Industry's Young Producers on Challenges, Changes & Inspirations

What was it that attracted you to the industry, and the role, in the first place?

Lewis O'Brien [right]: I was working in retail when a colleague of mine got accepted onto a placement at an ad agency. I didn’t understand what this industry he was going into was, but I found myself infatuated by it. Months went by and my friend contacted me saying that I should take holiday from the shop and come in for a week’s work experience. I took his advice by handing in my notice the next day and taking a chance on this mystery industry that seemed like an unattainable glimmer of something. 

During my work experience, I applied for the same placement scheme that my friend had, and after presentations and numerous interviews I found myself actually in it. In this industry that I had been lusting over for nearly a year. I knew it had to be production; the logistics, the problem solving, the craft, all to reach the same goal as everyone else. Brilliant work.

Hanna Davis: As a child, I’d often stay up well past my bedtime and I’d always be enticed by adverts; how they managed to evoke a laugh, smile or even a tear in such a short amount of time. I’d always fall asleep during the programmes I’d stayed up so late to watch. I started out in account management but every time I was involved in production I was completely in my element. Being a part of something that goes from paper to film is what I’ve always wanted to do. I just went a roundabout way of doing it. 

"Having an important voice that really shapes the production is something I enjoy."

James Plaxton: I’ve always loved film and have found myself breaking the magic by wondering how everything has been done and what’s happened behind the scenes. I like the fast-paced nature of the advertising industry, so it seemed like a good place to understand more about film production.

Nadia Black [left]: I love storytelling and having a crucial role in the shaping of a film. Although I have always been creative, my strengths felt better suited to bringing together all the different aspects involved, and doing this while having that creative vision in mind. Having an important voice that really shapes the production is something I enjoy, and working as a producer, having the opportunity to roll all my passions into one, is what attracted me to the industry and in particular film production. 

Sophie Hughes: I actually swapped university for a place at SCA ad school. I left there as a copywriter and worked at both BBH and 101 in a creative team for a few years before transitioning over to production back at BBH. I wanted to be a creative producer – having the knowledge and ability to concept and execute an idea, start to finish. 

"What I love most is you’re the 'magic maker'."

Georgia Lawson [below right]: I started in a fashion PR company that shares an office with Mother. I basically thought, for want of a better phrase, “they look really cool”. The more I saw of the work they made, the craft and thought that went in to it I knew I wanted to work there.

Nosisa Majuqwana: I wanted to get into account management (why on earth?!) but after a week in an agency I was sold into production. What I love most is you’re the 'magic maker'. It’s a high-pressure job, but you always come away with something you’ve either learnt or gained. 

Was there a particular piece of advertising work that inspired you?

Lewis O'Brien: Guinness noitulovE by AMV is a masterpiece not just of advertising but just as a piece of film. The performance, the music, the humour. It hits every note.

Nadia Black: I remember seeing Juan Cabral’s Cadbury’s ad, with a man in a Gorilla suit playing the drums to Phil Collins, and thinking that was awesome. Didn’t feature a single chocolate bar but it just worked so well. I do think, generally, the ads I personally love tend to be those with a great track that really helps craft and bring to life the whole production. 

Tom Ayling [right]: Sony Bravia Balls. At the time, it was amazing to me that such a simple idea could be executed so perfectly. Beautiful imagery, beautiful track. Such feels.

Sophie Hughes [above]: Adam Berg’s Phillips Carousel, and Marcus Soderlund’s The Swell for Volvo.

Soraya Phipps: I loved the This Girl Can campaign. It’s a great example of advertisers using their platform to convey a really important message. 

What’s currently the most difficult part of your job?

Hanna Davis [left]: The responsibility. Having creatives believe in you and trust you with their babies (creative ideas).  Having clients give you a wod of cash to bring some notoriety to their brand and having to compromise, mediate, make everyone happy; all whilst scheduling, shooting and delivering on budget and on time.

Edmund Thorn: Trying to find a big glossy director that has a beautiful reel that will appease creatives and client alike but who will also make the script work for the budget.

It is genuinely an increasingly difficult task. Thankfully, there are great companies out there who are set up to achieve jobs on tight budgets, and their rostas and work are getting better and better, but more often than not you have to take a leap of faith on someone.

Tom Ayling: I suppose a challenge for anyone within the industry is trying to attribute value to brands that is not only lasting, but meaningful. Executing a meaningful creative idea with restrictive budgets, whilst trying to challenge the stigma around advertising is the dream but is definitely tough at times, especially in a world where creative risk-taking is becoming less and less viable.

"If I could say one thing that everyone could do better, it would be to communicate properly."

Rhys Evans [right]: That’s a tricky question… Every job is different, which is why I love what I do. But if I could say one thing that everyone could do better, it would be to communicate properly. As transparently and as honestly as possible. Sometimes you’re not going to like what someone’s going to say, but if everyone is clear and communicates well there is always a solution. 

Soraya Phipps: I think just adapting to the pace of how quickly jobs move and keeping on top of it all. 

And the most rewarding?

Sydney McGauran [left]: Seeing and hearing things that you’ve worked on and being able to say that you were a part of it. Also, knowing that I only started in production one year ago and didn’t know anything about the industry, and now I’m producing my own ads!

Edmund Thorn: Delivery day and seeing your commercial on TV. It’s a little thing, and possibly a little pathetic, but I do [find it rewarding], and I’d be surprised if it were just me. It’s quite blatant job reward and it’s a good feeling… if you’re proud of the ad, that is. 

Soraya Phipps [right]: I love seeing how adverts are made, so I think being involved in that and being a part in making great work is really rewarding. 

James Plaxton: There’s a real tangibility to what we do. And there’s nothing better than seeing your hard work playing on a screen, whether that’s on TV or on your mate’s laptop.

