How to sit on a third sector board | David Kosse

What boards do you currently sit on, and in the past?

My first board was thirty five years ago, but more recently I have sat on the board of the Donmar Warehouse since 2013, and am on the board for Into Film, a film education charity that sits under the BFI and get funding from them. I was also briefly on the advisory board at Somerset House, and am discussing joining the board of the new Riverside Studios. I worked on the United International Pictures board, which was a joint initiative between Universal and Paramount to distribute films around the world, a precursor to Universal International, which I started.

Why did you choose to join the board of a cultural organisation?

The Donmar Warehouse has been my primary board experience, and the reason I joined was to understand, from a board-level perspective, another cultural sector. I know the TV and film industries very well, and I wanted to understand more about the theatre world, and I was really impressed in particular with the work that had gone on at the Donmar Warehouse, and I felt proud to be part of a group shepherding and advising and adding to the efforts of the staff there. I was also interested in a cultural organisation because of my background, and it felt like where I could give the most value, as opposed to going into a medical or social charitable organisation. 

What are the key qualities for a good board member in the arts/charity sector?

I would say in the arts you need to be passionate not only about art but also how it shapes lives and opinions, and how it changes the world and our behaviour in a concrete way - you really have to have the mind-set of thinking about the impact that the art can have - so that you can champion the organisation and its creators. One has to understand that art is challenging and difficult to create. I think this is the most important thing to bring to the role, but on any charitable board it helps if you have the ability to fundraise. Lastly it helps to have an understanding of the legal & intellectual rights framework of the space that you are in, so you are not running into issues as you press boundaries and push the envelope, particularly with a cultural organisation.

What is the most unexpected lesson you have learned from your experience on third sector boards that you have then used for your NED/similar positions?

I’m not sure if this is a direct lesson, but I have found a big joy is having a peer group. It is unusual when you are a chief executive suddenly to have to go into meetings where you are an equal participant; it sharpens your behaviour, I think, and stops you from getting too comfortable with your knowledge base. With board positions, you encounter a new set of challenges and a new set of people you have to win over, so I have found you are honing your skills.

It’s also learning how to balance multiple perspectives. In particular boards are made up of people with very different attitudes to risk – in my career I have taken risks with investing more in fewer films, which has paid off with successes like Three Billboards Outside Ebbing, Missouri and The Favourite but different board members will have their own appetites for risk.

What is the biggest challenge your arts/culture/charitable organisations are facing right now?

The biggest challenge is the high level of uncertainty in the world and the de-valuation of the arts in the current global dialogue. Culture is so pervasive, especially with the rise of streaming, and it is easy to forget how important it is, especially in the face of nationalism, climate change, and that doesn’t even get into health and disease. Art’s biggest challenge right now is getting a seat at the table, as some of these issues feel louder right now.

When have you got it wrong, and what did you learn?

I tend to be so optimistic; sometimes I would find that I would think that I had arrived at the right answer before going into board meetings, but I had not seen another perspective, and would realise I had not seen the whole argument. I think it can also be easy to take creative people, across the artistic spectrum, at their word, but I have found that the role of the board is to interrogate all proposals and find the bigger picture. 

What is your advice to someone joining their first board in any sector?

Choose your board carefully, so that you understand why you’re going onto the board, and try to make an impact in that space; don’t be bashful. I would remind prospective board members to make sure they have the time to commit, because you have got to go to everything – every premiere, every cocktail party. Make sure to prepare yourself to spend the first year fully throwing yourself into the role and getting to know other board members – you can’t do anything alone.

David Kosse is a global film executive with over 30 years experience. He currently owns, Rockwood Pictures, which is developing a slate of feature films with major streamers and studios. Previously, as VP of International Film at Netflix, Kosse developed and produced over 40, features, including All Quiet on the Western Front which won four Oscars.

Prior to that, Kosse ran Film4, where his credits include multiple Academy Award winners such as Three Billboards Outside Ebbing, Missouri. From 2003 to 2014, Kosse launched the distribution and production division of Universal Pictures International, growing the business from annual box office revenues of $530m to $2 billion.

Susan Boster (interviewer) is the Founder and CEO of Boster Group Ltd., an award-winning consultancy specialising in the development of innovative partnerships between global corporations, cultural institutions and social impact foundations. Current and recent clients include Disney, Meta, Gap Inc., Moët Hennessy, J.P. Morgan, Bacardi, EY, Goldman Sachs, Montblanc and the Leverhulme Trust.

Previously, as Marketing Director at Barnes & Noble and later CMO at News International, Susan oversaw the transitions of both companies to e-commerce and digital platforms, including the launch of barnesandnoble.com.

Susan currently sits on the boards of the Design Museum - where she chairs the Enterprise Committee - The Representation Project, and the Donmar Warehouse. She previously served two terms as Vice Chairman of the Board of the English National Ballet. Susan is regularly featured as a moderator and keynote speaker at conferences such as the World Economic Forum in Davos and the CognitionX Festival of AI and Emerging Technology, and she is a Consultant Lecturer at Sotheby’s Institute of Art.