.png)
Introduction and interview conducted by Screenwriting Staffing founder Jacob N. Stuart. Interviewee: Dougie Brimson.
Back in 2014, less than two years after launching Screenwriting Staffing, I had the privilege of interviewing one of my favorite writers, Dougie Brimson, on the topic of ageism. Fast forward a decade, and not only does the issue persist in Hollywood, but some might argue it's even more pronounced.
Perhaps best known for penning the multi-award winning 2005 feature, Green Street (starring Elijah Wood), former serviceman Dougie Brimson has forged a reputation as one of the UK’s most diverse writers.
Before diving into my interview with Dougie Brimson, I wanted to preface it with this note:
In 2009, while attending film school in Hollywood, CA, a career advisor—someone with significant credits—told us that ending up in TV would mean our careers had failed. Fast forward to 2024, and television has become the driving force in entertainment. The irony isn't lost on me.
Throughout my career, I've had the privilege of working with major studios and actors, but I've also put in grueling 18-hour days on projects that offered nothing more than an IMDb credit—if the film even got finished. Back then, I valued that IMDb credit like it was the ultimate goal.
My business degree in film and TV entertainment, along with my hands-on experience as a writer, producer, and even as a grip or boom operator, taught me a lot. But nothing has been as revealing as running Screenwriting Staffing, which I’ve been doing since February 2013. As I approach the 12-year mark in 2025, I’m more attuned than ever to the pulse of this industry.
What truly captivates me is the unique vantage point I’ve gained on industry trends and movements. The hot topics aren’t just about storytelling anymore. Consider the impact of film commissions like those in Georgia, where tax incentives drive producers to adapt projects for local production. International markets, too, are shifting the landscape—countries like China, Nigeria, India, and Korea are increasingly requesting scripts tailored to their audiences.
The significance of this vantage point became crystal clear during the COVID-19 pandemic when the industry came to a halt. Suddenly, everyone was writing horror films—whether small-scale or big-budget. But when Hollywood reopened, the demand had shifted dramatically to romantic comedies. Pre-pandemic, romcoms were considered a relic. I even advised writers on a panel to shelve their romcoms because no one was buying them on spec. But the post-pandemic landscape proved just how unpredictable this industry can be. Indie producers, in particular, weren’t interested in telling stories of gloom and doom—we’d all just lived it. The demand for horror films with limited locations, always a staple, completely dried up for six months after Hollywood reopened. It was a shift I could never have anticipated.
Now, as I delve into this interview, I’m struck by a trend among indie producers and writers—both new and seasoned, even WGA members—who are crafting stories to fit a perceived market. There's a formula that has emerged, for example: a woman of color, potentially LGBTQ+, fighting against a corrupt faceless system. Some of this is a response to movements like #MeToo and #OscarsSoWhite. Writers insert these characters into their stories now, hoping that the right buzzwords in a pitch meeting will get them noticed. And producers? They claim this is exactly what they’re looking for. But the real question is, why? Do they genuinely believe these stories will sell? Are they genuinely interested in showcasing diversity and amplifying underrepresented voices? Are they just trying to be politically correct? Are they passionate about these issues? Or are they so focused on meeting Hollywood's expectations that they’ve lost sight of how the business really works?
While the media, with publications like Variety and The Hollywood Reporter, reminds us of the gender and racial breakdown in every film, there's a demographic that is consistently overlooked. And I see this every single day on my site. Why doesn’t anyone talk about it? In my opinion, it doesn't benefit the Hollywood elites to make it an issue.
I hope this new interview with Dougie Brimson sparks a meaningful conversation about ageism in Hollywood and beyond. Join our mailing list for more interviews.
Can you share a specific instance where you felt ageism affected your career in film and TV, particularly in your early career or as you progressed and got older?
"I came to movies after 18 years in the military and a further decade in publishing so by the time my first feature was produced, I was already in my mid-40’s. As a ‘new’ screenwriter, albeit one with a successful publishing career and a relatively successful movie on my resume, I was then confronted with the age-old ‘second movie’ battle. However, it became apparent pretty quickly that it was very much a younger writers game, not least because most of the people I’d have meetings with would be at least 10 years younger than me. g
As a consequence, it was often tough to find any common ground and whilst I’m happy to concede that it works both ways, it was quite dispiriting. What made it worse that when I started looking at funding, it was all skewed away from me. The younger, female and minority writers were all provided for by industry backed schemes whereas there was nothing for me as a middle aged white guy. Eventually, I decided to go back into publishing if only for my own creative sanity!"
