Animate! with Rachael Olga Lloyd

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Animation brings stories to life, magically blending creativity and technical skill. In this series of interviews, we celebrate the artists who make the impossible seem real. One such artist is Rachael Olga Lloyd, an award-winning animation director specialising in stop-motion and puppetry. With a love for folklore, handcrafts, and storytelling, Rachael has a unique approach to her work that merges intricate detail with a heartfelt narrative.

We sat down with Rachael to chat about her journey into animation, which began with a spark of inspiration from the music video “Ready, Able” by Grizzly Bear. Her work, including her short films “Iktsuarpok” and “How to Count Sheep,” has garnered international recognition. Beyond her award-winning films, she’s collaborated with organisations like The Scouts and Fair Trials, creating meaningful and memorable animation projects. Through her creative process and personal experiences, Rachael offers insight into the world of stop-motion and the importance of self-exploration in artistic growth.

How did you fall in love with animation?

I have always been obsessed with art from as young as I can remember but never thought of animation till very late. Things like Wallace and Gromit never inspired me, it wasn’t until I first saw the Grizzly Bear music video “Ready Able” animated and directed by Allison Schulnik that I was suddenly like “Omg what is this? I want to do this! “

Tell us about the animation project that kickstarted your career?

My personal film Iktsuarpok, it was my first stop-motion film done to a higher standard and showcased a lot of things I wanted to explore more as an artist.

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How would you describe your art style and what are your biggest inspirations that developed it?

I guess I would describe my art style as very tactile, handcrafted, stylised, and sensitive. Most of the characters portrayed in my work have a sensitivity about them or sadness.

From your perspective, what’s the key to animation that really lives?

For Stop Motion specifically, I think it’s embracing the materials you use in the film. What makes stop-motion different is that it’s physical so you should embrace that and celebrate the handmade nature of it and not use so much CGI that it’s no longer recognisable as stop-motion.

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Show us your favourite or most impactful project that you’ve worked on – tell us, what is it that makes it special and what were the memorable moments or challenges?

I recently did a little video for the NHS, this stood out as it was the first time I made an informative video. It was a new and exciting approach to animation. The video is about chronic pain,  it was a real challenge to communicate this complicated topic in a video but it’s probably the part I enjoyed most. It made me realise that I love communicating ideas, whether through images in my films, through teaching or any other way.

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How does one figure out what kind of animation style or styles fits a particular story or project?

You need to understand the audience for the film and the feel or style that suits it. If it’s for an informative video for example then it needs to be broadly relatable and representative and overall very clear to easily communicate the information. If it’s a story or music video I tend to go through the story or song a lot in my head to feel and immerse myself in the emotions and then I set art to visualse a style that would suit those emotions.

What is your favourite piece of technology or software that you use and how does it help your creative process?

It’s a bit silly but my Pinterest. It’s just a simple online pinboard to store images but I have thousands of images, it’s like my online sketchbook.  Whenever I see anything ever I save it to my Pinterest for future reference. For example, I have a character pin board with hundreds of images of character ideas so when I start a new project I go on that and search through to find inspiration. It saves me so much time as well.

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Outside of the field of animation, what really inspires you?

Music,  a lot of my personal work is massively inspired by music. When I listen to a song it helps to come up with ideas for films and characters.

I also find handcrafts inspiring, I have been to many places in South America and Scandinavia and brought back loads of handcrafts, weaving, sculptures etc, and decorated my flat liberally with them. I just love being surrounded by this kind of art it really inspires me.

What do you think are the misconceptions about animation throughout the industry?

That it’s mostly for children. Animation is an art form just like any other and is not restricted to only very young people.

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What are the biggest changes to animation and challenges facing animators at the moment and what are your thoughts on them?

With the emergence of AI, I worry about the threat of work for artists due to issues with companies choosing AI over people due to cost-saving.  

Any advice you would like to give to aspiring artists?

Take time for self-exploration and what inspires you, as self-exploration and an artist’s style are connected. As we age, we should evolve and so should our art.

See more from Rachael here.

Bossing It: Going from Runner to Founder with Milana Karaica

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Milana Karaica founded NERD Productions, a diversity and inclusion led creative production company representing a wide range of hand-picked directors, illustrators and photographers. NERDs craft animation, illustration, live-action, mixed-media, and photography for feature films, TV, digital, social, editorial and everything in between.

What was your first experience of leadership?

After being a runner for a while, I landed a cool new job – office manager at a busy production company in Soho. Sounds like quite a boring job if the title is anything to go by BUUUT.. I had a team of amazing runners to help me pull off the most random, eccentric production tasks as well as incredible parties, team bonding trips and sometimes even the most bizarre requests. 

No day was ever the same, no task was ever the same. It meant always being on your toes, continuously learning, meeting new talented people and partying like it’s 1995 every single day! 

How did you figure out what kind of leader you wanted to be – or what kind of leader you didn’t want to be?

This job meant that I had to interact with producers and EPs on our day to day.. They had their crew, I had mine and we had to come together to make a job happen. 

It was here that I first got the real taste of amazing leaders and also simply horrific ones too. 

There were those that were kind, polite and open to sharing their knowledge with others on the team regardless of their social background or what role they played in production. 

On the other hand, you had those that would talk to people like they were dirt on the bottom of their worn-out trendy Converse trainers! 

It was painful to watch, listen to and simply be in the same room with. Even though I had only little say at that point in my career, I often clashed with those individuals, perhaps even when the situation didn’t involve me at all as I just could not stand unfair treatment! I knew I wanted to be different from them. I did my best to be supportive but straight up at the same time, both with the ones who were mistreated and the ones that were favoured.

