Jess Blackwell –
At any age, starting a new career can be both exciting and challenging. But older adults — those aged 40+ — may face unique barriers and benefits when entering Toronto’s film and television industry.
Statistics Canada reports that in 2023, nearly 60 percent of employees in the motion picture and video industry were under 35. From 2019 to 2023, those aged 25–34 made up around one-third of sector employment.
This can be partly explained by the industry’s unstable, often part-time work conditions and the low pay that some positions offer. “Many of those people who are able to accept lower-paid positions are younger, either still in school or having just graduated,” says Future of Film Show (FOFS) director Eric Bizzarri.
But ageism is also a major factor. “Writers Over 55 are subject to the same ageism that pervades all of Hollywood,” says a 2020 report from the Writer’s Guild of America, noting that these writers accounted for only 18 percent of screenwriters employed in 2019 and 12 percent of TV writers employed from 2019-2020.
A 2021 report from Yeshiva University in New York paints a similar picture for directors. “We present a strong case showing that age discrimination starts almost immediately as a director enters the profession, and that people do not just retire but seem to be unable to find another directing job.” This may be especially so for women directors, who typically make up only 12 percent of emerging director cohorts.
An analysis of how women over 50 were portrayed in film and television from 2010 to 2020 found a stark gender divide. Characters aged 50+ constituted less than a quarter of blockbuster roles, with men making up 80 percent, 75 percent, and 66 percent of older characters in films, broadcast TV, and streaming platforms, respectively.
“Ageism, especially towards women, in the film and TV industry is still very real,” says Janet McMordie, physician-turned-actor and host of the Second Act Actors podcast. “Older actors often face fewer opportunities simply because roles are written with younger characters in mind,” she says, adding that youth is often “assumed to equal ‘flexible schedule’ or ‘long-term potential.”
Older adults also face temporal and systemic barriers. After entering the industry in her 50s, Kris Noakes, an Anishinaabe creator with amyotrophic lateral sclerosis (ALS), found that funding sources and other opportunities often have past financing and work requirements that can take years (if not decades) to accumulate, greatly limiting access for older filmmakers and those with life-limiting illnesses. “We don’t have time to build that career-long reputation, network and specific expertise. I’m not saying it can’t be done, but these are a few of the many challenges.”
Older film professionals can also face social challenges. Rachna Shah, a former accountant and photographer who entered film school at 40, has found that her classmates are typically about half her age and that some of her professors are also younger than her, noting that it’s sometimes difficult to be accepted as a peer.
But in an industry that is highly relationship-driven, older filmmakers must persist. “I’ve encountered moments where my background didn’t fit a traditional entry narrative, and there can be assumptions about adaptability or relevance,” says Roger Gingerich, who transitioned into the film industry from a career in fashion at age 49. Gingerich, CEO of the Canada International Fashion Film Festival, has addressed this by “staying deeply engaged: listening, collaborating, and bringing value immediately rather than trying to prove myself.”
“Be humble about the creative craft, but confident about your value. Take time to listen and learn the language of the industry, especially from people who’ve grown up inside it. At the same time, don’t underestimate how useful your experience is when it comes to strategy, relationships, and building things that last,” says Gingerich.
The unique value that older adults offer is highlighted by Janet McMordie, whose life experiences have given her acting work a depth and authenticity absent in her younger years. “I think our combination of resilience, clarity, and real-world insight often becomes our greatest strength in an industry that prizes youth but craves truth,” she says.
But for Canadians to fully reap the benefits that older adults bring to the media landscape, we first need to make more opportunities for these individuals to succeed. “I think the message from me is that [organizations] and anyone offering funding and opportunities really need to have a critical look at how accessible their programs are, and this conversation needs to continue to evolve,” says Noakes.
The necessity of such measures was recognized by the FOFS team, who recently eliminated the festival’s age cap. “When you’re in a position that decides rules, regulations and any criteria for programs you’re spearheading, it’s imperative that you remove any barriers to entry where you can,” says Bizzarri.
While older creatives are waiting for these systemic hurdles to be dismantled, there are steps they can take to advance their careers. “Don’t wait for opportunities to come to you; create your own through indie projects, workshops, or collaborations, and focus on building relationships and finding mentors who value your voice,” says McMordie.
“Above all, stay true to yourself,” encourages model-turned-actress Anna-Marie Sutherland. “There are dark places in this industry. Stay in the light and stay sovereign to your integrity. This will keep you authentic and happy on your journey.”
