was a disability advocate and comedian. Her Ted Talk ” I’m not your inspiration, thank you very much” on disability
representation went viral. www.ted.com/talks/stella_young_i_m_not_your_inspiration_thank_you_very_much 11
What isn’t What is
Inclusive Filmmaking? Inclusive Filmmaking?
Crafting roles for people with disability Inclusive commercial film production means
or other marginalised groups on screen inclusion throughout all aspects of the
is a significant step towards greater process. Inclusive commercial film production
representation in storytelling and casting, but is just that, involving people with disability or
it’s only the tip of the iceberg towards inclusive other marginalised groups in the end-to-end
commercial film production and advertising. commercial filmmaking process. Every creative
If people with disability are not involved in the agency, creative team or production supplier
key process of the production, then has true can be inclusive right now, even if it is just one
inclusion taken place? role in one aspect of production.

Our answer is no. You can’t simply cast a Anyone can include people with disability at
person with disability and call it an inclusive any time; it comes down to your attitude.
commercial film or advertisement if you
haven’t included people in the process of
making the commercial. All you have done
is make a casting choice; that’s as far as you
have gone.

12
Here are some actions you can implement to help you become more inclusive in your ideation,
in the production of advertising assets and in your shoots, teams and advertisements:

Consider your storyline and invite Many companies now give staff a day Editing and post-production offer a
members of the relevant disability of leave to volunteer in a community unique set of tasks and situations
community into your writers’ room. project to show their commitment that present synergistic opportunities
Give this representative your trust. through corporate social responsibility. for people with disability. Editing and
Authenticity in storytelling is a brilliant Consider the disability organisations post-production offer a unique set of
outcome from inclusion. Furthermore, it in your area and reach out about tasks and situations that can present
ensures your representation of disability, volunteering. synergistic opportunities for people with
should you be writing on the topic, is disability.
authentic and truthful.4 Consider how the pre-production period
and tasks could be adapted to be more Another opportunity for disabled
Look for opportunities in the production inclusive. There is much to do around creatives and production inclusivity is to
office to engage a person with disability sound design, lighting, wardrobe, set hire an accessibility coordinator on set.
in the team. This could be an internship, design and casting
work experience or paid role. We all
have to start somewhere and in this When casting roles, consider how you
“exclusive” industry, getting a foot in the might include people with disability.
door is the first step. Frame opportunities Authentic casting is the gold standard of
like this and consider a person with inclusive filmmaking. Refer to the AdPro
disability on your crew. Use the AdPro Inclusive Casting Best Practice.
Inclusive Framework when considering
applicants for these types of roles. Consider the departments in the
production, how each team is resourced
Don’t undervalue unpaid work and what roles a person with disability
experience or volunteering. Whilst we could undertake in the same way you
should always pay our cast and crew, would when reviewing any mentoring
if there is merit in offering a very junior opportunities. A buddy system on set
position or opportunity to a person to is a great way to offer an opportunity
gain experience, consider it. Conversely, to learn through mentoring. Consider
as a company consider volunteering rotating the opportunities to work
your time to give back to a community through different units to learn new
group. skills, and get a feel for their preferences. 4. Case Study: Ben Phillips, an actor who is blind, was working on a TV series. The writers
wrote the character as as being able to recognise someone’s face using his hands. Ben
corrected them on set, but if they had included someone with vision impairment in the
writers’ room, this wouldn’t have been an issue.

13
Myths and Stereotypes
Myths and Stereotypes Regarding Inclusion and Employment
Myth: People with disability are best suited “additional” or “unnecessary” we need to view
to unskilled work. We know people with them as investments in the production. There
disability have a wide range of skills and may be additional costs to hire someone with
talents which they can bring to the workplace. disability; however, if we view this as a drain,
A common myth is that people with disability we may miss out on the myriad benefits having
can only work in unskilled jobs. that person on the production will bring.

