DirectorsUKAdventCalendar2025
Season’s Greetings from Directors UK!
Throughout December we highlighted memorable moments from the past 12 months, celebrating directors and their craft, revisiting key milestones in our work championing directors’ rights, and reflecting on the conversations we’ve shared and the stories we’ve heard from our membership of UK film and TV directors.
You can now look back at all our entries below, and also on our social channels: Instagram, LinkedIn, and Facebook.
Thank you for following the advent calendar, we look forward to seeing you in 2026!
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DAY 24
Day 24 - 378 directors have joined our community this year!
Our membership represents the vast majority of working film and TV directors across the UK. We’re thrilled to have welcomed nearly 400 new members to Directors UK this year.
We’re here to support, represent, and champion you, and we look forward to another year of working on your behalf to promote, preserve, and empower the craft of directing.
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DAY 23
Day 23 – Director Clair Titley on “ongoing” consent with your documentary subjects, and helping them reclaim their story
In July, director Clair Titley shared her experience directing The Contestant, about Tomoaki Hamatsu (Nasubi), who spent 15 months alone and starving on the Japanese show Denpa Shonen, unaware millions were watching.
Clair spoke about her mission to help Nasubi reclaim his story, the work that went into recreating the feeling of 1990s Japanese television, and the ups of downs of directing through the pandemic.
“I approached the whole project – and I approach every project – with the idea that consent is ongoing. I told him that I wanted him to have a lot of involvement with the project, though I was very clear that he wouldn’t have any editorial control of it. I believe that when you’re directing, and particularly on this project, there is no point where your responsibility ends to your contributors.”
“He was overcome with emotion, and I noticed a marked shift in him from that point on. He understood then that people liked him and respected him. I’ve done a lot of festivals with him since, and even the way he stands is different. He’s so much more confident in himself. He’s totally reclaimed his story.”
Read the full interview: “Even the way he stands is different…He’s totally reclaimed his story" — An interview with Clair Titley on directing The Contestant
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DAY 22
Day 22 - Directors UK recommendations were reflected in the CMS’s British film and high-end television report
This year, the cross-party House of Commons Culture Media and Sport (CMS) Committee released its report on High-end Television (HETV).
The report cited evidence from Directors UK and Directors UK Vice-Chair James Hawes on issues affecting directors and creators across our industry. Our evidence highlighted the need for better IP protection to help freelancers maintain a stable, liveable, income, as well as the need to tell stories for, and about, audiences from across the nation. You can read more about the report and its recommendations here.
Also published this year was the Government’s Creative Industries Sector Plan. In the plan, the Government announced increased investment in the screen sectors, a commitment to public service broadcasting, and the introduction of a Freelance Champion to advocate for the sector’s creative freelancers within government — something that Directors UK have long been calling for.
Whilst we’re encouraged by the announcement of a Freelance Champion, it’s imperative that the appointed Champion has the remit to effect meaningful, substantial change — and ensure that freelance directors in the UK are properly supported. We fed into Creative UK’s Delivering for Freelancers paper earlier this year, which outlined a vision for the role.
We'll be keeping an eye on the appointment of the role and will continue to bring the perspectives of directors to all our conversations with policymakers.
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DAY 21
Day 21 – Charlotte Mikkelborg spoke with us on directing immersive experiences
In April, we caught up with director Charlotte Mikkelborg to learn more about the craft that goes into directing immersive experiences.
As a director, Charlotte creates narratives and audio-visual experiences that transport the viewer into a 180° visual experience. Her latest project for Apple TV+, Adventure, takes the viewer along to some of the world’s most extreme sports challenges where both the competitors and Charlotte push the boundaries of their craft.
“I’ve been working in immersive for about 10 years now and I’m completely biased, but I have believed since I watched my first 360° film and I still believe that this medium is 100% the future of entertainment.”
“It was my first time in Iceland when we went to scout and tech check, and I just thought, what a gift for the immersive medium. We’re telling these stories in this medium because you just want to be in these incredible vistas.”
“I want to continue to explore and experiment in this brave new immersive world.”
Read the full interview here: Director Charlotte Mikkelborg on immersive filmmaking and shooting the Apple TV+ Adventure series
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Day 20
Day 20 – We spoke to Haolu Wang about her experience directing Black Mirror: Hotel Reverie
In April, we spoke with director Haolu Wang on the work that went into directing her Black Mirror episode, Hotel Reverie.
