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    Home » DGA 5-Year Study Finds Entry-Level Hiring Disadvantages For Women and Minority Directors

    DGA 5-Year Study Finds Entry-Level Hiring Disadvantages For Women and Minority Directors

    By SHOOTThursday, January 8, 2015Updated:Tuesday, May 14, 2024No Comments1877 Views
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    This study chart shows the disparity between first-time male and female episodic directors.

    82% of first-time Episodic Directors are Male; 87% are Caucasian

    LOS ANGELES --

    The Directors Guild of America today issued the results of a five-year analysis of the gender and ethnic diversity of first-time directors on scripted series.

    In the five-year period studied (2009-2010 through 2013-2014 television seasons), 479 directors received their first assignment in episodic television.  The study revealed that 82% of all first-time episodic directors during the five-year span examined were male and only 18% were female; 87% were Caucasian and only 13% were Minority directors.

    These figures indicate that, despite the fact that the hiring of first-time episodic directors is a significant area of opportunity to broaden the diversity of the directing hiring pool, those with responsibility for hiring are repeating old hiring patterns and perpetuating the status quo that overwhelmingly favors directors who are white males.

    “There’s a big opportunity here for those in charge of hiring to make a difference – but they’re not.  Without change at the entry level – where women and minority directors get their first directing assignment – it’ll be status quo from here to eternity,” said Paris Barclay, DGA president.  “Every director needs a first shot to break into the business – and what this report reveals is that studios, networks and executive producers need to challenge their own hiring practices and offer talented women and minority directors the same opportunities they are giving white males.”

    Writers made up 28% of the first-time episodic director pool; actors made up 18%; assistant directors/unit production managers comprised 10%; cinematographers/camera operators were 8%; editors totaled 5%; other crew made up 5%; and non-writing producers were 1%.  The remainder of the group was made up of people who had previously directed in other genres including independent film, new media, commercials, music videos, student films and documentaries.

    “Look, the data makes it clear. Even when hiring first-timers, the studios and executive producers are making choices that show they don’t actively support diversity hiring,” said Betty Thomas, DGA first VP and co-chair of the DGA’s Diversity Task Force.  “First-time TV directors are new to the game and come from all areas of the industry including film school – so why is a woman or minority any less qualified than anybody else?  It seems clearer than ever that we need to see different points of view.  Most of the industry claims to want a more diversified directing workforce – here’s their chance. It could all start here.”

    This is the first in a series of DGA reports analyzing multiple aspects of the hiring practices for first-time episodic directors.

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    Category:News
    Tags:DGAdiversity



    Director Juliana Curi Joins Honor Society x MacGuffin

    Monday, January 12, 2026

    Juliana Curi, a Brazilian director who gained her first U.S. representation in 2019 when she joined Honor Society, has now returned to the company which has since evolved into Honor Society x MacGuffin. The move also marks her return to the U.S. market after spending considerable time honing her skills and creative vision internationally.

    Curi traveled extensively, developing projects across different cultures--which established her multicultural and global signature. The most significant milestone was her feature-length directorial debut, Uýra - The Rising Forest. Shot in the Amazon, Uýra captivated audiences worldwide, reaffirming that an authentic point of view and emotional resonance remain at the core of Curi’s craft.

    The film has been showcased at venues including the Barbican in London, BAM in Brooklyn, Fondazione Prada in Milan, and the DGA Theater in Los Angeles, and earned awards recognition, including a GLAAD Media Award nomination for Outstanding Documentary, a Special Programming Award win at LA Outfest, and the London Film Week Jury Prize. Watching a story born in the Amazon resonate with audiences around the world--from New York to Geneva--affirmed her storyteller’s path: creating work that is culturally grounded, emotionally truthful, and globally relevant.

    The director’s experience creating Uýra further developed her storytelling, craft, and emotional architecture instincts, which then enriched the way she directs for brands--especially in collaborative branded content environments working directly with agencies. The film allowed her to approach commercial and branded content with a deeper narrative maturity, and challenged a long-held segmentation: that socially driven narratives can’t... Read More

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