Myth: Employing a person with disability in Shifting the idea to costs being beneficial
my commercial will make everything take investments means that we see this as a value
longer. Even if a production is slowed down, add. In relation to some people, there will
it’s ultimately more accessible and safer be no increase in costs to employers around In my opinion the most
to do so for everyone. It’s so normalised in insurance or admin or production costs. If disabling forces in our society
production to have extremely long days that there are additional costs, we must consider have nothing to do with disability and
we forget that this practice will often impact the benefits of the cost and investment first,
everything to do with stigmas, prejudice
output, safety and wellbeing of the crew. rather than be dismissive. Accommodations for
disabled people more often than not benefit
and presumptions.
In general, at Bus Stop Films we work with everyone (e.g. ramps, accessible seating,
up to 15 people with disability on our sets at large print), so this investment ultimately Our productions at Taste Creative
any one time. Our productions rarely run over allows for a more efficient production. Most and Bus Stop Films do not get slowed
time, in fact we have often finished ahead of accommodations are also affordable and down because we include people with
schedule, a win for any production! definitely feasible with careful planning. intellectual disabilities; quality is not
compromised; and it is not harder
Myth: People with disability won’t fit in Myth: Employing people with disability won’t
change broader community attitudes. While to make a film or produce work with
with the rest of the crew. Given that people
with disability make up 20 per cent of the you may only have one person in your team people who have intellectual disabilities
population it is likely that your cast and identifying as living with disability, the flow-on on set. In fact, our crews adore working
crew have a relative or friend with disability. effect to the team around them and outwardly on our films because they love to
Commercial filmmaking is truly a team sport. into the team’s broader networks is profound. mentor and help others to learn and
Research shows that the most effective way of
grow.
Myth: It will cost me more to hire a person countering negative attitudes towards people
with disability. Rather than seeing costs with disability is through direct exposure to Genevieve Clay-Smith
associated with inclusion as “draining” or people with disability. Co-Founder, Bus Stop Films
Co-Founder and Director, Taste Creative

14
Bringing the
Community Onboard
from the Start
Nothing About Us, Without Us
This powerful phrase was used to communicate the idea that
no policy should be decided by any representative without the
full and direct participation of members of the group(s) affected
by that policy. In its modern form, it was invoked by the South
African disability rights movement in the 1990s, as the clarion
call of activists organizing to overcome systemic oppression and
empower persons with disabilities to take control over decisions
affecting their lives.5 True inclusive advertising in relation to people
with disability means including people with disability in all aspects
of the project development and execution, and ensuring that those
people benefit from the project being made.

If your project includes Indigenous themes or First Nations issues

please ensure you connect with that community for collaboration,
permission and authenticity. Similarly, when exploring
intersectional aspects of disability such as broader cultural
diversity or the experience of those from culturally and linguistically
diverse backgrounds or the LGBTQIA+ community, connect with
and seek input from members of those community groups.

#NothingAboutUsWithoutUs

5. Charlton, James I. (1998). Nothing About Us Without Us. University of California Press. ISBN 0-520-22481-7. Retrieved 2010-06-22

15
Barriers to Inclusion and Making
Adjustments in the Workplace
Workplace adjustment is a modification of • moving a production meeting to a supplier should ensure renumeration
a workplace or process, policy, procedure wheelchair accessible location; is discussed with the individual or their
or situation that enables an employee with • equipment adaptation to allow a camera advocate, ahead of engagement on any
disability to perform their job in a way that to be supported on a wheelchair or frame. production, to ensure that all these factors
minimises the impact of their disability. In have been fully considered and discussed to
some countries, we refer to “reasonable Each person and workplace is different, so a ensure fair and equitable compensation is
adjustment”. bespoke approach works best. provided, in compliance with local country
discrimination laws.
It is important to be aware that it is a legal There are many barriers in life that impact
requirement to make reasonable adjustments the inclusion of people with disability and In some markets, government funding is
to accommodate people with disabilities. when you place them in an industry that is available for “access to work” type schemes
very exclusive, the barriers seem to become and job support coaches are available to work
Workplace adjustments allow a person to: stronger. with both parties during the placement period.
• perform the standard or essential
requirements of their job safely and Many employers view adjustments as financial Furthermore, if you are developing a
respectfully in the workplace; strain. While sometimes readjustments can campaign about disability and are making
• have equal opportunity to take part in cost extra, rather than view these adjustments the production inclusively, you can draw on
recruitment processes, be promoted and/ as a cost to business, we can view them as the lived experience of your crew member with
or be considered for ongoing professional an investment. Why? Because we know that disability to ensure your project is authentic.
development; statistically, diverse teams perform better; Our view is that reasonable adjustments are
• experience equitable terms and conditions they enhance culture; they identify risks more an investment in the:
of employment; efficiently; and they problem-solve better. • culture and wellbeing of the crew;
• maximise productivity of all. • productivity of the crew;
Each person will naturally have a unique set • ability of the team to problem solve and
Many labour force policies require employers of circumstances, so optimum day-lengths eliminate risks;
to make adjustments to accommodate an should be discussed ahead of engagement • authentic portrayal of disability .
individual’s disability, unless that adjustment on any production. Another factor for
would result in unjustifiable hardship. In consideration will be an individual’s ability to
filmmaking, what does this look like? This work based on their current employment
could be: status and/or government wage assistance Sample Accessibility & Participation Plan
• printing the script in larger font for a benefits they might be receiving. The hiring
person with low vision;
16
Attitudinal Barriers
How will they keep up, will they fit in, how will they manage the
equipment, what if they fail? The truth is that the barrier of attitude
is what actually makes a person disabled. It’s not the person’s
mobility or physical disability, it’s how others respond to it that is
the issue.

