Yolandi Franken’s Achieving Work-Life Balance .. is very much a practical handbook for ATL and BTL cast and crew and those working with them, although there are definite lessons here that can be transferred to other industries.
The book opens with an overall look at the screen industry in the USA, UK and Australia, before considering a different area in each chapter including substance abuse, parenthood, gender differences, diversity.
It is then considered how to implement professional and personal solutions to these issues, barriers, or conflicts, whether by utilising general employment law on hours worked, daycare, flexible working, or inclusivity, or communicating, eating or keeping distractions at bay.
If you’ve been part of a union you will know these issues are often considered to be a key part of a productive and happy workforce. In seeking to emulate the lessons and tips included in this book, you might use the templates and exercises to work out where your own balance lies.
An early graph assumes work may take up 50% of a person’s life and suggests additional activities at particular % of time, such as family life, leisure and social interaction.
Later in the book, the film industry is considered in the terms of the pressure it puts on those working in it, including financial constraints, long hours (12-24 being typical), and lack of support for families and carers.
None of this is new, yet Franken’s book does aim to highlight issues while suggesting solutions. Case studies delve into different roles and working conditions to give a sense of what goes on behind the scenes.
Words like ‘relentless’, ‘demanding’, ‘draining’, ‘intense’, ‘exhausting’ and ‘unpredictable” are highlighted when noting the perspective of industry figures. This is supported by the strategic focus later on to influence the improvement of conditions and balance.
An interesting couple of figures can be highlighted: 60% of film industry workers believe working long hours is essential for career advancement; the 18-24 age group, plus Millennials and Gen Z, reports high levels of burnout, up to 85%.
There are also issues relating to women(and some men, too) in the film workforce or gig economy having to juggle family obligations with the need to work to provide for that family.
Projects relating to diversity and minority voices are covered in depth in a section that explores representation, stability, and inclusion. This includes people with disabilities, people of colour, and the LGBTQIA+ community.
Finally, change and evolution within the screen industry is discussed and presented, before moving on to how this can be achieved, including the use of access and intimacy coordinators.
I found this a very useful and pertinent book that faced a wide-ranging topic head-on. The case studies and exercises were helpful, and the specific ideas and actions from within the community, were effectively explained.
There is a lot to take from this book wherever you sit on the business, under contract or freelance. The basics of digital detox, decluttering or just moving about are often forgotten.
A well-written addition to the workplace or self-help bookshelf.
Achieving Work-Life Balance and General Wellbeing in the Screen Industry is independently published but available through Amazon and other stores.