Disabled film director: ‘It was like I was invisible’
Director Owen Tooth on his switch from film sets to EastEnders
Owen Tooth is the first wheelchair user to direct EastEnders — he's already handled his first "duff duff" moment and is due on set for a string of episodes in early 2025.
But he says he moved into TV after his film career collapsed when he became a wheelchair user and people acted as if he was “invisible”.
Also on the programme, millions of people rent properties and yet nearly half of private landlords in England say they would be “unwilling” to rent to tenants who require adaptations to be made to the property.
More than 9,000 people answered the English Private Landlords Survey - with 47% saying they would be reluctant to provide adaptations.
Sam Lewis, who lives in privately rented accommodation in London and has Crohn’s Disease and rheumatoid arthritis, shares her experience of asking numerous landlords to make their properties more accessible for her.
We also hear from Paul Smith, Director of Foundations, the public body advising prospective tenants who require adaptations and the agencies who provide them. He also has some advice if you’re about to begin the process of requesting adaptations yourself.
Presenter: Emma Tracey
Produced by: Daniel Gordon, Alex Collins
Recorded and mixed by Dave O’Neill
Edited by Beth Rose and Farhana Haider
Transcript
7th January 2025
bbc.co.uk/accessall
Access All – episode 141
Presented by Emma Tracey
EMMA- Tell me that you also have this thing where you start researching something and you go into all sorts of other areas and down all sorts of rabbit holes. Because we have this really good housing story about disabled people and renting coming up on this episode, and I was doing some homework for that and I was going through ý iPlayer stuff, and I found this ý Three documentary from late last year where four young Scottish people are evicted from their homes and they have to find somewhere to rent, and it’s really difficult. And one of those people was Alannah who’s disabled and needed a ground floor property, so it was almost impossible to find somewhere. But I was listening to her story on the documentary and all the things about it just got me really excited: she’s a young mum, she’s got a stoma, she’s got lots of tattoos, and she writes about it online as Glitteryguts. I was so interested in her story that I called her up for a bit of a chat. Have a listen:
Alannah, you have so many strings to your bow.
ALANNAH- [Laughs]
EMMA- You talked about having an ileostomy bag. I mean, I love that the way you talk about this is through social media, and what you call yourself is Glitteryguts, which just says so much, because you’ve got lots and lots of tattoos as well. Tell me a bit about what you do online.
ALANNAH- Gosh, well I just started by doing my blog on WordPress actually, and it was me sitting in my hospital bed waiting on stoma surgery and I was terrified. And it literally just started from there, just being this terrified young woman of not knowing what life was going to be like. And it was just like sharing people’s stories on my WordPress, sharing my own story on my Instagram, talking about topics and everything to do with chronic illness and just all the weird and wonderful things that come along with it.
EMMA- A bit of a handbrake turn, but I mentioned earlier that you have tattoos, and I’m always fascinated about how people choose their tattoos. Where did the tattoo journey come from?
ALANNAH- I used to be part of a community for people that had Crohn’s and colitis and stoma and things. And there was a ball in 2019, so there used to be an annual ball and everybody would meet up who had the same condition, everybody understood each other, and obviously me and my friends went. And we were like, oh wouldn’t it be really cool if we just got a tattoo. So, we all just literally walked into this first place we saw in Birmingham, it was terrible.
EMMA- Oh wow!
ALANNAH- So, we all got a little love heart about the size of my thumb print.
EMMA- And have you any disability related tattoos?
ALANNAH- Yes, I’ve got one. This is before I had any of my ostomate pregnancies, so it’s very stretched out and it needs to be redone, but around the top of my stoma bag I’ve got two ribbons, so one is a sepsis ribbon which is red, and then I’ve got one which is the IBD ribbon which is purple, because purple is the colour for inflammatory bowel disease.
EMMA- Oh my goodness. You mentioned pregnancies with a stoma; when you were expecting Odin and Kian what were the things you needed to think about with a stoma?