What do you think the main challenges will be in your role – or for the industry in general - over the next few years?

Lewis O'Brien: I think it’s got to be the on-going and forever-evolving transition that is happening, not just for our industry, but the whole connected world. The ones who have been in the game a while are having to learn a whole new set of skills and those of us who are just starting their careers are having to learn a whole arsenal of aspects and formats and trafficking and processes... It’s exciting though!

"The industry has a long way to go in terms of having more diverse people in a room making decisions."

Rhys Evans: Tech is forever changing, and it can be hard to keep up with what’s the newest trend or where our content will live. With the rise in on demand TV and Netflix/Amazon Prime etc. change is inevitable we will have to find new ways to keep clients happy and make stuff! I’ve recently done a lot of content for Facebook and Instagram, working with new aspect ratios like 9:16 or 4:5. It’s challenging in that you’re working within a space that you’re not necessarily used to, but you have to remain adaptable. Change and challenges are inevitable, you can either embrace it or wait for someone else to overtake. 

Georgia Lawson: Keeping up with technology and adapting our offering to stay current.

Soraya Phipps: The industry has a long way to go in terms of having more diverse people in a room making decisions. Ignorant mistakes can be avoided so easily if people from minorities are encouraged to speak up. I think the challenge is not only inviting people in who are different, but giving their voice a platform too.  

Nosisa Majuqwana [right]: I think one of the biggest challenges for the industry at the moment is tackling the lack of diversity issue, especially at the more senior levels. I didn’t go to university and knew nothing about the industry, in fact a lot of people I talk to don’t know about the industry or what I do. Small changes are being made with gender diversity, but I think it will take a while to tackle diversity as a whole. 

Slavica Delevic [above]: Probably arguing that our jobs can’t be done by a robot with a smart sheet and access to a contact list!

How important is it to network with your peers from other agencies?

Hanna Davis: Very important. For me, and I’m sure for a lot of the young producers attending tonight, this is a job for life. So, I need to understand who the competition is, who my future colleagues are which agencies/production companies are delivering great work. And who to avoid…

"I still regularly call and catch up with my old EP. I call him the Prod-Father!"

Nadia Black: I would say networking is one of - if not - the most important aspect. I don’t think it’s even a producer thing, it’s just really important for life.

Rhys Evans: It’s so important to keep in touch and network with friends or colleagues from other agencies or production companies. Sometimes you might have a question that will seem stupid to ask but to an old colleague/friend they can listen and ultimately help. I still regularly call and catch up with my old EP. I call him the Prod-Father! 

Georgia Lawson: Not being a natural networker it’s hard to say but I do believe working with people around the industry builds relationships that are invaluable to getting the job done.

"Being a producer can be a lonely job... Having a support network definitely helps to relieve some of the stress!"

Nosisa Majuqwana: It’s very important. We all do the same job and work with the same suppliers and you never know when you might need to pick someone’s brains on something, or need a helping hand. 

Slavica Delevic: Personally, I think massively important. Being a producer can be a lonely job, although you are constantly communicating with people, quite often you are fighting battles on your own. Having a support network definitely helps to relieve some of the stress! It’s also good to keep up to date with what’s happening at other agencies and share ways of working. You’re only as good as the company you keep, as they say!

What piece of work from the last 12 months made you say, 'I wish I'd made that!'?

Sydney McGauran: The new Audi ad with Candice Thovex. 

Edmund Thorn: Technically, it's not within the last 12 months, but one that I would have really loved to work on would have been the Wes Anderson H&M Christmas spot from 2016. He is such an iconic director. 

James Plaxton [left]: It’s got to be Mini’s The Faith of the Few, which was directed by Daniel Wolfe. It’s an incredibly ambitious production, all shot to look like archived footage. It must have been a really tough and complex shoot but when you watch it it makes the hairs on the back of your neck stand up, which is what it’s all about.

Nadia Black: Probably Francois Rousselet’s Nike ad, Da Da Ding. I thought that was incredible, was that within 12 months?

Sophie Hughes: Anything and everything from Reed Morano. And the latest season of Black Mirror.  

"It’s one of those campaigns that, as a woman especially, you watch and think, ‘how has this not been done before?’!"

Georgia Lawson: The Gucci's Spring 2018 Utopian Fantasy, created by Spanish illustrator Ignasi Monreal.

Slavica Delevic: Hands down, AMV BBDO’s #BloodNormal campaign for Bodyform and Libresse. It’s one of those campaigns that, as a woman especially, you watch and think, ‘how has this not been done before?’! This needed to be made and menstrual stigma needed to finally be addressed. I’m full of admiration for the team behind it, especially the producers for the phenomenal battle they would have had on their hands to get everyone onside and challenge out-dated taboos, in both advertising and society in general. 

The full list of attendee producers, nominated by their department heads, is;

Tom Ayling, McCann

Nadia Black, Iris Worldwide

Emily Brownlow, Y&R

Sarah Chan, Ogilvy

Hanna Davis, FCB Inferno

Slavica Delevic, Spark 44

Billy Dupee, BETC

Rhys Evans, The&Partnership

Hannah Gant, Droga5

Nikki Holbrow, AMV BBDO

Sophie Hughes, BBH

Jessie Hutter, mcgarrybowen

Georgia Lawson, Mother

Nosisa Majuqwana, WCRS

Eve McDonald, TBWA

Sydney McGauran, VCCP

Lewis O'Brien, 18 Feet and Rising

Iona Patterson, Wieden+Kennedy

Soraya Phipps, Anomaly

James Plaxton, Grey

Megan Suttin, Saatchi

Alex Taylor, Leo Burnett

Edmund Thorn, JWT