"Accountancy Age’s Top 50+50 Accountancy Firms 2020 survey found that whereas 45% of all qualified accountants in the UK were female, just one-fifth of senior roles within the sector were held by women".
To shed more light on this woeful statistic, we sat down with Fozia O’Dowd, award-winning Producer and founder of Public Display of Affection Films, to find out more about her journey into producing from her former career as a Production Accountant and why she developed her course.
Fozia O’Dowd and Isabella Nefar (nominated for Best Actress) at British Short Film Awards for Dream Car Wash
RTF: Hi Fozia. Thank you for giving up your time to share your insight in this particular field of the film industry. So, let’s get right into it! How did you get into production accounting, and what are the different roles you've done within finance in film?
FO’D: So I refer to myself as a shop floor girl, by which I mean I was a runner, working unpaid for a few years before I started climbing the rickety ladder of production. After I got into a senior role as a Production Manager on an indie feature I realised I still had not found my calling, at that time the (female) exec I was working with suggested I try Production Accounting as I always had my head in the budget. At first I was dead against the idea of being more involved in the numbers but the department had flexibility and a better work-life balance so I was able to progress pretty quickly. Production Accountants didn't do shoot hours which was also a welcome change. I have now been working in film and tv for over 15 years!
RTF: Which films have you got to work on and what is the most fulfilling aspect of the role for you?
FO’D: I was on an action film with legendary action director Simon West whilst being heavily pregnant. My contract was due to end the same week I gave birth so my Financial Controller and I had made a pact that she would deliver my baby in the office if I couldn't make it to the hospital - it's mad and half a joke but we both meant it. That's dedication for sure, but it was also a lovely feeling of trust working with a more experienced female crew member, she was a great matriarchal figure and made sure she encouraged us to be confident in ourselves knowing how hard the job was.
RTF: What would you say are the challenges of getting into - and to progressing - in production accountancy, especially for women.
FO’D: I would say that consistency matters, the Production Accounting requires being on top of all current incentives (for example) and best practices and if it's a co-production, international ones as well. You have to keep smiling whilst managing a team who may be remote or lack experience and production is a high stress environment with demands that need addressing in the moment so often you are doing at least 10 things at once. You also have to report UP, with accuracy and efficiency to the Executives and Funders, so I would say take your time progressing through the department, enjoy being good at what you do in supporting roles and progress your career when honestly ready, rather than because of job frustration - don't climb the ladder too quick! It's very high and rickety like I said.
RTF: How do you feel the HETV and Feature Film Production Accountant upskilling course you created and produced helped participants to navigate these challenges, and what did participants get out of it?
FO’D: After a two year hiatus from production accounting, running my production company, it was really fulfilling designing and delivering my HETV and Feature Film Production Accountant upskilling course supported by ScreenSkills. I have been overwhelmed by the positive feedback from my course participants as I had specifically developed a programme where we address the knowledge and training gaps there is no time for on a production and sometimes you worry if you're the only one thinking it, it's turns out there is always at least one other that does add a problem shared in a problem halved (there's a little joke in there in case you missed it.) The cohort have since formed a wonderful community, working with each other, offering advice and sharing job opportunities so I feel very happy with what we have achieved and looking forward to doing it again.
RTF: Is there anything you’re particularly excited about regarding the course content?
FO’D: One really exciting thing I have been able to do through my HETV and Feature Film Production Accountant course is to connect with leading organisations in production software, accountancy and finance which has meant the participants are building new, useful contacts that can help them in their next role. We have worked with industry leaders Entertainment Partners, Equals Money (a FX company), Sargent Disc, TPH Global, Team Engine, Media Finance Capital and SLRV LLP to name a few.
RTF: Tell us about your transition from Production Accountant to Producer? And what do you feel the qualities and transferable skills are that Production Accountants bring with them?
FO’D: It was a long, hard transition! What I came to realise is that in the indie film space, not many people are in full time or regular employment vs working as production accountant full time for a production company where my job could last 18 months to two years, but it was worth it as I have really found my calling as a producer. I LOVE working with artists and nurturing creative projects - such a rare and privileged position to be in that I am forever grateful for.
Fozia O’Dowd with Teddy George-Poku (Costume Designer)
RTF: What would you say to someone wanting to get into - and to progressing in - production accountancy?
FO’D: Start as a cashier, even if you are experienced and try your hand in every department for at least 3 jobs - take your time because it's a lot about making friends, building relationships and being known as someone to be trusted - 99% of the time you will be part of a team so work on that, share information and ask questions.
RTF: Thank you, Fozia. That was all very informative and inspiring.
FO’D: My pleasure.
Fozia O’Dowd (she/her) Award-winning Producer, former Production Accountant, and founder of Public Display of Affection Films, an emerging Film and TV production company with projects in development with the BFI and Sky Drama across Film and TV. Fozia is an alumna of our Filmonomics Programme and a Reclaim The Frame trustee.