ALANNAH- So, with any pregnancy with a stoma you should expect your stoma to swell because obviously you’re retaining more liquid so it makes the stoma swell, and then you’ve got the pressure from the baby and the fluid behind the stoma itself so that pushes on the bowel and make it swell.
EMMA- I mean, it’s great because you’re able to describe that for other women who might be thinking of having children but who do have a stoma.
ALANNAH- There’s a lot of other women like me who were told they couldn’t have children. Theirs was more related to just having an ileostomy bag made permanent, so people actually put it off or really worry and get really anxious. And then they see me raising awareness about having my children with my permanent stoma and they say, oh I never thought it was possible. And I’ll say everything’s always possible, unless testing says otherwise.
EMMA- I love stories like that one. And you can hear more from Alannah on the documentary, Evicted, on ý iPlayer. On with the show.
MUSIC- Theme music.
EMMA- Hello, I’m Emma Tracey and this is Access All. And what I want to know is how are your New Year’s resolutions going? Mine have mostly fallen by the wayside, except for the promise I make to bring you the best of disability and mental health on this podcast in 2025. Email us, we’re on accessall@bbc.co.uk. I absolutely love to hear from you. Later in the podcast we have wheelchair using TV director Owen Tooth, he’s directed EastEnders you know.
But first, millions of people live in rented accommodation, but according to the government’s latest survey of over 9,000 private landlords in England 47% of them said that they would be unwilling to rent to people who might need adaptations to their property. That statistic jumped out at us, so let’s talk to a couple of people about why it might be the case. Sam is a lawyer living in London and she’s with us now. Hi, Sam.
SAM- Hello.
EMMA- Also with us to set out what we can expect from private landlords and also how we go about getting the all-important adaptations is Paul Smith. And he is the director of Foundations, which is the public body which advises on all of this. Hi, Paul.
PAUL- Hi.
EMMA- Sam, let’s start with you. You have rheumatoid arthritis and Crohn’s disease and you’ve been renting for quite a while. What has your experience of renting in the private rental market been?
SAM- For me the difficulty is the insecurity in private rental market. It’s very unequal negotiating power, so you're always at risk of eviction; any complaint you have with your landlord offers a threat of eviction, and therefore asking for these things is very scary. And then also we just move more often. I think it’s something like in London the average rental is two years.
EMMA- So, how many places have you lived in the last few years then?
SAM- I have just moved into my third place in five years. The first time I was evicted it was post-COVID in that rush of everyone coming back to London. So, I moved very quickly to a level access property, which was mostly suitable but it was far too far out of London and from my job, from me. So, it was never going to be a long-term solution.
EMMA- And with your particular impairments there’s an energy impairment there too, so it’s hard to travel far etc.
SAM- It is, and also continence issues for Crohn’s if you’re on a train for a long time, so I need to be a lot closer. And again, with having rheumatoid arthritis where I’d moved to it was only serviced by about one tube, so if there’s any problems on that tube, that platform’s particularly busy, I can’t wait at the front of the platform when there’s less trains and it’s getting really crowded.
EMMA- Okay. So, you’ve moved again; what adaptations do you need, Sam, in your current home?
SAM- My main one’s around the bathroom and toilet. So, for me my rheumatoid arthritis affects my lower limbs quite severely, so it’s to be able really to get in and out of the shower is a main one, so you’ve got to step in and out of the bath, which is slippery, it’s very hard for me to lift my leg up that high. So, a walk-in bath or a wet room would be ideal. And also mostly just grabrails is the main thing, just to be able to get around my house. And also to have things like my cooker not be on the floor, have a medium height cooker oven so that I can get food in and out of it.
EMMA- So, what’s happened when you’ve asked for adaptations in a rental house?
