Member in Focus:
Rebecca Sowah

Rebecca Sowah didn't set out to work in production accounting — but the industry has a way of finding the right people for the right roles. Now a Production Accountant with credits spanning film and television, Rebecca has built a career on precision, collaboration and a genuine passion for the craft of keeping productions financially on track. With Alice & Steve — the acclaimed new Disney+ comedy from the producers of Baby Reindeer — now streaming globally, we sat down with Rebecca to hear about the path that brought her here, what a Production Accountant's day really looks like, and what she'd say to the next generation of women considering a career in production finance.

Congratulations on the release of Alice & Steve. It's already won three awards at Canneseries 2026 before it even landed on Disney+ — how does it feel to be part of a production that has generated such excitement, and what made this project stand out for you when you first came on board?

It's incredibly rewarding to be part of a production that has generated such a positive response, before it was released. The recognition at Canneseries is a testament to the talent and hard work of everyone involved, and it's exciting to see that effort being recognised.

The project stood out to me because the scripts were genuinely funny and I wanted to see how it translated on screen. There was a real excitement amongst the crew to bring the story to life.

I’m also a huge fan of Nicola Walker which was a bonus. 

Having previously worked with Clerkenwell on The Death of Bunny Munro, which is completely different, I was excited to see what they could bring to the comedy space.

Can you tell us how you first got started in the industry, and what drew you specifically to production accounting rather than other areas of filmmaking?

I was obsessed with the behind-the-scenes section of DVD’s growing up. I loved seeing what went on behind the camera and was surprised to see the amount of people it takes to make a show. 

I wanted to combine my love of numbers and problem solving with a role in the creative industry.

After a lot searching, I started my career as an in-house cashier at the BBC before taking the leap into freelancing and working my way up through the ranks to make sure I had a full understanding of the accounts department. I haven’t looked back.

I love having an insight into each department, it gives a greater understanding into how the different departments work and what they need to do their job. Production accounting has helped me combine my love of figures and spreadsheets to assist other creatives with their budgets.

Production accounting is one of those roles that keeps an entire production financially afloat — but it rarely gets the recognition it deserves publicly. What do you wish more people understood about what a Production Accountant actually does day to day?

Thank you for acknowledging that! We often fly under the radar. I’d like the crew to know that it’s not a part time job! There’s a lot of digital paperwork and processing that goes on behind the scenes. 

No two days are the same and your weekly outlook can change at the drop of a hat. My week generally starts with checking in with the team to discuss our to do lists and goals for the week. I’ll make sure to check in with members of my team throughout the week to discuss any queries. I’ll do lots of auditing of my team’s work, payroll, accounts payable and expenses to ensure that costs are being reported accurately and in line with any additional tracking e.g. regional spend or insurance claims. 

I will often check in with HoD’s or supervisors across art, costume & locations department to ensure their budgets are up to date and they are reconciling spend. We’ll also discuss any monetary concerns within their department, possible overages or how savings can be redistributed across other areas of their budget. If the filming schedule is running behind, I could be asked to cost up an hour’s overtime for the shooting crew or pull together a budget for an extra day of filming.

You've worked across a variety of television productions — how does your approach and workflow shift per production, and what do you find more creatively satisfying from a financial management perspective?

I find smaller budgets more satisfying to manage. Really getting into the detail to see where we can make savings and adjustments without compromising the creative output on screen. 

On smaller budgeted shows if the fund run out there isn’t any more money. We must be very careful to manage the cashflow so that we can pay the cast/crew/suppliers on time each week.

Comedy productions like Alice & Steve have a particular energy on set — fast-moving, collaborative and often unpredictable. How does that atmosphere affect the way you work, and does the tone of a production ever filter through to the accounts department?

Most definitely! The atmosphere on set can greatly influence the way the whole production team works, including the accounts department. While our role is focused on accuracy, compliance and keeping the production on budget A positive, collaborative environment makes communication easier and helps build strong relationships with production management, crew and suppliers. 

There was such a lovely energy on Alice & Steve. However last-minute decisions or script changes can still affect the accounts department because of the financial impact. For example, extra overtime increases payroll costs, additional support may be needed for the crew, and equipment or prop hires may need to be extended. 