As a director Haolu explores journeys from within through psychological drama and fantasy, and in our conversation she shared the ways in which directing anthology series differs from episodic work, and the prep work that went into her Black Mirror episode.
She shared:
“Hotel Reverie presents a more positive way AI can be used, in the revival of old films. But the story itself doesn’t come alive because of the technology. It comes alive when the lead characters fall in love ... Hotel Reverie celebrates humanity and reminds people that falling in love is the most creative thing, and that it is built on genuine connection and vulnerability.”
“I’m primarily interested in people’s interior world. That’s how I connect with people — I like to know who they are, from the inside. People interest me, fascinate me. I find endless narratives within us. In my approach to directing, I try to make everything feel alive. I hope the audience can feel the life I inject into the work.”
“The most special time I had was a week-long rehearsal with Issa Rae and Emma Corrin ... By the time we got on set, we already knew each other and that definitely helped crafting this emotional intimate story.”
Read the full interview here: “In my approach to directing, I try to make everything feel alive.” — Haolu Wang on directing Black Mirror: Hotel Reverie
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Day 19
Day 19 – Hearing from directors on their approach to the craft on the Directors UK Podcast
This year, we’ve continued to bring you in-depth conversations with directors speaking candidly with their peers about the skill, insight, and ingenuity behind the art of directing.
So far in 2025, we’ve released 17 episodes, featuring first-time directors such as Nadia Latif, Olaide Sadiq and Shiori Itô, alongside more established voices including Guillermo del Toro, Kathryn Bigelow, and Ryan Coogler.
In 2025, we passed 150,000 all time listens, and to make it even easier to tune in, the Directors UK Podcast is now available on YouTube. Subscribe and enjoy listening to every episode from the past year.
A huge thank you to all our listeners for your continued support. If you’re not yet subscribed, you can find the Directors UK Podcast on Apple Podcasts, Spotify, SoundCloud, YouTube, or wherever you get your podcasts. If you’re a fan of the podcast, we’d appreciate it if you left us a review, it makes all the difference.
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Day 18
Day 18 – We spoke to Clare-Louise English about how she makes films for both D/deaf and hearing audiences, for Deaf Awareness Week
In April, we marked Deaf Awareness Week by speaking to bilingual director Clare-Louise English on how she makes films for both D/deaf and hearing audiences, and how new and creative approaches to filmmaking can open up how audiences engage with film.
Clare-Louise shared:
“I always want to try and make work accessible. D/deaf people want entertainment that they can enjoy with their families in a shared experience.”
“I approach the film like an actor would. I always try to lead with the characters and the stories. ... I often have a really clear idea of what I think the character is doing, but you always have to leave some space for what the actor brings. I think when you cast actors that you really trust, you need to allow them space to bring themselves to the character.”
“All of our films have had a mixed DDN (deaf, disabled, neurodiverse) cast and crew – which basically means having an army of interpreters on set with you. That’s something we’re doing as a standard and it’s all about planning ahead and making sure you are leaning into your Access Coordinator and bringing them on as soon as possible.”
Read the full interview here: Director Clare-Louise English on bilingual filmmaking and creating accessible experiences
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Day 17
Day 17 – Standing up for creators’ rights in the age of AI
In 2025, the debate around AI and copyright intensified, and we campaigned for this emerging technology to be regulated in a way that protects creators’ rights and livelihoods.
At the start of the year, we responded to the government’s consultation on AI regulation, making clear our stance that there was no justification for AI companies to copy creative work without permission in the first place, and that the government’s proposed solution unfairly placed the burden on copyright owners to assert their rights or risk losing them. This week the government released the consultations’ findings, showing that a huge majority of respondents had similar concerns.
In May, we took part in the Make It Fair campaign alongside organisations from across the creative industries. The campaign launched with every national newspaper carrying the message on its front page, and we joined colleagues outside Parliament to show our support.
Directors UK member and crossbench peer Baroness Beeban Kidron tabled amendments to the government’s Data (Use and Access) Bill, calling for a much-needed transparency obligation on AI companies regarding their use of creative works.
During one of the debates, Baroness Kidron delivered a passionate and widely praised speech in the House of Lords, stating:
“We, the creative industries, embody both change and tradition, and we reject the assertion that we are standing in the way of change. We are merely asserting our right to continue to exist and play our part in the UK’s future growth.”