SAM- My experience has been previously landlords were sort of just saying no, which you can essentially possibly take them through the Equality Act for discrimination. But what I’ve found recently is with the Disabled Facilities grant and getting an occupational therapist, they’ve sort of cottoned on to how delayed local authorities are with this. So, what they are ultimately saying at the moment is, show us the OT report and then we’ll consider the adaptations. And so you go to your local authority, and in my experience I have not yet had an OT come to my home and do an assessment.
EMMA- Okay. So, the Disabled Facilities Grant is money that local authorities can provide to create adaptations and adjustments to a home, whether that’s in social renting or in private renting. And to get that money you need an occupational therapist; so you’ve found that you haven’t had anyone come out. And what impact has that had on your day-to-day life, Samantha?
SAM- Well, essentially it just means that it’s hard for me to live in my own home. It means that it’s very hard for me to shower, it means that it’s hard for me to cook, it means that it’s hard for me just to do those things that you should be able to do in your own home. There’s been quite a lot where I shower at my local gym rather than in my home, because my gym always has level access showers.
EMMA- Now, Paul Smith you’re the director of Foundations, which advises people who need adaptations and are looking for the Disabled Facilities Grant, and also agencies who provide those adaptations. Paul, is Sam’s experience unusual?
PAUL- I think in terms of the wait for assessment that’s not necessarily unusual. But I think the Disabled Facilities Grants aren’t always that well understood, and it doesn’t actually require an OT’s assessment to make an application for a grant. And quite a lot of local authorities are now developing trusted assessors, which are other people who have been trained to assess simpler adaptations, like the kinds of things that Sam was talking about, like grabrails and showers, where you then don’t need to wait for an OT to come and do the assessment.
EMMA- What does the law say about private landlords providing adaptations?
PAUL- As Sam said, in terms of the Equalities Act giving permission for an adaptation shouldn’t be unreasonably withheld. But the definition of reasonable can vary depending on the landlord and the house and the situation. But landlords and tenants can apply for a Disabled Facilities Grant funded. I think one of the things in the survey you mentioned was that there are very few landlords use DFGs to pay for adaptations; but it is definitely available. One of the perhaps limiting issues is that to apply for a DFG you have to have an intention to stay in the property for five years.
EMMA- Is it also a lot about ignorance, particularly around funding? The survey that we’re talking about said that 90% of the landlords who did make adaptations for people renting their properties paid for it themselves, and something like 1% used the Disabled Facilities Grant. What’s going on there?
PAUL- The government have increased funding for DFGs quite considerable, both governments over the last ten years, just some additional funding was announced on Friday. So, in most local authorities there’s funding available for DFGs. There are 70,000, 80,000 adaptations done every year where it’s made a real difference for people. And we’re working with local authorities across the country to improve those timescales.
EMMA- Okay. And Paul, what would your advice be for someone moving into a private rental property and needing to ask for those adaptations?
PAUL- I think if you’re in a property that you’re looking to stay in long term DFGs is definitely available. It’s a mandatory grant so if somebody’s eligible for it then local authorities have a duty to provide it. But it’s also a means tested grant, so there is a means test to be eligible for it. We have a website called adaptmyhome.org.uk where there’s a means test calculator, so anybody who’s interested to find out if they would be eligible they can put in their details and fairly quickly find out if they would be able to access the grant.
EMMA- Thanks Paul. Sam, Paul keeps saying you need to intend to stay in your property for five years to get any of the grant. I mean, it’s quite hard, isn’t it, as a disabled person or anybody to know whether you’re going to be in the same place for five years. What would your advice be?
SAM- I think my advice would be more towards the private landlords would be to say that if any of the homes that I was in were adapted then, you know what, that’s going to make me want to stay for longer. I’m a good tenant, I’ve always paid my rent on time, I’ve had no issues.
EMMA- Yeah. Paul, 47% said that they would be unwilling to rent to someone who needed adaptations. What else is putting landlords off?
PAUL- National Residential Landlords Association have done some work in this area and they have found that where landlords are more aware of DFG they are more likely to consider making the adaptations. And some of the case study they shared did show that where landlords had supported tenants with adaptations then that disabled tenant can be a really good long-term tenant for them.