If you genuinely run an “inclusive lens” over your projects and your
workplaces, you will be surprised by the shift in attitude you can
achieve. It’s low expectations of people with disability that often
stops them from achieving – and if they fail, that’s life. Isn’t it better
to have tried than to have never had the opportunity to give it a
go? Failure is everyone’s human right; it’s how we build capacity
and resilience.

17
Physical Barriers
Moving onto physical barriers, commercial film sets can sometimes
mean poor access. Studio shoots are often easier in terms of
physical access, but how do you manage a location shoot which
may be outside, hard to reach or unsafe for some? While not
always possible, we encourage commercial filmmakers to “ask,
assess and address” before dismissing the idea of inclusive
filmmaking. For example:
• Can you move the shoot to a more accessible location?
• Is there a quiet area or unit from which a person with sensory
issues can work?
• Do you have wheelchair-accessible bathrooms and meal
areas?
• How accessible are your offices and workplaces?
• Do you need to consider where hair and make-up is located?

Here are some great case studies where Bus Stop Films made
simple but effective adjustments:
• We filmed a short film in a TV studio where the make-up area
and green room were upstairs. This would not work for our
students so the make-up area was set up downstairs at the side
of the studio floor, which was accessible.
• We chose a filming location at an abandoned hospital and
realised that one of our filmmakers with disability couldn’t walk
up the stairs to set. We re-set the film downstairs and the result
was definitely better; the new space was cinematically more
impactful than the original spot we had chosen.

18
From Pitch to
Performance
How Do Agencies Around the Globe Engage with the
Disability Community? Where Do You Find People Living
with Disability for Your Cast and Crew?
Try starting with a simple Google search With the growth of the disabled sports
relating to government disability movement through the Paralympics and
organisations. Where these don’t exist Special Olympics, sporting associations for
consider other trusted organisations people with disability are a brilliant source
such as Paralympic organisations to get of talent for casting. A skilled commercial
recommendation of other disability groups director can get a great performance out of a
or organisations. There are many disability first time or non-acting talent. However, not
organisations and online communities, but be everyone has the skill and talent to be an actor
sure to do your research and take leads from so we shouldn’t assume everyone can act in
trusted sources. the disabled community either.

Parent groups, disability organisations and Start with a simple email or phone call to
Facebook groups for the specific type of discuss your commercial production: this is
disability you are looking for offer a brilliant a great step to introduce your company and
source of information and talent for your your project. Building a relationship first will
commercial production. Bus Stop Films’ casting give you a great cast and crew later.
calls on social media for talent with disabilities
are our highest shared posts, reaching tens of Learn more about inclusive filmmaking:
thousands of people each time.
Watch video

If your regular casting agent doesn’t have

people with disability on their books,
community organisations and sporting groups
are a great way to source diverse talent.
19
Authentic Casting
Authentic casting is the process of casting a Examples of authentic casting:
person with a lived experience of disability in
the role of the character being represented. Standing Up for Sonny
For example, if the role is that of a wheelchair Watch video
user, you would look to cast a person who
actually uses a wheelchair.
Shakespeare in Tokyo

Similarly, if the role is that of a person with Watch video

an intellectual disability then the role is
performed by someone who identifies as a The Silent Child
person with intellectual disability. Sometimes
Watch video
this might mean casting non-actors in roles,
and this is where the director can step up
to get the best out of their talent. There is
nothing more disempowering for the disability
community and for the advancement of
inclusion than to cast an actor without
disability in a role where a person with lived
experience could have performed the role. Ben
Phillips, an actor who is also blind, shares his
experience of authentic casting here.

