Second Producers Roundtable survey paints bleak picture for UK independent producers

EXCLUSIVE: Almost nine in 10 UK independent producers say the job is not currently sustainable, according to the second survey by the Producers Roundtable organisation, released today.

The second survey was completed by 107 independent producers, 45 of whom had participated in the first edition of the survey in 2020. 89% of respondents said the job was not sustainable this time, up from 83% in 2020.

89% said that producing has had a negative impact on their mental health, up from 82% five years’ ago; while 50% of respondents said it is ethically and/or morally irresponsible to advise aspiring producers to enter the film industry.

Financial precarity remans high amongst the sector, with 58% of producers saying they have no source of financial support, and another 18% relying on spousal support.

The average annual pre-tax personal income from producing a feature in which they owned IP was just £14,076 across the past five financial years; dropping to £13,298 in the past year.

Fee deferrals remain common, with 49% of producers on BFI-backed feature films having deferred their fees, 36% on BBC Film-backed titles and 18% on those backed by Film4.

94% of producers who have deferred fees said they have not received their deferred fee out of the film’s distribution deals; while 65% said none of their completed films have generated income beyond a production fee.

The public funders’ position remains the same: they do not recommend fee deferral, but the final decision on whether to do so rests with the producer.

42% of producers said they are likely to stop producing in the next five years.

Solutions

The 2025 edition of the survey included additional questions from its predecessor, including on streamer levies. 84% of respondents said the UK should introduce a levy and/or investment obligation. “I know indie film can thrive, we see it in other countries,” offered one respondent. “I’m hopeful the streamer levy in those territories will ultimately inspire change here.”

Another respondent was less optimistic. “Unless there’s serious and assertive intervention and remedy to address the eco system itself (e.g. streamer levy), we’re operating in a constant state of dysfunction.” 

Among several questions about how the public funders operate, 64% of respondents said the BFI ‘should shift the way it operates to focus on the timely disbursement of public funds by reducing ‘tastemaker’ work and increasing business affairs and accounting capacity’.

74% of respondents said the UK public funders should reject any finance plan that relies on producer deferment; while 88% said the funders should never require producers to cashflow late development or production finance, and should reject such a proposal from partner financiers or other partners, including on short films.

There is a strong demand for greater transparency, with 88% of respondents wishing for funded producers to receive up-to-date guides on the relevant funder’s internal working practices and norms.

For the BFI, 96% of respondents wanted producers to be notified at what stage their application was rejected and why; while for BBC Film and Film4, 90% of respondents wanted the organisations to acknowledge all submissions within a week and respond with a timeline for assessment.

Income remains the dominant factor in forcing producers out of the industry, with 50% saying it would be the key reason were they to quit the industry; and 15% citing lack of sustainability.

“Everyone I know is mentally and physically and financially exhausted,” said one producer in comments, while another said, “No one is financing films. Producers are treated like the bad guy in a Hollywood movie and taken for granted. Producing is treated like a privilege and not a job.”

“Every day I wonder if we need to close the company,” said a respondent.

Rebalance the system

UK producer Camille Gatin commissioned the second survey in consultation with Producers Roundtable founders Helen Simmons, Loran Dunn and Sophie Reynolds. The group are in the process of meeting with industry stakeholders to discuss the findings.

“The report paints a pretty clear picture and, sadly, an alarming one for independent UK producers,” said Gatin. “Yet the UK’s film sector remains an attractive prospect for businesses and growth, with for example Black Bear entering UK distribution and Pathé announcing a return to the UK just yesterday.”

“Other countries - including Canada, Australia and our European neighbours - have shown us what’s possible when industry, funders and government work in partnership to rebalance the system in ways tailored to each market.

“We hope these findings will support and inform the wider conversation - one we’re committed to continuing - about how we secure the future of UK film together.”

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