How do AC’s work with production?

While following standard Access baselines developed through the training program, the role is bespoke to both the DDN individual and to the production’s needs. Ideally, an Access Coordinator’s involvement begins in pre-production, and continues to be engaged as needed up until final release and exhibition of the work. Access Coordinators may be employed part time or full time, work remotely or be based within the production office, studio, on location, or in post suites, depending on the needs of production and the number of identified DDN cast and crew employed.

Who are we?

We are Accredited Screen Australia Access Coordinators.

Screen Australia hosted the Access Coordinator Training Program at AFTRS in November 2023, collaborating with Access Coordinator Sofya Gollan and the UK’s leading AC training providers Sara Johnson and Julia Fernandez at the Casarotto Agency. (Sara and Julie were formerly known as Bridge 06 before consolidating with Casarotto) 

A cohort of 12 Australian and NZ practitioners underwent a five-day practical in-person training to complement their existing screen production skills to become Access Coordinators for the ANZ screen industries.

What are our essential skills?

Lived experience as a Deaf, Disabled and/or Neurodivergent (DDN) person with a commitment to advocating and implementing an inclusive and accessible culture on set

  • Existing production experience in relevant production roles

  • Has had Access Coordinator Training

  • Has knowledge of providers of various disability equity training, accessible facilities, auxiliary aids, resources for hire and supporting services i.e Auslan interpreting (Australian Sign Language)

  • Can advise producers on the following: applying for the EAF (Employment Assistance Fund) to support the costs of providing access adjustments; understanding of NDIS provisions and boundaries; how to implement the Social Model of Disability to create an accessible environment for DDN individuals.

  • Has strong planning, administrative and record keeping skills. Is computer literate  and handles disclosure of personal information with care, integrity and sensitivity with understanding of the role of data collection under the Australian Privacy Act.

  • Is confident and decisive; able to manage relationships, delegate and demonstrate leadership as well as work in a team. Has clear communication and negotiation skills and refers up as required with a keen understanding of the multiple stakeholder relationships for production.

  • Represents with confidentiality internally and externally their production, producer, and DDN talent in a professional and positive manner.

What do we NOT do?

  • Advise on editorial content; this is the role of Disabled editorial/creative team members and/or a specialist Disability Editorial Consultant.  However part of our duties is to read scripts for tone, era and character dialogue checks.

  • Make budgetary decisions; this is the role of the Production Manager / Production Executive and relevant HoD’s.

  • Make creative decisions regarding locations, coverage, casting or content.

  • Act as a support worker; this is a role dedicated to single DDN individuals and requires expert training.  

  • Deliver training such as Disability Inclusion/Awareness training; this is the role of specialist trainers.

  • Provide legal and/or medical advice, psychological counsel and/or evaluations; this should only be given by qualified professionals.  

  • Ask for unnecessary details about a person’s disability or impairments, especially during the hiring or casting process, where the focus will be on talent, skills, knowledge, and experience.  

  • Need to hold a driving licence.

How much do we cost?

After extensive consultation with Screen Australia, MEAA and SPA, Access Coordinators have been placed in Band 6 alongside Safety Coordinators, Set Nurses and Intimacy Coordinators as per the Motion Pictures Production Collective Agreement (MPCCA) guidelines.

Noting that like all BTL crew members, individual AC’s will negotiate their weekly/hourly rates according to the expertise they have in the role and may set rates higher than award.

This contracted payment is separate from additional access costs the production may incur i.e. ramps, prosthetic supports, Auslan interpreters, Disability specific consultation roles and more.

EAF (Employment Assistance Fund) can assist with some of these access costs (but cannot be applied to the AC role itself).

NDIS individual plans typically cannot be accessed by productions or be used to augment their existing budgets.