A burgeoning new role in the entertainment industry is opening up long-awaited opportunities for greater representation of disability: production access coordi- nators (PACs). The inaccessibility of sets, audition spaces and studio lots all too often pose barriers to hiring inclusively, but PACs are helping change this, guiding productions to be accessible to all.
“Many industry professionals are not fully aware of the specific needs and accommodations required for people with disabilities,” Asha Chai-Chang, a freelance production accessibility coor- dinator whose credits include Hulu series and Jennifer Lopez’s upcoming Amazon Studios release “Unstoppable,” told TheWrap. “Studios don’t believe that their crew members or cast could be peo- ple with disabilities. This knowledge gap and lack of acknowledgment for people with disabilities furthers the lack of prioritization on implementing effective accessibility measures.”
Chai-Chang pivoted from filmmaking to production access in 2020 upon realizing she had to disclose her own respiratory disabilities to her cast and crew on a film project. She realized the fear of people disclosing they were disabled limited their accommodations on set.
During a recent Hollywood Radio and Television Society (HRTS) workshop on disability inclusion, presented by Easterseals Disability Services and hosted by Amazon MGM Studios, Jerome Core, Amazon’s Head of U.S. and Worldwide DEIA Content, echoed that he often encounters concerns about disclosure. “One of our biggest issues as a studio is getting folks with disabilities to trust us, to say that they have a disability — and that will not negatively impact their employment.” As Core explained, Amazon approaches accessibility and accommodations through the lens of providing “productivity tools” that support all employees to thrive in the work environment. As such, disclo- sure is a pathway to securing that support, and PACs can help facilitate that process.
Actor Nicole Lynn Evans worked with longtime PAC Kiah Amara when she appeared in Apple TV+’s “Best Foot Forward,” and declared the experience “a revelation.” “Working with a production accessibility coordinator allowed me to be fully immersed in my work, knowing my access needs were handled,” she said. “This role should be standardized. It ensures the workplace is accessible for everyone and is a proactive solution, empowering people with disabilities to succeed in the roles they specifically hired for, whether in front of or behind the camera.”
Unfortunately, studios aren’t yet widely ensuring that PACs are part of production budgets, even though the expense has a high return on investment for the overall production experience and output. “Having an accessibility coordinator is often seen as a luxury rather than a necessity,” Chai- Chang said. “There’s a belief that thinking about accessibility will only add to the cost, without realizing the potential benefits, such as reduced health and safety issues and more efficient production processes.”
“Fear the Walking Dead” actor Daryl Mitchell previously revealed that because he was worried about asking for too much, he provided his own wheelchair-accessible trailer. This kind of responsibility to ensure accessibility on set should not fall on disabled talent. Production access coordinators can help alleviate these pressures, serving as a liaison between leadership, cast and crew to navigate access requests to foster a more welcoming, inclusive workplace culture. In many cases, there are simple fixes to accessibility issues, and resolutions can be reached with open communication.
The goal is to bring more people with disabilities into the production access coordinating industry and to make the role standardized across all productions. Film director Ashley Eakin, one of the founders of the DGA Disability Committee, shared that she hopes PACs “become just as standard as intimacy coordinators.” After all, Eakin pointed out, “we learned from COVID that when needed, we can add safety measures or create roles practically overnight.”
But to expand the presence of PACs, the industry needs to commit to making it happen. At the HRTS disability inclusion event, Keely Cat-Wells, founder and CEO of Making Space, reminded everyone that “just like any other role out there, we need training, we need pipeline development …Access coordinators present this incredible opportunity for disabled people to have new pathways into employment within this industry.”
Indeed, it’s an exciting time not only for the continued progress toward disability representation on-screen, but also the work to create inclusive spaces behind the scenes. Production access coordination is an essential role that will truly lead to better outcomes on set and for audiences alike.
This article is sponsored by Easterseals.