How have you seen attitudes towards older screenwriters and film professionals change over the years?
"I actually think it’s got worse and there are a couple of reasons why. The first is that the industry is so desperate to be seen as politically correct that its primary recruitment focus is diversity driven. As a consequence, you have a seemingly endless stream of training schemes and funding opportunities targeted solely at minority groups. Even when you are eligible to apply, you have to jump through so many diversity based hoops that it’s fairly obvious that if you can’t tick the right boxes, your chances of making the cut are going to be limited.
Couple this with the age-old problem of newer and younger writers and crew being prepared to work for nothing or low wages just to get their foot in the door, and you have a perfect storm. One which obviously serves industry but which inevitably stifles older talent. And I’m not just talking about new writers here, but below the line crew with mouths to feed and mortgages to pay. One only has to see the number of people who left the industry post-Covid as evidence of that."
Is ageism more prevalent in the film industry compared to the publishing world?
"I actually think publishing is worse, not just in terms of age, but also gender. I obviously can’t speak for the US but here in the UK, the vast majority of commissioners seem to be young, female and in their mid-30’s. Sit a 60 year old man in front of them and they’re essentially listening to a pitch from their grandfather. Given that most seem to have little or no concept of how men think (yes, that age old debate works both ways!) let alone what they like to read, unless it’s a biography or history based, they’re reluctant to take on anything which could be construed as ‘lad-lit’ simply because they don’t get it.
Factor in the diversity issue and you have yet more reason not to take a risk with a new older writer when you can sign a younger writer from a minority background and negate any risk because at least you’ve met a quota. Both talent and commercial success almost become secondary to box ticking. Indeed, there is a dreadful lack of fictional writing for men on the bookshelves of UK bookstores for that very reason."
What strategies have you used to combat ageism in your career?
"I’ve been lucky in that a few years ago I found a like-minded publisher to put out my books but in terms of screenwriting, I realised during Covid that I had a choice to either call it quits or take full control of my own career. Despite being in my mid-60’s, my stubborn nature decided the choice for me and so I set up Red Bus Movies with the sole aim of getting my own scripts onto the screen.
It was a risk, but it’s paid off. I currently have two features heading for production and more projects in development but just as importantly, I have people asking what else I have that they can look at. My only regret is that I didn’t do it years ago."
Are there any older screenwriters or film professionals you admire who have successfully navigated ageism in the industry?
"Clint Eastwood. Need I say more?"
Do you believe ageism stifles creativity and diversity of perspectives in the film and TV industry?
"Absolutely 100% There are obviously exceptions but generally speaking, there seems to be this bizarre notion in writing generally that talent is the preserve of the young. Yet there are some amazing older writers out there desperately looking for an opportunity but they’re so difficult to come by once you pass 50 and all but impossible once you hit 60.
For me, this is another failing of the gatekeeper world and I don’t just mean the commissioners, but agents. They obviously have longevity to consider but one could counter that by asking how many of these younger writers who secure initial deals, actually go on to have lengthy careers?"
What advice would you give to younger screenwriters about preparing for and addressing ageism as they progress in their careers?
"I think if you’re young and you have the talent and the drive, you’ve got as good a chance as anyone of having a lengthy career. However, from the outset you need to wise up to the business side of your job, and that’s the key, it’s your job. Follow the usual rules in terms of getting as much as possible up front and regard residuals as free money as opposed to pensions and you’ll be fine. Especially if you have a good agent, a great lawyer and a brilliant accountant!"
How do you think audience perceptions of older professionals in the film industry influence ageism?
"Generally speaking, I don’t think audiences care and the industry knows that. Let’s face it, film and television, especially in the UK, have a history of producing output that they think people should like as opposed to what the audience actually want. A history aided, it has to be said, by the National Lottery who prop up the industry here with millions of pounds of funding often for little or no commercial reward. Some people won’t accept that and the fact is that some people reading this will simply consider my opinions to be those of a moaning old bloke but that’s the reality I see after 25 years as a pro-writer."
How important is it to have stories told by and about older individuals in film and TV?