Watch video

20
Non-Traditional Casting
Non-traditional casting is where characters
for a performed work (theatre, TV, film) are
cast without regard to race, gender, age, etc.
This can happen when a character is created
with a personality, but without a defined set
of physical characteristics, such as disability,
age, gender or race. This may lead to the
reformations of some tropes connected to
age, gender or race, and is not always directly
prescribed. In some adaptations, women
playing parts traditionally played by men
(when the gender of the character is not
essential) or a person of colour playing a role
traditionally played by a Caucasian person.

When writing a role, or even casting a role,

consider enacting non-traditional casting,
creating further opportunity for a person with
disability to be considered. The role of Nan, a
character in “American Horror Story” portrayed
by Jamie Brewer, was not written as a person
with Down syndrome; however, the role was
offered to Jamie and she brought a strong
element to it that perhaps would have been
missing if a person without disability was cast.

Here is a great little clip about authentic

casting:

Watch video

21
How Do You Ask People to Identify Their
Disability in a Casting Call or Crew Recruitment?
Often producers get worried about asking a person with disability
about the condition, mainly out of fear of being insensitive or unkind.
But when aiming to cast authentically and to ensure you are supporting
a person’s access needs, it’s ok to ask about any adjustments or
accommodations that might be required. Please note in some markets
asking questions directly related to an individual’s disability (not
specific to their adjustment/accommodation needs) is not legal, so
ensure you are aware of local government regulations.

In markets where it is legally allowed to ask more information here is an

example of how you might ask.

So that we can be sure we are connecting to a diverse group of

people and ensure a wide variety of lived experiences contributes
to our project, we would like to know more about you and your
disability. This will allow us to best support you through this
process. Sharing this information is completely optional and it’s ok
if you’d prefer to not answer these questions:
• Please tell us about your disability? E.g. intellectual disability,
upper limb amputee, low vision, Deaf/Hard of hearing etc.
• Do you use any assistive equipment or additional resources?
e.g. wheelchair user, hearing aids, cochlear implant, talk-to-
text technology, assistance animal etc.
• Do you have any additional access or support needs that
would assist us to support you? e.g. Do you require a sign
language interpreter, reading assistance, large print or plain
English instructions etc.

22
Access
Access vs Dignity
If you are going to be inclusive of crew or facilitating inclusive commercial productions
performers with a disability, you need to at Taste Creative and Bus Stop Films, we have
make sure that the location is accessible. It never found that prioritising inclusion has
is unethical to ask a person with disability compromised the quality of our productions.
to compromise their dignity to make an In fact, we have seen that as we prioritised
inaccessible location work for you. For this need, we found locations that have been
example, if you choose a location that doesn’t creatively perfect as well as accessible. It just
have an accessible bathroom, or accessible takes looking further.
entrance to and around the building, you
cannot ask that person to use alternative You can explore hiring aids to make a building
bathroom facilities that might be different to accessible—for example, depending on
what everyone else is using, and you cannot the gradients of steps into the building and
offer access to the building whereby they are throughout a building you can arrange to
physically lifted in. They need to be able to hire a ramp or stair lift to be installed for the
independently enter and move around the duration of using the location. You can hire
building: this gives the person dignity and mobi mats and beach wheelchairs to make
independence. sandy or rough exterior locations accessible as
well. Ultimately, you will need to make sure the
Not considering a person’s bathroom needs aids you hire will indeed ensure the location is
or shooting in a location where a person must accessible for the person who needs them, so
be dependent on others to enter and move this will require having a conversation with the
around a location ultimately segregates the person centred around their needs.
person and can have a negative impact on
their mental health and wellbeing. Preserving the dignity of disabled people
through ensuring locations are accessible is
Ultimately, prioritising location over people vitally important to inclusion and needs to be
is not inclusive and means that you will thought of at the beginning and throughout
run the risk of excluding people because the pre-production phase. It cannot be an
of your decision. Over the past decade of afterthought.
23
We’re on Set.
Now What?
There are many ways you can include inclusive
practice on set:
• Ensure you include a call to action on your
call sheets. E.g. “We value inclusion on our
sets and expect all cast and crew to treat
each other with respect.” This messaging
should be just as important as information
about safety around equipment or
COVID-19 protocols.
• During the morning crew call safety
briefing acknowledge inclusion as being
important and encourage each crew
member to treat each other with dignity
and respect.

