For more than 25 years, the ScreenSkills-managed Film Skills Fund has been committed to supporting the film workforce across the UK. By investing contributions from qualifying productions into tailored training, it helps build and develop a skilled and diverse talent pool across behind-the-camera roles. In 2024-25, the Fund has marked a record-breaking year, with just under $2.7m (£2m) being contributed by productions filmed in the UK — its highest contribution to date. This has enabled the continued investment in training designed specifically for areas in which it is most needed.
“This past year has been an amazing one for the Film Skills Fund,” says Emma Turner, head of film, animation and future skills at ScreenSkills. “Not only did it mark its 25th anniversary, but a record year of investment into the Fund, with production contributions more than doubling. This underlines the trust, passion and productive collaboration we share with industry, one that enables us to help grow a skilled, diverse and versatile workforce through a wide range of training opportunities that meet productions’ needs.”
Contributions to the Fund come from UK productions of all scales and budgets. Among them are three titles receiving their debuts in this year’s Un Certain Regard selection in Cannes: Urchin, My Father’s Shadow and Pillion. In addition, each of the titles offered placements to candidates of the Film Trainee Finder programme, the Fund’s flagship new-entrant initiative that pairs paid production placements and bespoke training and networking opportunities with those taking their first steps in film production.
The Fund works hand-in-hand with industry to establish pathways to progression for film crew, both freelance and staff, at all career levels, balancing opportunities for new entrants with support for mid-level and experienced professionals.
Training programmes are shaped by the Fund’s council members, comprising experienced industry professionals who are able to identify areas of skills shortage, and where there is scope for development. Key initiatives include Film Forward, which aims to improve the diversity of those working at mid-to senior-level positions, and Make A Move, which offers viable progression pathways to mid-level crew.
“[Such programmes] have been hugely impactful on the sector’s workforce and the results have been incredibly heartening,” says producer and current council chair Anita Overland, who is set to step down from her position after four years at the helm. “I am incredibly proud of the work we were able to achieve and the opportunities we created through the Film Skills Fund. It has gone from strength to strength, and it’s been a privilege to be a part of that journey.”
Overland credits that success to the Fund’s continuing ability to target areas in specific need of skills training. “The ambition and innovation shown in recent programmes, like the focus on celluloid filmmaking, highlight the commitment of the Fund to continue to invest in areas where its impact will be felt most keenly,” she says. “It’s fitting that this past year has seen record contributions to the Fund, a real testament to its work and the opportunities it has created. I look forward to seeing the continued impact of the Fund’s investments for years to come.”
Overland will be replaced as council chair by Sarah-Jane Wright, head of film & TV production at Working Title Films and a longtime council member. “It’s a great time to be stepping up as chair of the Fund,” notes Wright. “A record year of investment is a reflection of the trust the industry has in the work it does across the UK. Already we are using those contributions to invest in further training opportunities to grow a diverse and skilled workforce across departments.”
Wright will be joined by new deputy chair Tori Parry, head of production at Film4, with the pair using their experience to help shape returning and future training opportunities. “By collaborating with the HETV Skills Fund for a newly evolved Trainee Finder programme, we are able to provide greater flexibility for those taking their first steps in the industry, by offering paid production placements across both sectors,” notes Wright. She also points to a new partnership with Amazon’s Prime Video, which has enabled the Fund to enhance the existing BIFA Springboard programme. It provides candidates with guided training, networking opportunities and one-to-one mentorship, to further support the professional development of feature producers.
‘Clarity and confidence’
Producer Blaise Singh was one of those to take part in the enhanced programme. “Being part of BIFA Springboard has been a game-changer for me as a producer,” he says. “The mentorship, finance insights and career development sessions have given me the clarity and confidence to take my work to the next level.
“The programme helped me refine my approach as well as connect me with invaluable industry relationships,” he adds. “Highly recommended for any producer looking to build a sustainable career.”
Reflecting similar aims, a first-time feature producer programme, delivered by training provider Mission Accomplished, provided practical advice across the production process, from development through to sales and distribution.
One of those who took part was Karima Sammout-Kanellopoulou, co-producer of the 2025 Bafta-nominated short Stomach Bug. “I liked the idea that there’s a course for first-time feature producers that went through everything I have been asking myself,” she says. “The biggest things that prompted me to apply were the structure and the potential to meet other producers on my level. It was pivotal that the course was free, as usually producers at the start of their career can rarely invest much money into training like this. It has been a great experience and I would recommend the course to future first-time feature producers.”
Underlining the Fund’s commitment to ensuring the industry is accessible to everyone, an evolved iteration of the Film Forward programme was designed in partnership with The Adobe Foundation to support deaf, disabled and neurodivergent mid-level professionals. Building on the success of the existing format, created to support mid-level crew from under-represented backgrounds, five candidates with three or more years of experience in post-production, VFX or virtual production will receive a four-week placement with one of four partnering companies.
Development producer Sara Missaghian-Schirazi is one of those five and will receive a placement with Final Pixel. “Navigating a career in the creative industries is difficult for all freelancers, even more so for those of us facing barriers to progression due to inaccessible workplaces, as we know from data showing the stark underrepresentation of disabled people in the UK screen industries,” she notes. “Film Forward is an essential stepping stone towards equity, facilitating collaboration between outstanding companies and disabled talent to dismantle the mid-level career ceiling.”
Across 25 years, the work of the Fund has helped to nurture and support those looking to enter or progress within the film industry. By forming close relationships with industry partners, it has been able to respond consistently to the needs of productions, and invest in opportunities that produce a workforce ready to create the films that capture the imagination of a global audience.
To find out more about the Film Skills Fund, how to contribute and the training it supports, visit screenskills.com/film