EMMA- Are they worried about the aesthetics of the adaptations that might need to be made? I mean, disability equipment is famously not the prettiest generally.
PAUL- I think there’s definitely an element to that. But there is definitely an option for landlords to perhaps invest a little bit on top of the DFG to have nicer fittings. It’s not that much more expensive to have nice tiles and a nicer grabrail. There are ranges out there that are disguised as towel rails or shower guards.
EMMA- I know there are the basic ones that you might be able to afford or might be funded; you can get nice ones if you’re willing to pay for them. But have landlords said that that is an issue for them?
PAUL- Yes, some have said that they would adapt if those adaptations were removed when the tenant moved out. But the DFG doesn’t cover the cost of removing them, so it’s there to adapt and not to unadapt.
EMMA- And obviously a lot of disabled people wouldn’t be in a position to unadapt, as you say – that’s my new word for this week, unadapt a property. Would you be able to unadapt a property, Sam?
SAM- Probably not, no. But I would also say something, because I work in housing for social housing clients now and disabled clients now within housing, but previously I worked for injured clients that had had a road traffic accident or a clinical negligence and suddenly found themselves maybe a wheelchair user pretty much overnight. And the amount of accessible homes out there is just negligible. You would have to potentially with these clients find them a new home very quickly, they might be living on a fourth floor walk-up, which they can no longer live in, and we would have to hire people to find homes. So, therefore if landlords were adapting these homes they’re actually going into a niche. They’re usually a bit more rent, they’re usually a bit more expensive. You’re probably going to have a good influx of tenants. And also if you spend a bit more on having those adaptations which are a bit more aesthetically pleasing they’re going to last longer and you’re going to have a solid stream of tenant revenue.
EMMA- Now, we reached out to the government about that 47% statistic that we’ve been talking about, and they provided this statement:
‘The law is clear that landlords must not unlawfully discriminate against prospective tenants on the basis of a person’s disability, and any such behaviour is completely unacceptable. We are taking action to decisively level the playing field between landlord and tenant by providing all renters rights and protections through our Renters’ Rights Bill.’
Sam, you’re a lawyer, you’ve worked in various areas and you’ve had your own challenges around renting, what do you know about the Renters’ Rights Bill and how would that help with this situation?
SAM- So, the Renters’ Rights Bill is a really exciting and positive change for renters. The main change is the abolishment of Section 21 or otherwise known as no-fault evictions, which is where a landlord essentially doesn’t need a reason to evict someone. And that is going to mean that tenants can ultimately push back and argue for their rights more because, as I was saying earlier, there’s always this threat of when you’re a tenant you complain to your landlord about anything you suffer the risk of being evicted.
EMMA- The Renters’ Rights Bill is rumbling through parliament at the moment. It’s got its third reading next week. Samantha Lewis and Paul Smith, thank you for joining me.
SAM- Thank you.
PAUL- Thank you.
EMMA- If you have something to say about what we’ve been talking about on this episode, I mean housing is always a hot topic for disabled people and rightly so, please do email accessall@bbc.co.uk. You can send us a message, so it can be a voice message or a text message, send it to our WhatsApp number 0330 123 9480, and put the word Access before it. So, if you’re sending a voice message, write the word Access, send that and then send me your voice message; it just makes it a lot easier to find for us. You can also get in touch with us on the socials, we are on X and Instagram @ýAccessAll.
MUSIC-
EMMA- We have a world first [EastEnders theme music], the first ever wheelchair user to direct EastEnders. Owen Tooth, thank you for being on Access All. Hello.
OWEN- Hello. Thank you so much for inviting me here.
EMMA- First wheelchair user ever to direct EastEnders. That is so exciting! What was it like being on set and everything?
OWEN- You know what, it was absolutely brilliant actually. Lots of sets they’re really not used to any form of disability; there’s a lot of nervousness, uncomfortable people and awkward people not knowing what to say or how to act. On EastEnders they’re just really used to it, so it was so smooth going on to that set actually and just getting straight to work.