"It’s absolutely vital. Not just because most people of a certain age have lived actual lives, but they’re still living them! Quite why their experience is regarded as less valid than those of a teenager living in a London tower block. Just as importantly, being older doesn’t mean you watch less TV or visit the cinema less often.
Indeed, the opposite is probably true. Yet we oldies are force fed reality shows aimed solely at young people and endless streams of high octane action thrillers targeted at the under 30’s. It’s commercial madness, yet it continues unabated."
Has ageism influenced the types of projects you choose or are offered?
"I started out as a non-fiction author and one of the things I learned quite quickly is that the path to success lies in giving the audience what they want. I carried that over into my novels and then into films. The fact that Green Street, my first feature, continues to be so popular proves that approach works. With Red Bus Movies, I’m continuing to do that by telling stories which are primarily targeted at older audiences.
Basically, it's to write what you know in production form. As for being offered other projects, I don’t accept unsolicited scripts as we do everything in-house but it might surprise you to know that I have never actually been offered a project. Not a paid one anyway!"
Have you taken on a mentorship role to help younger screenwriters, and if so, how has this impacted your view on ageism?
"I do mentor a few writers but they’re only younger in the sense that they’re younger than me! As a veteran, I do a lot of work with that community part of which involves helping a few people who want to get into writing. We actually have a rule at Red Bus Movies that at least 50% of the crew on any project we produce should be from the veteran community. On our last shoot, we hit 85%!"
Could you share a specific instance where ageism affected your career in film and TV, whether it occurred early on when you first entered the industry or became more prominent as you advanced?
"We live in a time where industry seems to prefer hiring younger women to play older women rather than simply hiring older women so I’m not overly confident that there’s any will to do much to change the status quo.
However, in an ideal world, age would be added to the diversity portfolio but that of course, will never happen. More practically, what industry could do is to start embracing ageism as an untapped talent pool. That could involve something as simple as establishing competitions or mentoring schemes solely aimed at older writers. It wouldn’t take much and I have no doubt that the response would be huge and extremely positive. Who knows, it might well unearth a few gems for relatively little outlay.
I just can’t see it happening in the current climate though. There simply doesn’t seem to be the enthusiasm."
Be sure to check out Screenwriting Staffing's Job & Script Search Board!
--
Dougie Brimson
Mail: dougie@redbusmovies.com
Web: www.redbusmovies.com
Having enjoyed publishing success with both non-fiction and fiction as well as on the big screen, his writing career began in 1996 when after 18 years service with the RAF, he co-authored the best-selling non-fiction work, Everywhere We Go. A book that remains essential reading for anyone with an interest in the culture of English football.
A further 14 books have followed including the best-selling thriller, The Crew - which has topped the Amazon sports book download charts for over eight years following its publication in eBook format- and the critically acclaimed football comedies, Billy’s Log and Wings of a Sparrow.
His 16th book, the third volume in the The Crew/Top Dog trilogy, was published in May 2020 with a further thriller, Three Greens, slated for publication in 2022.
In 2003 Dougie made the move into screenwriting first with the short movie It’s a Casual Life and then with his first full length feature, the Hollywood funded Green Street starring Elijah Wood.
Following its release in September 2005, the film won numerous awards including:
Narrative Jury Prize - SXSW Film Festival
Narrative Feature Audience - SXSW Film Festival
Best of Festival – Malibu Film Festival
Jury Award (feature) – Malibu Film Festival
Official Selection – Tribeca Film Festival
May 2014 saw the release of his second feature, an adaptation of his own novel Top Dog. Directed by Martin Kemp (The Krays, Eastenders) the film took the Best Feature award at the British Independent Film Festival as well as the Best Actor (Leo Gregory), Best Supporting Actor (Ricci Harnett) and Best Supporting Actress (Lorraine Stanley) awards. It was also nominated in the Best Action Film category at the National Film Awards 2015.
A third feature, the urban revenge thriller We Still Kill The Old Way starring Ian Ogilvy, James Cosmo, Steven Berkhoff and Danni Dyer, was released on 16th December 2014. It was nominated in numerous categories, including Best Action Film at the 2015 Action Elite Awards.
In March 2021, Dougie formed his own production company, Red Bus Movies, to produce films aimed at a more mature cinema going audience. His first feature, Aim for the Stars will shoot in November 2024.
Comments