24
Head of Department Guides
Task Suggestions for Industry New Starters
Here are some handy tips on how to support a person with disability in your department on set and tasks
suggestions for them that will both help the production and make them feel welcome. A good guide is to
match the person’s experience and skill to the role: for example, where an individual has no prior production
or applicable industry experience they might be best suited to an entry level role. However, where a person
with disability has prior industry experience, they should be hired based on their experience and expertise
within the applicable department. A bespoke approach works best and the person’s skills, experience and
qualifications should always be recognised.

1st Assistant Director Art Department Behind The Scenes

• Call “Roll Sound” and “Action” • Helping to bring in props from the • Helping with set up
• Distributing call sheets at the trolley and making any choices • Interviewing each other and being
beginning of the day • Dressing the set in the morning and interviewed.
• Escorting actors or talent to and any cleaning that needs to be done • If you are comfortable with this,
from set • Setting up props holding the camera
• Relaying messages and following • Helping with any adjustments to • Choosing shot size and background
up with crew on ETAs and requests dressing or props throughout the for interviews
• Keeping track of time and day • Deciding what action on set they
scheduling • Cleaning up at the end of the day want to capture

25
Camera Department Gaffer and Grip Departments Hair and Makeup Production
• Filling in camera reports. If possible • Carrying equipment and setting up • Carrying and setting up gear • Distributing call sheets at the
bring extra so that the assistants • Switching on lights and calling • Cleaning brushes and tidying area beginning of the day
can have a go. “striking” • Choosing colours • Escorting actors or talent to and
• Clapper board – students should • Managing cables • On set with hand cream, etc. for from set.
have been practising this and can • Helping with setting up lights and closeup of hands • Relaying messages and following
be helping with this most of the day gels, etc. • Simple applications up with crew on ETAs and requests
• Laying down any tape to mark spots • Packing up at the end of the day • Keeping track of time and
for talent scheduling.
• Carrying gear • Helping with collecting any
• Controlling the haze machine: if signatures/release forms etc.
being used • Laying out unit stuff, catering set up
• Making sure that the green room,
makeup room and wardrobe is tidy

26
Sound Department Wardrobe Department
• Setting up equipment • Helping to decide on any
• Holding the boom costume options for interviews or
• Calling “Sound Speed” performances
• Turning performance music on and • Making sure that wardrobe options
off and talents’ own clothes are in
• Any record keeping order. Helping to check costumes
• Collecting background sound are looking ok during final checks
• Helping with any ironing or cleaning
shoes, etc.

27
Support Workers or Personal Care
Assistants (PCAs)
A support worker or PCA is a person engaged to provide assistance
to a person with disability. Some people with disability require
no assistance with day to day activities, while others may require
additional support. It is important to recognise that each person’s
support levels are different.

Having a support worker or PCA in the writers’ room or on set can

seem cumbersome at first. However, they are there to assist the
person with disability, and essentially are a piece of supportive
equipment much like a cane for those with low vision, a hearing aid
for the hard of hearing or a wheelchair for those needing mobility
support. However, in this case, the supportive piece of equipment
just happens to be a human. These workers may come to work
with the person for the first few days and focus on elements such
as travel training, logistics and task training, or they may be an
ongoing part of the person’s needs.

In terms of how they fit into the team and the nuances of
filmmaking, they are equally obliged to adhere to set protocols
around confidentiality, intellectual property, safety and respect.
Having a support worker sign a Non-Disclosure Agreement around
a project is perfectly acceptable.