You can watch her full speech here.
Despite extensive deliberation, the bill ultimately passed in June without Baroness Kidron’s amendments.
As we go into 2026, we’ll continue to represent the interests and concerns of directors as the debate around AI and creativity goes on.
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Day 16
Day 16 - University of Glasgow survey reveals full extent of precarious working conditions for UK screen directors
In January, the results from an independent survey of UK TV and film directors were released.
Conducted by CREATe, the Centre for Regulation of the Creative Economy based at the University of Glasgow, and commissioned by Directors UK, the results confirmed a number of stark findings, such as; on average directors work just 27 weeks of the year, 78% of directors feel that their income is unstable, 32% of directors undertake non-paid creative work, and 39% of directors report that the value of residuals and royalties has decreased. See the full report here.
The report's findings were referenced in Parliament by Viscount Colville of Culross during a passionate speech on the need for greater support for the creatives who make the UK screen sector so valuable. You can watch a section of the speech below.
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Day 15
Day 15 – Speaking with documentary filmmaker Havana Marking on accessing unique worlds as a director
In January, we sat down with Havana Marking to discuss her unique approach to directing observational documentaries, including her latest feature Undercover: Exposing the Far Right.
Havana shared how she has succeeded in securing unique access into worlds that others might fear to go, all while crafting an engaging cinematic experience for viewers.
You can read the full interview here: Accessing Unique Worlds in Documentary Filmmaking: an interview with Havana Marking
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Day 14
Day 14 – Hearing from some extraordinary directors at our in conversation member events
This year, our in-person member events have featured an extraordinary lineup of directors, including Akinola Davies Jr, Brady Corbet, Daisy-May Hudson, Guillermo Del Toro, Joy Gharoro-Akpojotor, Kathryn Bigelow, Lindsay Utz, Nadia Latif, Nia DaCosta, Olaide Sadiq, Paul Thomas Anderson, Ryan Coogler, Sean Baker, and Shih-Ching Tsou.
Each director has shared their own distinctive approach to the craft, offering rare insights and invaluable advice to our members. These events also provide a fantastic opportunity for members to connect with fellow directors in a relaxed setting, draw inspiration from their peers, and celebrate the exceptional talent and creativity that bring films to life.
Check out our member events page to see what other events we have coming up: Events
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Day 13
Day 13 – Bringing our directing community together, in person and online at our member meeting
In September, we hosted a hybrid member meeting, welcoming attendees both in person and online.
Directors UK Chair Karen Kelly and CEO Andy Harrower reflected on the past year’s work at Directors UK, reviewed AGM business — and shared key achievements in 2025, including our largest-ever total distribution payout. They also provided updates on our ongoing efforts to ensure directors are fairly paid for the use of their work, our advocacy in Westminster and beyond, and the initiatives we’re pursuing to improve day-to-day working practices for directors. After the meeting, members had the chance to mingle over drinks and nibbles.
Directing can often be a solitary profession, which is why we place real value on bringing our membership together, to connect with the wider community, discuss the issues they’re facing, and be reminded that whatever challenges they encounter, they’re not alone as members of Directors UK. Thank you to everyone who joined us at this year’s meeting.
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DAY 12
Day 12 – A year of championing the interests of directors on industry panels
Over the past 12 months, we’ve been as busy as ever representing the interests of film and television directors to decision makers within the sector.
In these conversations, we’ve shared the real experiences of working directors' and the challenges they face, bolstered by the many members and creatives who have spoken at panels and events throughout the year, including:
• Alexander Jacob speaking powerfully about the financial and mental-health challenges facing many freelancers today, on a panel at this year's Labour Conference.
• Board member Delyth Thomas giving a speech on how AI has affected her creative practice at the 20th anniversary of UNESCO’s Convention on Cultural Diversity (which you can read here).
• Ethosheia Hylton, Evgenia Golubeva, Kitty Taylor, Lou Kneath, Marion Edwardsa, and Nandita Jain who shared their career journeys and their experiences working within the sector, at the Directors UK sponsored Queens of the Cut panel (moderated by Lotte Elwell) which took place at the Children’s Media Conference in Sheffield.
