The Celluloid Ceiling:
Behind-the-Scenes
Employment of Women on
the Top 250 Films of 2014
by Martha M. Lauzen, Ph.D.
Copyright © 2015 – All rights reserved.

Findings for Directors, Writers,
Executive Producers, Producers,
Editors, and Cinematographers
•This section analyzes behind-the-scenes
employment of 2,822 individuals
working on the top 250 domestic
grossing films (foreign films omitted) of
2014.

_________________________________
The Celluloid Ceiling is the longest-running and
most comprehensive study of women’s behindthe-scenes employment in film available.
Currently in its 17th year, this annual study is
sponsored by the Center for the Study of Women
in Television and Film, San Diego State
University, San Diego, CA 92182,
http://womenintvfilm.sdsu.edu,
lauzen@mail.sdsu.edu

In 2014, women comprised 17% of all
directors, writers, producers, executive
producers, editors, and cinematographers
working on the top 250 (domestic)
grossing films. This is the same
percentage of women working in these
roles in 1998 (see Figure 1).
Women accounted for 7% of directors,
up 1 percentage point from 2013, but
down 2 percentage points from 9% in
1998. In 2014, 93% of films had no
female directors.
The results are divided into two sections.
The first section reports the findings for
the roles traditionally included in this
study, offering historical comparisons
from 2014 with figures dating from
1998. The second section provides the
findings for three additional roles
considered this year including
composers, sound designers, and
supervising sound editors.

2014 Celluloid Ceiling

•Women fared best as producers (23%),
followed by executive producers (19%),
editors (18%), writers (11%), directors
(7%), and cinematographers (5%).

Figure 1.
Historical Comparison of Percentages of
Women Employed in Key Behind-theScenes Roles*

17

2014

83
16

2013

84
17

2005

83

Women
Men

19

2001

81
17

1998

83
0

50

100

*includes directors, writers, executive producers,
producers, editors, and cinematographers

1

 •of films employed 0 or 1 woman
in the roles considered. 23% of films
employed 2 women, 29% employed 3 to
5 women, 7% employed 6 to 9 women,
and 3% employed 10 to 14 women. In
contrast, no films employed 0 or 1 man
in the roles considered, and 69%
employed 10 to 27 men.

•A historical comparison of women’s
employment on the top 250 films in
2014 and 1998 reveals that the
percentages of executive producers and
cinematographers have increased. The
percentages of women directors, writers,
producers, and editors have declined (see
Figure 2).

•A historical comparison of women’s
employment on the top 250 films in
2014 and 2013 reveals that the
percentages of women directors, writers,
executive producers, editors, and
cinematographers have increased.
The percentage of women producers has
decreased.
•Women comprised 7% of all directors
working on the top 250 films of 2014.
This represents an increase of 1
percentage point from 2013 but a decline
of 2 percentage points from 1998.
Ninety-three percent (93%) of the films
had no female directors.
•Women accounted for 11% of writers
working on the top 250 films of 2014.
This represents an increase of 1
percentage point from 2013 and a
decrease of 2 percentage points from
1998. Seventy nine (79%) of the films
had no female writers.

2014 Celluloid Ceiling

Figure 2.
Historical Comparison of Percentages of
Women Employed Behind the Scenes on
Top 250 Films by Role

7
6
7
9

Directors

11
10
10
13

Writers

19
15
16
18

Exec. Producers

2014
2013

23
25
20
24

Producers

2006
1998

18
17
21
20

Editors

5
3
2
4

Cinematographer
s
0

10

20

30

•Women comprised 19% of all executive
producers working on the top 250 films
of 2014. This represents an increase of 4
percentage points from 2013 and an
increase of 1 percentage point from
1998. Fifty six percent (56%) of the
films had no female executive producers.

2

 •Women accounted for 23% of all
producers working on the top 250 films
of 2014. This represents a decrease of 2
percentage points from 2013 and a
decrease of 1 percentage point from
1998. Thirty eight percent (38%) of the
films had no female producers.
•Women comprised 18% of all editors
working on the top 250 films of 2014.
This represents an increase of 1
percentage point from 2013 but a decline
of 2 percentage points from 1998.
Seventy eight percent (78%) of the films
had no female editors.
•Women accounted for 5% of all
cinematographers working on the top
250 films of 2014. This represents an
increase of 2 percentage points from
2013 and 1 percentage point from 1998.
Ninety six percent (96%) of the films
had no female cinematographers.

percent (96%) of films had no female
sound designers.
•Women accounted for 5% of all
supervising sound editors working on
the top 250 films of 2014. This
represents a decrease of 4 percentage
points from 2013. Ninety five percent
(95%) of films had no female
supervising sound editors.

Figure 3.
Comparison of Percentages of Women
and Men as Composers, Sound
Designers, and Supervising Sound
Editors

1
Composers
99

•Women were most likely to work in the
documentary and comedy genres. They
were least likely to work in the action
and horror genres.
5

Findings for Composers, Sound
Designers, and Supervising Sound
Editors
•Women comprised 1% of all composers
working on the top 250 films of 2014.
This represents a decline of 1 percentage
point from 2013. Ninety nine percent
(99%) of films had no female composers
(see Figure 3).

Women

Sound Designers
95

Men

5

Super. Sound
Editors

95

0

50

100

•Women comprised 5% of all sound
designers working on the top 250 films
of 2014. This represents an increase of 1
percentage point from 2013. Ninety six

2014 Celluloid Ceiling

3