EMMA- Can I ask you a basic question: what does a director actually do?
OWEN- I think a director is a bit like a conductor, so your job as a director is to take all the people that are experts in their field, whether that’s an actor or a composer, and you’re trying to get the best out of them.
EMMA- And if they’re not doing it the way that you want them to do it, interpreting it in the way that you want them to interpret it do you get all sort of diva-y and make sure that they do it the way you want it?
OWEN- Not me, no. I like surprises. I think film is a great medium to work in if you’re a collaborator and if you like working with people. It’s always bigger than the sum of its parts when you work with a lot of talented people. No, I like it when people bring something that I haven’t thought of to it.
EMMA- Oh good, great, so you’re not a diva director then [laughs].
OWEN- I’ve never been a diva director. I’d quite like to have a go.
EMMA- You’re been a director for ages. EastEnders is not your first directing rodeo. How did you get into the profession?
OWEN- I started out in short films. So, my short films started doing really well in festivals. And from there I met a producer who then helped finance my debut feature film, which sold worldwide, that did relatively well. And then just in the last I guess five years my career’s changed quite a lot, which I think we’ll probably come onto, to do with disability, and I just started looking at TV as something that had really developed really interestingly in that in the last ten years, I guess, TV has really come into its own and started telling stories that I’m not seeing in films. And as a career it felt like actually that’s a better home for me right now.
EMMA- Tell me about that change in the career and why TV and soaps became a better fit.
OWEN- I mean, it’s all based on my assumptions that TV has an infrastructure that can accommodate disability in a way that film can’t or hasn’t. I was doing quite well in the feature film industry, and then when I became a wheelchair user it was like my career went into rewind, I just disappeared off the map. It wasn’t just that I couldn’t get meetings, it was that in meetings or networking it was like I was invisible, it was genuinely like I was invisible, people just didn’t see me quite literally. I went from earning quite a good amount of money to living in poverty overnight, and for a number of years that was my situation, and so I just started looking for it.
EMMA- And how did you deal with that, Owen?
OWEN- There wasn’t a way of dealing with it. I mean, that was the brutal truth was when you’re earning nothing you scramble, you scramble to find a way of earning. So, I was just doing anything I could to make ends meet because I’m the person in my house that earns the money, so I was just taking on any job I could to earn enough to pay bills.
EMMA- And you were also dealing with becoming disabled. How did you become disabled, Owen, if it’s okay to ask that?
OWEN- I had a fall when I was rock climbing a number of years ago, and it just kicked off an autoimmune disease that I wasn’t aware of, and so my joints kind of started eating themselves. So, my hips have just got worse and worse and I’m living with a lot of pain as well as struggling to move.
EMMA- So, you’re living in pain, you’re learning how to move in a body that works differently than it used to do. Is there anything that a wheelchair user can’t do in terms of directing? Because it sounds like a job that is probably fairly equal in terms of the actual doing of it.
OWEN- You get a chair named after the job, you have a director’s chair, it’s absolutely a job you can do sitting down.
EMMA- In a chair.
OWEN- In a chair. It’s just based on your mind and your imagination and your ability to collaborate and inspire people. So, there’s nothing that you need to be able to do as a director that warrants anything that you can’t do in a wheelchair.
EMMA- So, why do you think people were so discriminatory towards you when you could do the job as well as you used to?
OWEN- I’m still not quite sure why. I really struggle with people understanding that I’m experienced at all. People assume that I must be an absolute beginner and that I must need training, and my training needs to be the very, very beginning level. That’s something I encounter all the time, and it was something I never encountered before.
EMMA- So, has being disabled changed how you work as a director?
OWEN- I mean, it’s been quite a humbling experience. I think yeah, it’s changed my drive. I think my drive before was just to entertain; and now I want to entertain but I also want to make change.
EMMA- What change do you want to make?