Such workers generally know their clients well and are a wonderful
source of encouragement and support to help the person with
disability gain the most from the opportunity.

28
Assistance Animals
Some people who live with disability are
assisted by animal supports. These animals
may be used by people who are low vision,
hard of hearing or living with autism or
anxiety. Each country will have their own
legislation around assistance animals. It
would be advantageous to ensure that your
set is accessible to assistance animals when
working with those who require them.

29
Set Protocols and Inclusive Production Quotas
What exactly can you ask a person with There is a wealth of roles on set and all are
disability to do on a commercial set? important to the overall flow of a production.
Essentially what you would ask of any person There are busy times and quieter times when
undertaking the role they are performing, at your role is not needed, and that is ok. Think
the level they are engaged, framed against an ahead and work out how to best support the
understanding of the capacity of the person person in the quieter times, such as while
along with their experience. waiting for a scene to be set up.

If the person is attached as an entry-level The “toolbox talk” around set protocols, roles,
production assistant, tasks like getting coffee, set safety and culture at the start of the shoot
setting up catering and helping with props should be offered to all. Respect and kindness
are fine. If the person is engaged as a camera should be leading the way, especially around
assistant, then requesting their assistance to behaviour and civility. Living with a disability
set up, clean, check and pack down equipment does not absolve someone from acting with
is appropriate. The support offered, directions respect towards others. Open communication
given and tasks assigned should match their around expectations of behaviour should be
skill level, capacity and role engaged – just like maintained at all times.
anyone else.
At Bus Stop Films, we follow a rule of having
Don’t be afraid to support them to undertake mentees on set 90% of the time in inclusive
new or more challenging tasks as a learning commercial filmmaking. We choose 90%
pathway, particularly if you see potential because sometimes people get sick, they need
for their growth. With the right supports in to leave early or they need time out, and that’s
place, allowing new staff to “act up” can be all part of making workplace adjustments.
a fantastic way to unlock new skills. We don’t
want to see people with disability exploited in Set a goal about how inclusive you can make
their roles, but it would be remiss to not extend your set. Sometimes you might only have
an opportunity to someone to get a foot in capacity to engage one person, or you might
the door out of fear that the tasks would be have capacity to engage more. Don’t forget to
too menial, or that to ask them would be think about all areas of production including
disrespectful. pre-production and post!
30
Cast and Crew Catering, Craft Services and
Communication Outsourcing
This is a critical component to achieving We all know that a great way to keep your
inclusion. Commercial film sets are busy cast and crew happy is through their tummies.
places with many people and pieces of When you’re hiring your caterers and setting
equipment, sounds and colours. Not knowing up your craft services or coffee run, consider
who is who can make engaging in the process using a company that hires people with
overwhelming. Where possible we suggest disabilities or from diverse backgrounds to
making a time for the cast and crew to meet cook, deliver and serve their products.
ahead of the production. A good idea is to
include a note about bullying, respect and There are a number of social enterprise
positive workplace culture in the call sheet. services that hire people with disabilities,
This way everyone on set receives the same youth at risk or migrant workers from
message about inclusion from the director, emerging communities in the food service
down to the fourth assistant catering industry. Take a look at what’s happening in
coordinator! the community startups. Ethical businesses
are a growing sector. Think about who you
If this is not possible, ensure from day one that hire equipment from for camera, sound and
the person has a designated crew member lighting etc. and consider the companies
to connect with if they have any issues or that have diversity and inclusion within their
concerns. You might like to talk about how they business and usual practices.
will manage if they are feeling overwhelmed
or are not across a task they have been Also, consider where and how meal breaks are
requested to do. taken. If all the key cast and crew eat together
and the below the line staff are made to eat
On sets, we connect each person with separately, this creates divisions between
disability with a mentor; this helps with the people and is not inclusive. Sharing a meal or
sharing of knowledge and the learning of new even just a cup of coffee can promote a sense
skills. It also helps to identify to the mentee of community and belonging on set.
who they are working with and in which
department. It also offers their industry mentor
a chance to get to know mentee more closely.