We’re grateful to everyone who shared their experiences and perspectives on the state of the industry this year. Your voice helps us drive forward conversations about the future of our sector.
We’d also like to extend a thank you to everyone who met with us throughout the year, and shares our passion for improving the working lives of creators throughout the sector.
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Day 11
Day 11 – Our members celebrate 30 years of Hollyoaks by sharing memories of working on the iconic show
In October, Hollyoaks celebrated 30 years on our screens.
We marked the occasion by asking our members to share memories of their time working on the show, what Hollyoaks has meant to them as directors, and why it continues to be such an important part of our industry. Here's some of what they had to say:
“Some of the happiest days I have had in my entire career were on set on Hollyoaks. Such a lovely atmosphere super talented cast and can-do crew, I miss it terribly.” –Martin Gooch
“I feel more than any other places, the team on Hollyoaks really respect directons and what we bring. I feel like my Lime Pictures community is a home from home.” –Ellie Brent
“Hollyoaks has striven to be inclusive in its storytelling and its culture, and has been at the forefront of representation of marginalised and underrepresented groups on mainstream TV, both in front of and behind the camera. Long may it continue being the noisy upstart in the TV firmament.” –Amy Coop
Read all of their thoughts here: Hollyoaks at 30 - "Hollyoaks has been pivotal to many directors’ careers..." Directors UK members share their thoughts
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Day 10
Day 10 – Speaking with Atomic director Shariff Korver
In November, we spoke with Atomic Series Director Shariff Korver about the work that went into crafting his explosive five-part drama for Sky.
Shariff shared how he came to lead the project, the secrets behind his pitch, the challenges and rewards of filming on location in Morocco, and how he ensured every action sequence served the story’s emotional core. Here’s some of what he had to say:
“Prep is everything for me. It means I can walk onto a set confident that when things go wrong, and they always do, I’ll know how to pivot, because I know where I'm coming from and where I need to go.”
“Directing a series is a marathon, not a sprint. Managing your energy is what separates burning out and being able to enjoy the process.”
“Pitching isn’t just an audition, it’s a declaration of intent.”
Read the full interview here: An interview with Atomic director Shariff Korver
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Day 9
Day 9 – A roundtable with Walking with Dinosaurs directors Owen Gower, Stephen Cooter, and Tom Hewitson.
In May, Walking with Dinosaurs roared back into the world, 25 years after the series initially stomped on our screens.
To find out how this iconic series was brought back to life, we hosted a director roundtable with Owen Gower, Stephen Cooter, and Tom Hewitson. Here’s some of what they had to share:
“The big difference witht his project was that the filming was only the beginning of the directing process.” - Tom Hewitson
“I hadn’t appreciated until we were in the edit, that directing the animators is sort of like directing an actor. There are definitely opportunities where you’re approaching it like you would an actor.” - Stephen Cooter
“I asked the team if Jurassic Park was what had inspired them to become palaeontologists and, to a person, they all said no. It was Walking with Dinosaurs.” - Owen Gower
Read the roundtable interview here: A roundtable interview with Walking with Dinosaurs directors Owen Gower, Stephen Cooter, and Tom Hewitson
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Day 8
Day 8 - Directors UK, BBC Studios, ITV Studios and Pact announce Engagement Guidelines for Ways of Working Between Producers and Directors
In March, we agreed a new set of guidelines for how production companies work with directors across all genres of production, ensuring the director’s role is clear and is respected.
The Directors and Producers Forum (made up of Directors UK, BBC Studios, ITV Studios and Pact) agreed upon the guidelines to reflect the essential creative nature of the role of a principal director. You can see the nine guidelines, which demonstrate good practice and should be used as a reference point for directors working for UK broadcasters, here: Directors Engagement Guidelines
Karen Kelly, Directors UK Chair said: “These guidelines help to protect creative control, secure fairer work practices, and foster a more inclusive and professional environment for all directors in the industry.”
Andy Harrower, Directors UK CEO said: “These principles underpin the director’s role as one of the key creative leads on a production, ensuring that their craft is respected and understood.”
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Day 7
Day 7 - Paul Evans continued to highlight key issues for creative freelancers in 2025
This year Directors UK Head of Industry Relations Paul Evans has continued to speak out on issues affecting Film and TV directors.
In January, he shared with our members two crucial meetings which both gave our members an opportunity to help drive meaningful cultural change across the industry.
