Inclusion Is Where the Magic Happens, and It Starts Behind the Camera and With Producers

As someone who leads productions, I know just how much the details can define it.

Finding the right location, getting the script just so, casting the perfect people. But when it comes to the crew behind the camera, it’s as if we have a collective blindspot -- hiring the same kind of familiar faces. Too often, that means we're missing out on gender diversity when it comes to trans, non-binary, and gender-diverse professionals.

As part of the LGBTQIA+ community, this issue hits close to home. I’ve been both a below-the-line and above-the-line crew member, in commercial and long form productions. I know firsthand how much representation matters -- not just with our cast, but with our crew.

It’s something I care deeply about, and I’ve worked hard to create inclusive environments on my own sets. That means actively seeking out gender-diverse crew, making space for early-career talent to step up, and setting clear expectations around respect and inclusion from day one. It’s not just a belief; it’s something I live by. Because when people feel safe, respected, and seen for who they truly are, the energy on set changes for the better. The work gets better. The culture improves.

We need to stop pretending that talent doesn’t exist within the gender-diverse community; it’s there in spades. Whether it’s lighting techs, wardrobe stylists, editors, or DOPs, gender-diverse professionals are out there -- but time and time again, they’re either overlooked or made to feel like they don’t belong.

In production, there’s an unspoken idea that men are more capable, whether it’s on set or in technical roles, and that bias quietly decides who gets called up. I’ve seen the same crew going from job to job based on this unconscious bias and who they know, rather than their merit. And it’s not just crews, it's the same people leading them too. I can’t tell you how many times I’ve walked onto a set and the leadership team is made up entirely of white, middle-aged men. When that’s the norm, it reinforces the idea that only a narrow type of person belongs in those roles.

If we want to see change, we need to change how we’re hiring. It starts with looking beyond the usual networks, putting in the time to find underrepresented talent, and creating the opportunities that have been missing for too long.

Building an inclusive production set isn’t hard, if you’re willing. Here’s a rough guide on how to do it:

Reach out to LGBTQIA+ and gender-diverse crew directories or collectives and, if they don’t exist in your city, make your own database. Add pronoun fields and non-binary options to call sheets and paperwork. Consider allowing individuals to use their preferred name in contracts and agreements; is the use of a legal name worth the discomfort it may cause your talent?

Make sure there’s inclusive facilities on set -- from all-gender bathrooms to safe wardrobe spaces. It’s a non-negotiable for those on set to be active LGBTQ+ allies, with an understanding of the challenges faced by our communities, either by being actively involved or by undertaking training such as Minus18 and Pride in Diversity.

This is even more important for wardrobe and makeup artists; when it comes to people who are trans or gender diverse, ensure you find someone who can adapt their approach to suit the talent.

Budget allowance for mentorship or shadowing roles so new talent can break in. Lead by example and set the tone early, and step in when respect isn’t being shown. Even stepping in and correcting pronouns and misgendering goes a long way. Understand physical and psychological safety supports: How are they getting to set, can they afford an Uber, are they comfortable getting an Uber, when on-set, do they need a low-sensory space? Offer EAP or counselling support services, and a grievance officer to report any issues.

And in post production: check in to make sure their experience was a positive one and if they need any additional support ahead of the campaign being launched when there is the possibility of their image being subjected to criticism or hate.

Inclusion is where the magic happens. That’s why, when I build a production, it’s to create an environment where everyone can thrive. The energy shifts and people feel freer to authentically contribute and collaborate.

We’ve got to stop thinking of inclusive crewing as a 'nice-to-have' or 'progressive' when it’s the bare minimum. Exceptional talent is crying out for opportunity -- it’s up to producers to make space at the table.

So producers, ask yourself: What kind of industry do you want to shape? Because our future is either inclusive, or outdated.

And if you need inclusive crew recommendations, get in touch with me at Think HQ -- we'd be happy to help.

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Sibon Maillard is an integrated producer at Think HQ