Clockwork Films WA, in collaboration with creative partners Anthologie, recently had the pleasure of working with Bus Stop Films on YDAN’s latest spot, ‘Deal With It’. The approach to the work brought inclusion into the production process in a meaningful, hands-on way. Here we get a closer look at how the set came together.
To dig deeper into what inclusive production actually looks like in practice, we spoke with Bus Stop Films COO and Head of Screen, Dianna La Grassa, about the misconceptions that still exist in the industry, the success stories that prove what’s possible, and why creating more inclusive sets starts with simply being willing to begin.
One of the first things Dianna points to is the misconception that working with people with disabilities on set is somehow more difficult, more expensive, or more time-consuming.
“As a producer the most common misconceptions I hear is that it’ll cost more and take longer. I can’t stress enough how untrue this actually is. As producers and content creators we have the ability to get crafty in how we approach problems, locations, stories etc… when inclusion is at the forefront of your mind at the start of your project you end up generating better outcomes for everyone involved in the project. It only costs more when you think of it as the last aspect rather than integrating inclusive practices upfront.
For Dianna, that thinking is not theoretical, it’s backed by the people who have come through the Bus Stop Films system and gone on to build real careers in the industry.
She said: “We have so many success stories from our Bus Stop Employment Candidates through to our emerging filmmakers who deliver our workshops. Sam Riesel who is now one of our Employment Ambassadors is an incredible story of having a passion for the industry and carving out a place for yourself. He is one of our most sought after candidates and has continued to secure jobs both on his own and through us, which is incredible. Michael Geelan is another one, he went from being a camera attachment on Boss Cat, the first long form content Bus Stop Films produced, to now being hired as a regular 2nd Camera Assistant for that DOP. Their friendship and connection continues to foster growth for both individuals and they make some pretty amazing things together.”
When asked what she would say to producers wanting to create more meaningful opportunities for creatives with disabilities, Dianna is clear: the talent is already there.
“People with disability are an untapped market of talent and capability, they just need the opportunity. Your sets are always better when they are inclusive and for brands thinking about whether it’s a good investment there are a number of studies including the purple dollar that show just how much influence and buying power comes from the disability community.”
Still, despite the opportunity, hesitation remains. Dianna believes that much of that comes down to fear: not a lack of willingness, but a fear of saying or doing the wrong thing.
“I think people have been so afraid of getting it wrong and the fear of being cancelled is a real thing. In saying this though it’s important to give it a go, you might get some things wrong but by being open, curious and genuine the community will embrace you. There is a great white paper that was done as part of the Driving Change Summit and one of the most interesting facts is that there is a real desire from the industry to be more inclusive, they just aren’t sure how. Sourcing support from organisations like Bus Stop Films is one way to take the first step.”
That support is exactly where Bus Stop Films comes in: helping productions and creatives meet in the middle, with the right tools and guidance in place.
“Bus Stop Films is here to help bridge the gap between creatives with disability and the industry.” She added: “We want to build confidence and capacity for both industry professionals and creatives with disability leading to more meaningful employment. Our wrap around service is there to support productions, sets and teams feel like they have the tools to work and employ inclusively.”
Dianna also highlights how important it is to have respected industry advocates helping shift perceptions from within.
“Mikey is a deadset legend. I was lucky enough to meet Mikey on some of my first few shoots as a producer and I fell in love with his attitude and style of work. He brought an energy to the sets and a real passion for creating great content. He is by far one of my favourite DOP’s to work with and I’ve been lucky enough to get to work with his proteges as well.
Having someone advocating for Bus Stop Films is so critical, the industry needs to hear and see that it is possible from their peers. As a not for profit our model is to introduce industry professionals to our crew and hopefully expand their knowledge and understanding on both sides. Mikey is the epitome of why this model works and how important it is to the ecosystem of content creation.”
And in her experience working with production companies like Clockwork Films, Dianna says what stood out most was the intention shown from the beginning.
“Clockwork Films has a true desire to be inclusive, they asked questions upfront, sought the best way to support the attachments provided by Bus Stop Employment and wanted them to gain true hands-on experience. Those are all the elements to making a successful inclusive set. We love seeing when inclusion is more than just a once off and is actually integrated into the ethos and principles of a company. We can’t wait to do more with Clockwork Films.”
For Bus Stop Films, the goal is not simply to be involved in one-off conversations around inclusion, but to help make it part of the everyday fabric of production. And as ‘Deal With It’ shows, when that happens from the outset, the results are better for everyone.
Thanks again to the incredible team at Anthologie for their creativity, collaboration and these amazing BTS shots.
Read Anthologie’s full case study here: https://weareanthologie.com/project/ydan/