The first session introduced CIISA’s (the newly formed Creative Industries Independent Standards Authority) Standards, which set minimum expectations for safe, inclusive working environments . In the meeting our members were given the chance to hear the guidelines, and ask questions about how the Standards will be implemented.
The second meeting was a briefing and feedback session on the BBC’s Workplace Culture Review, exclusively for our membership. “When it comes to working culture, it’s high time the industry turned over a new leaf. Directors have a big part to play in this,” Paul wrote about why directors should engage with these opportunities to actively feed into healthier and fairer future for our industry.
In March, Paul wrote on the issue of exploitative and dehumanising application processes which are all too prevalent within our industry. Paul wrote how these practices “result in hundreds of unpaid days from directors who could have spent their time more usefully.” You can read the blog here.
In November, Paul wrote about a how some directors miss out on holiday pay simply down to employers’ administrative practices, and why that needs to change. Paul wrote, “In a freelance industry, consistency and transparency on pay are essential. Directors shouldn’t lose out just because they’ve chosen one legitimate business setup over.” You can read the blog here.
Paul will continue to speak up for directors’ rights in 2026, both by voicing challenges faced by our membership in his conversations with industry leaders, as well as bringing lesser-known issues faced by freelancers to light through his Industry Blog.
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Day 6
Day 6 – We spoke with Paul Sng on the ambitious craft behind his hallucinatory documentary Reality Is Not Enough
In September, we sat down with director and Directors UK member Paul Sng to discuss the extraordinary creative journey behind his latest project, Reality Is Not Enough.
Centered on a psychedelic DMT trip undertaken by Scottish writer Irvine Welsh, the film plunges viewers into a vivid, sensory exploration of the author’s inner universe. Paul spoke to us about the ambitious craft behind this hallucinatory documentary, and the experience of collaborating so closely with an artist as iconic as Irvine Welsh.
This October in Glasgow, Directors UK members also attended a special showcase screening of Reality Is Not Enough, followed by a Q&A with Paul.
Read our interview with Paul here: “I set myself a rule, to not only reflect who Irvine is but be worthy of his work” — an interview with Paul Sng on directing Reality Is Not Enough.
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Day 5
Day 5 - A remarkable year for Directors UK Inspire
It’s been a remarkable year for Directors UK Inspire, with 42 directors receiving tailored, one-to-one mentorship from their peers.
Inspire is a mentorship programme open to Directors UK members working in every genre and format. Its aim is to create purposeful, flexible mentoring partnerships while connecting participants to a wider network of fellow directors.
In 2025 we caught up with participants on the scheme to speak about their experience on Inspire. Jamie Benyon shared how working with his mentor Tom George, helped prepare him for the production of his LFF award-winning short (read here). Wendy Wong shared how her mentorship with Tom Vaughan helped demystify TV directing and also strengthened her confidence and sharpened her approach to her own passion projects (read here). William Webb shared how his time on Inspire, being mentored by Ed Bazalgette, helped him develop a clear sense of the rhythm of professional TV directing (read more).
At its heart, Inspire is about bringing directors together, creating space for conversation, mutual learning, and lasting relationships. This Summer we were delighted to host our very first Inspire drinks event for past and present participants, which proved such a success that we followed it up with a Winter gathering earlier this week.
We’re proud to see the Inspire community continue to grow this year, and we look forward to supporting even more directors through the scheme in 2026. Applications for Inspire 2026–27 are now open. If you’re interested in applying to Inspire, or becoming a mentor on the scheme, you can find out more at the following link: Directors UK Inspire Mentoring Programme 2026-27 — Applications Now Open
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Day 4
Day 4 - Directors UK members shared their experiences working on Eastenders, to celebrate 40 years of the landmark show!
In February, EastEnders celebrated 40 years on our screens.