31
The Goal
Naturally Authentic: Integrated into the Everyday
The end goal of engaging with and whole organisation. For example, it
maintaining relationships with community becomes business as usual and normal for
and individuals is to drive social change your organisation to engage with people
holistically. Some of your employees might with disability, it’s expected and your
never have met a person with a disability employees see inclusion as normal.
before or had friendships with a person • People with disability; and those
with a disability. Engaging with people from from marginalised communities are
marginalised communities professionally will visible throughout your workforce and
help to drive inclusion at a broader social productions.
level. • The company culture becomes more
focused on wellbeing and understands
The ripple effect of this connection can be that achieving an excellent product can
extremely transformative for all involved happen whilst also cultivating a people-
and more broadly. While engaging with first culture.
individuals and communities may begin as a • Reasonable adjustments on production
formal arrangement with HR, and measured and in the office are benefiting all
with KPIs, the end goal is naturally authentic employees, not just those with disability.
connection, which is not forced or measured. • Flexible work arrangements are benefiting
This might take time, but understanding that all employees, not just those with
this is the end goal means that you can begin disability.
to cultivate it through your endeavours. • Employees who have been masking their
invisible disability have developed the
What we ultimately want to see develop is the confidence to disclose their disability to
following: management and ask for reasonable
• Authentic relationships with the adjustments to help them do their job with
community are easily maintained without even more efficiency.
effort: you are hiring people with disability • Access is not an afterthought. All decision
with ease and providing opportunities and making about access and inclusion is front
this is now second nature. of mind and decision making is framed
• A sense of connectedness to the through a lens of access and inclusion.
community is present throughout the
32
Closing Words
This toolkit is only a starting point: actual transformation requires
leadership, cultural change, collaboration and most importantly a
willing desire that reaches far beyond this guidance.

Finding new and diverse talent from the disability community for
both sides of the camera starts with building relationships through
advocates and community groups, making a connection and
getting to know them. As well, teams need to be trained to become
disability confident through the community engagement.

It is unethical to ask a person with disability to compromise their

self-respect to be a part of an inaccessible production. The journey
to inclusive production must be done thoughtfully and respectfully
and should be undertaken strategically from the outset of any
production.

Access is not an afterthought or a box ticking exercise that

erodes the dignity of a disabled person. Engaging with people
from marginalised communities professionally will help to drive
inclusion at a broader social level.

Where to from here?

Inclusively Made is the true mark of authentic inclusion in film
and commercial production. Founded by Bus Stop Films and Taste
Creative, Inclusively Made empowers organisations to operate
inclusively with people living with disability.

inclusivelymade.com
33
About the Authors
Bus Stop Films and Taste Creative have been working together since their inception, now
combining more than 20 years of filmmaking and commercial production experience.
We are global leaders in #InclusiveFilmmaking and founders of Inclusively Made.

Bus Stop Films Taste Creative

Bus Stop Films is a pioneering, not-for-profit Taste Creative is a film production company
organisation that uses filmmaking and the that produces world-class stories for
film industry to raise the profile of people purpose-led organisations.
living with disabilities and other marginalised
groups, on both sides of the camera. With a passion to see authentic diversity
in the film industry, we create employment
The Bus Stop Films filmmaking model has opportunities for people living with disability
been refined by years of inclusive filmmaking pursuing professional careers both in front
and is still growing and developing. Starting and behind the camera.
out on a small scale with a bold vision and
strategy to include people with disability in Taste Creative works collaboratively to create
filmmaking and production, Bus Stop Films high-quality film and creative content and
has been a global leader in this style of uses this space to explore authentic stories
filmmaking since its inception. that empower the disability community.
This is achieved by collaborating with
Through our Accessible Films Studies Program people with lived experience throughout
and the brilliant films we create, we provide the storytelling process, as well as providing
a platform for the voices and stories of our people with disability meaningful employment
participants to be shared around the world, within the creative industry.
whilst advocating for a more inclusive film
industry and society at large. tastecreative.com

busstopfilms.com 34
 Thank you
This document belongs to Unilever but may be used by other organisations in advertising and marketing
in order to improve inclusion. To learn more about Unilever’s Inclusive Set Commitment contact:
advertising.production@unilever.com

Please note this document is intended to provide help and guidance To find out more visit
and does not amount to legal advice. inclusivelymade.com