OWEN- As a filmmaker I’ve got a social responsibility, and I was always aware of that, but now that comes to the forefront of my mind. I like the idea that being visible is bringing change. I think there’s a certain amount of ambassadorship that I feel every time I’m on a show or meeting a different production company, just opening their eyes to the preconceptions they might have had. I’ve made a documentary about my journey into film, which has actually opened quite a lot of doors for other people.
EMMA- That makes sense. Now, let’s get back to EastEnders because you’re directing some more episodes in early 2025. Can you give us any teaser about what those episodes are about?
OWEN- No. You never know. I think I will start in late January and that’s the day I’ll get the script.
EMMA- Did the episode you’ve already directed have a big duff-duff moment? And if so what was it like directing that scene of the episode?
OWEN- It did and it was brilliant fun. It’s a slightly surreal moment because normally when you’re directing you’re trying to get everyone to act very, very naturally, and when you’ve got an iconic moment like the duff-duffs everyone has to hold their pose for an extra four seconds at the end and just look shocked and stay facing exactly where they are, because if they carry on then you can’t edit it. And so it was really funny and really fun. And that was the first thing I shot as well, the first thing I filmed on the first day there was my final scene, so that was really daunting.
EMMA- Can you remember the line, the final line?
OWEN- I remember that Denise is admitting that her daughter is the person who’s caused the crash that Penny’s been blamed for, so it was a big moment because her admission might be sending her daughter to prison.
[Clip]
PENNY- You think just because I can’t walk my life is over, don’t you?
MALE- Do you know, what bother. Don’t even try and listen because she doesn’t listen, do you?
PENNY- Do you know what, you don’t need to see me again because I’m going back to Paris.
MALE- So, you’re just running away.
DENISE- You can’t do that.
MALE- No, she’s not welcome!
DENISE- No, but it wasn’t her…that, that caused the crash that put you in the hospital. It was Chelsea. [EastEnders theme tune]
[End of clip]
EMMA- Oh, Owen, that’s so awesome! Penny was in that scene as well.
OWEN- Penny’s formidable. She’s an incredible actor.
EMMA- And is it good to direct another wheelchair user then?
OWEN- It was good to direct another wheelchair user who was so brilliant. It was interesting that we both picked up on similar things in the script.
EMMA- Are you allowed to tell me what you picked up on in the script?
OWEN- No, just some little things we changed a little bit.
EMMA- But I think that’s the thing, disabled people in crew, and it’s a very good advertisement for having disabled people in front of and behind the camera, is that you can change things and you can look at a script when it’s real life disabled people and say, that doesn’t work and that doesn’t work. And as long as people listen you’re actually doing something really good. And you know what also annoys me is that that’s quite emotional for me, for you a wheelchair using director to be directing a brilliant wheelchair using actress. And it shouldn’t be that because it should be just normal, but I’m just like, oh you’re going to get the best from her and the rest of the cast, and it’s so good for the rest of the cast to see that as well.
OWEN- Exactly that. And it was emotional, and it was wonderful how open they were. Because coming on to a show like this I felt like maybe it’s not my place to say anything or maybe I haven’t got that kind of voice.
EMMA- Okay, Owen Tooth [puts on East London voice] get out of my studio!
OWEN- [Laughs]
EMMA- Thank you so much for talking to me.
OWEN- It’s been a pleasure.
MUSIC-
EMMA- Since I spoke to Owen we got the news that he is one of just six filmmakers chosen to make a documentary as part of Netflix Documentary Talent Fund. Well done, Owen, yay. That is it for another episode of Access All. And now that 2025 is well and truly underway we want to hear what’s happening for you this year. Let us know. Tell us the stories you want to share, or give us a heads-up about something you’ve heard that you think needs a bit more investigating. You can contact us in all the usual ways: we’re on WhatsApp 0330 123 9480. We’re on the email accessall@bbc.co.uk. And you can find us on social media, we’re on X and Instagram @ýAccessAll. See you next week. Bye.
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