Channel 4 commits to disability

The broadcaster is confident it will deliver on plans to invest £300,000 in new talent initiatives, doubling the number of disabled people appearing in 20 of its biggest shows.

Dan Brooke, the diversity champion on C4’s board, said a commitment to diversity is in its DNA. “It brings home to us what we can achieve when action matches ambition. Our efforts have opened our minds to the wealth of untapped disabled talent out there, and our year of disability will not be a fl ash in the pan,” he said.

He added that the culture of the industry, which he has previously labelled “hideously able-bodied”, will only “really change” if disabled people in the industry are helped to get into more senior positions.

Below are four execs helped by the 360 Diversity Charter, Rio Production Training Scheme and the Production Trainee Scheme.

Chris Renouf, who is deaf and has cerebral palsy, initially secured a one-week continuity work experience placement as part of C4’s 360 Diversity Charter, which ringfences 30% of work experience and 50% of apprenticeships for disabled people. “Being deaf all my life has hampered and limited my ambitions.

During the work experience, it was refreshing to be in an environment of different abilities and ages. I went home a changed person,” he said.

“After overcoming battles with anxiety and self-consciousness in everyday situations, I was proud of who I am for the first time in my life.”

The work experience placement subsequently led to a year-long Creative Digital Media apprenticeship. “The main aim of the apprenticeship is to get a qualification so I can work with C4 and other broadcasters. More should be done to help promote diversity as it brings together a much wider range of people, each with a story to tell or an experience to share.”

Amy Ordinaire, who is 22 years old and has cerebral palsy, worked as a production coordinator on the Paralympics after winning a place on C4’s Rio Production Training Scheme.

“Before, I was applying for every [training] scheme but as soon as I mentioned that I was disabled they would just usher me out the door as soon as possible. They wouldn’t ask me what I could do or couldn’t do, or try to adapt anything around me,” she said.

Ordinaire added that the scheme provided her with the opportunity to see what she was able to do and what other elements were more difficult.

She is now working with Endemol Shine as a production secretary on Celebrity Big Brother. “It has opened the eyes of the companies that I’ve worked with and shown that it’s ok to just have the conversation about what we can and can’t do,” she said. “I’ve met lots of amazing people and made lots of great contacts. I wouldn’t be in the job without that opportunity.”

Rosie Jones, who is 26 years old and has ataxic cerebral palsy that affects her speech, mobility and motor skills, was able to step up from a researcher to an assistant producer, thanks to the 360 Diversity Charter.

Jones had previously worked mainly on archive shows. “I enjoyed it but I wanted to move onto studio shows and comedy in particular. I needed help getting onto the next stage of my career. People who don’t know me are weary of taking a risk on me because of my disability,” she said.

The scheme helped her get work on Zeppotron’s Would I Lie To You?, before moving to Open Mike’s The Last Leg: Live From Rio. “It was a learning curve but I absolutely loved it. I now feel able to step up to associate producer and I am working at CPL Productions on ITV’s new Harry Hill panel show.

C4’s 360 Diversity Charter helped Tom Wilde, who became a bilateral amputee after contracting meningitis when he was 16, move up from DV director to cut two episodes of 24 Hours In A&E for The Garden.

Wilde, 35, said his career had been “getting along fi ne” but that he was “plateauing” before getting on the scheme.

“The life-work balance I was having to endure was not ideal. I would be doing three-month contracts in Manchester and Nottingham and my disability meant that it took a lot out of me. “I’ve always worn prosthetics and I’m very mobile and able to do most things that TV jobs require, but it was important for me to have an editorial engagement. It definitely helped me get over that hump,” he added.

Wilde said there were tangible outcomes to the scheme, which has helped him get into the edit for the C4 hospital show, where he is now working on more episodes.