No matter what is happening on set, our main responsibility is to process information accurately, meet deadlines and provide reliable financial reporting. Working on a comedy production is lots of fun. It was always interesting to see some of the creative props being used by the art department.

Production accounting requires you to work closely with almost every department on a production — from locations to costume to post. How do you build those relationships, and what does good cross-departmental communication look like from your side of the desk?

I’ve always created an open office environment, encouraging crew to come to my desk to ask questions or pick up the phone. It often leads to quicker understanding and resolutions than going back and forth over email. I expect my team to have the same policy as they often work very closely with junior members across departments. It creates a better working environment all round. My teams are often complimented on their approachability

I’ll also check in with HoD’s and their teams from the start of the production, where we’ll set out how paperwork needs to flow between us in accounts and them and who they need to contact depending on their requirements. We’ll offer demonstrations if crew members haven’t used a particular PO system and send out any useful templates. 

I’ll always be sure to keep in regular contact with HoD’s regarding their budget, flagging any potential overages and savings.

The financial landscape of UK production has shifted significantly in recent years — with streaming platforms, co-productions and international financing becoming increasingly complex. How have those changes affected the way you work, and how do you stay on top of an ever-evolving industry?

The growth of streaming platforms has introduced new budgeting, cashflow, reporting and compliance requirements, while international co-productions and multi-source financing structures often involve different tax incentives, currencies. 

This growth has created new opportunities. Projects can now access different streams of funding, talent and audiences on a larger scale.

In my work, this has meant I need to understand funding agreements, monitor cash flow across multiple financing sources, ensure compliance with tax credit requirements, and provide timely financial reports to the production company and broadcaster. 

To stay up to date, I make a point of following industry developments closely through my networks, industry publications and training courses. Working across different types of productions helps build experience with new financing structures and reporting requirements as the industry continues to evolve.

Diversity in the production accounts department — and in the wider industry — is something that matters deeply to many of our members. Has your own experience shaped how you think about representation in this space, and is there anything you'd like to see change?

Over the years, I’ve seen more diversity across production departments, with people from different backgrounds, ages and life experiences joining the industry. In the past, many people may not have known how to access a career in television or considered it an option.

Today, there is a greater focus on making the industry more accessible. This includes flexible working arrangements for people with caring responsibilities and Access Coordinators who support the needs of cast and crew.

I would like to see more grants and opportunities for people from underrepresented and lower-income backgrounds to gain experience in the industry. When I started, I didn’t meet many people from a similar background to me, and many had entered the industry through family or personal connections. Creating more accessible routes into the industry would help open doors for a wider range of people.

Do you have any top tips or everyday skills that you use that it would be useful for someone starting out in this role to learn? Any practical tricks of the trade you can pass on?

Knowing a range of excel formulas to quickly manipulate reports. VLOOKUPS, pivot tables etc 

Communicating effectively within the team and amongst the wider crew.

Attending courses to keep your skills up to date, create networks to fill in gaps in knowledge.

After long shoot days and late cost reports, what is your absolute non-negotiable on a production? A ritual, a snack, or something from the craft table you couldn't get through a shoot without?

If I’ve got a long day of meetings ahead, I’ll make sure to fuel myself properly for the day and get out for a lunchtime walk to get some fresh air to clear my head.

At the end of the day, I make sure I have intentional wind down time which could be getting out and playing a game of football or settling down with a good book.

Favourite 3pm Snack – Salted caramel Pick Up bar.

Finally, what advice would you give to someone who is just starting out in production accounts today — and what has kept you passionate about this work?

Network, network, network. Get out amongst the crew and talk to as many people as possible. In the past this has led me to further work opportunities.

Look at courses you can do to improve your knowledge. The Production Guild and Screenskills have an excellent reputation for running quality courses with experienced trainers. I've personally found them valuable for both learning and career progression.

Previous accounts experience is helpful, but people from all backgrounds can build a career in production accounting. Studying AAT can provide a strong foundation in accounting principles that are used throughout the role.

Ask lots of questions and don’t be afraid to work your way up from cashier level. There are many benefits to knowing what everyone in the team does.

What keeps me passionate about the industry is being part of creating entertaining content and seeing scripts come to life on screen. I'm proud to have contributed to many successful productions and enjoy working alongside talented people across the creative industry.