To mark the occasion we asked our members about their experiences working on the show, what EastEnders has meant to them as directors, and the important role the programme has played in our industry. Here’s some of what they had to say:
“EastEnders is a way in, regardless of background, to all TV jobs including directing. It has trained up and given to the industry so many talented people who without it may never have found a way in. The industry owes a huge debt to EastEnders.” – Karl Neilson
“I think EastEnders at it’s best remains a powerhouse of British drama and a real cultural barometer for the UK. As well as employing thousands of actors and crew.” – David Kester
“I use the skills I have learned as a director on the show everytime I work on a new project – from video game cinematics to developing short films. The experience and confidence I gained have been immeasurable. Thank you to Sharon Batten and the rest of the team at EastEnders for giving me that opportunity.” – John Dower
You can read the rest of their thoughts here: Directors UK members share their thoughts on directing EastEnders on the show’s 40th anniversary
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Day 3
Day 3 - A year of supporting directors to grow, progress and refine their craft
This year, our Careers team delivered a wide range of workshops, masterclasses and placements to help UK film and TV directors develop their skills and advance their careers.
In April and May, we ran two Working with Actors workshops with Spotlight. Led by director Suri Krishnamma, the sessions combined practical exercises with professional actors and guidance on effective on-set collaboration.
Also in May, director David Keating returned with his popular Fearless Pitching workshop, while financial adviser Emily Man delivered a session on financial planning for directors and freelancers (takeaways from that session can be found here).
In June, we announced the participants of the ScreenSkills HETV Regional New Directors Champions Programme. Emma Roxburgh, Meng Han Hsieh and Owen Tooth were each paired with experienced HETV directors for targeted career support.
Also in June, we hosted a career consultancy workshop for unscripted directors with talent executive Cynthia De Souza.
In August, Margaret Glover led a workshop on collaborative feedback, taking members through the key components of offering and receiving feedback, focusing on attention and appreciation — fundamental soft skills for any director that are often overlooked.
In September, award-winning director Havana Marking led a hybrid workshop on applying dramatic story structure to documentary storytelling.
In October, leadership coach Tracy Forsyth delivered Futureproof Your Career, a two-part webinar series offering tools and strategies for navigating an evolving industry. Takeaways from that session can be found here.
In November, Deaf / BSL drama director Samuel Dore hosted a masterclass on how to work with Deaf actors. He was joined by Luke Snellin, who directed BBC and Warp Films' Reunion, to discuss his experience working with a Deaf cast.
Alongside this, we partnered with the BBC and various productions to facilitate six paid director placements throughout the year.
And, of course we continued to run our hugely successful Directors UK Inspire scheme – which may just need it’s own entry. Check back later in the month...
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DAY 2
Day 2 - £21 million paid to film and TV directors in 2025!
Distribution is at the heart of our work here at Directors UK. With employment across the industry more precarious than ever, these payments are a vital lifeline for directors. That’s why we’re continually working to secure the best possible deals and ensure directors are fairly compensated for the use of their work.
This year was a standout in terms of distribution payments. In January, we made our largest payout to date, distributing £12.4 million to more than 4,000 Directors UK members.
In May, £3.1 million was distributed to over 2700 members as part of our first International Distribution of the year, made possible thanks to our close ties with Collective Management Organisations around the world.
July saw a further £2.1 million paid to over 3,500 members as part of our supplementary Distribution, and in October we distributed £3.4 million to over 2,600 members through our second international Distribution of the year.
That’s a total of £21million distributed to film and TV directors in 2025!
We’re incredibly proud to support directors by ensuring they receive the payments they’re owed. While the majority of UK screen directors are Directors UK members, we also allocate payments to those who haven’t yet joined. We maintain a list of these individuals on our website: our Unregistered Directors List.
Whilst we’re actively trying to contact them about unclaimed payments, word of mouth is often the most effective way to reach people, so if you know anyone on that list, please let them know we’re trying to get in touch.
Finally, a quick note: our next scheduled distribution will take place at the end of January 2026. You can find the full timetable of 2026 distributions here.
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DAY 1
DAY 1 - An interview with Adolescence director Philip Barantini
In March, we spoke to director and Directors UK member Philip Barantini about the work that went into directing his agenda-setting series Adolescene.
That same week, the Prime Minister backed a plan to make Adolescence available to stream in UK Secondary Schools in an initiative aimed at tackling the issues raised in the show. Philip spoke to us about the rigorous preparation, the sensitivity, and the creative leadership that he brought to the show as director — and how that resulted in a drama that has broken records and started conversations everywhere from the front room to the classroom.
Hard-hitting and technically audacious, Adolescence is an international success story that demonstrates the agenda-setting power of TV drama. Read our conversation here: “Everyone had each other’s backs” — An interview with Adolescence director Philip Barantini