What experience or moment gave you your biggest lesson in leadership?

Being a young EP and getting so ahead too quickly for my age! In my eyes I had the right to be there due to my relentless work energy and never saying no to a random all-night task or an unexpected challenge. With that came the need to prove myself though, to my peers whom I left behind, to older colleagues and specifically those that didn’t like me for many personal or subjective reasons – like being too young, too ethnic, or just for being from Croydon! 

I worked day and night. Missing family gatherings, birthdays – doing conference calls at funerals… yes, I did that! However, with the recognition and praise came the ego as well. There was a point where I started to care too much about myself and the unfair treatment I was getting, even in this position and actually forgetting that so many others had it the same or worse, but had much smaller voices than I did. 

Did you know you always wanted to take on a leadership role? If so how did you work towards it and if not, when did you start realising that you had it in you?

I think three weeks into my first job in the industry I knew I would run a production company one day. Not because I wanted to lead, but because it really pissed me off how things were being managed from a clique and classist point rather than based on merit of hard work and talent.

When it comes to ‘leadership’ as a skill, how much do you think is a natural part of personality, how much can be taught and learned?

You can learn anything if you push yourself hard enough and don’t limit yourself with your perceived weaknesses. That’s at least what I grew up believing. As I was becoming more and more heard, I started getting told by everyone that the biggest part to my leadership success is my diplomatic and tolerant personality – and that’s something you can’t learn or practice easily. 

I feel like you have to really believe in what you preach and be passionate about it, because people can always tell when you’re not being authentic.

What are the aspects of leadership that you find most personally challenging? And how do you work through them?

I hate having to let people go! It’s never nice to have to let someone go so I always try to empower people to see why they may be better at something else or be more suited to another adventure. It’s not fair to keep people on if they are not the best version of themselves as they are wasting their own time too, not just yours. 

 Have you ever felt like you’ve failed whilst in charge? How did you address the issue and what did you learn from it?

We all fail! Sometimes you don’t notice a team member is down and struggling with something, be it personal or work related. Sometimes you don’t initially pay enough attention to a problem or an unusual friction between team members. I believe it’s all a part of the process and if we couldn’t learn and improve continuously in our industry, I would just quit! It simply means it’s got to the point you don’t care enough anymore.

In terms of leadership and openness, what’s your approach there? Do you think it’s important to be as transparent as possible in the service of being authentic? Or is there a value in being careful and considered?

 I think honesty is the most important element of any successful relationship. We value this in our personal relationships so why not in our work collaborations? I’m not saying to share your every thought and worry, but to bring transparency while coming up with suggestions is always appreciated whichever side you are on.

As you developed your leadership skills did you have a mentor, if so who were/are they and what have you learned? And on the flip side, do you mentor any aspiring leaders and how do you approach that relationship?

 I have had a few people to look up to over the years and some of those have let me down which is always devastating, while others inspired and motivated me more than I expected. I mentor a lot of young and up and coming talent and always treat those as friendships and close relationships. You really have to get to know a person to be able to see their strengths and weaknesses and how to help them get to be the best they can be. It’s a big responsibility!

How important is your company culture to the success of your business? And how have you managed to keep it alive with increases in remote and hybrid working patterns?

As a company that represents diverse talent, we have been a global company since our first day. Working remotely has not really meant that we have had to change a thing about how we craft. Our company culture is the only reason I started NERD, so it is the key to what we do, how we do it and why – every day! 

What are the most useful resources you’ve found to help you along your leadership journey?

There is currently no space in my life to attend all the events I want and to spend endless time on self improvement and self discovery. I simply start and end my every day with thoughts of gratitude, reminding myself of all the things I pulled off that day, who I helped elevate and who I made smile…. I gently thank my stars and my path for all the passionate and creative people as well as my family.

What I do make the time for is to follow and chat with fellow leaders and founders. 

Real people with real experiences and journeys beat any theoretical resource for me personally.

NERD welcomes Photographer Manos Chatzikonstantis: Q&A

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We are absolutely delighted to introduce Manos to our continuously expanding talent roster. With his remarkable portfolio featuring delectable food photography, captivating portraits brimming with purpose, and the mesmerising landscapes of the Mediterranean, Manos brings a unique creative flair to our team. In an exclusive interview, we had the pleasure of discussing Manos’ portfolio, his award-winning image for the Portrait for Humanity, and the diverse array of influences that shape his distinctive style.

Your portfolio reflects a deep appreciation for light, composition, and the intricacies of imagery. Could you share a moment that sparked your fascination with these elements and ultimately led you to pursue photography as a career?

Creative expression comes from diverse parenthood. So many things in one’s life, many of them unconscious, contribute to one’s style. I suppose growing up in Greece, being familiar with strong light and shadows plays a role. Warm sun, reflections, the softness of the evening. These kinds of things. Working with great people as an assistant is also quite formative. Observing art plays its role, I suppose, as does literature. One resonates subconsciously with certain elements, with certain techniques. I believe in observing the world closely and photography is pretty much the profession to follow if you are like that and a horrid draughtsman at the same time.

Your food photography is described as natural yet inviting, every shot we look at just gives us that ‘yum’ feeling. How do you approach each food shoot to ensure the dishes not only look appealing but also tell a compelling story?

What’s important is to understand the food itself and what the shot is for. It’s like a portrait really, where you have to connect with the person at some level and convey something. I need to know what the food is about, where it comes from, and what traditions it’s connected with.

Then comes the technical part. Chat with the team if this is part of a production. Which bits need to be highlighted, how this particular food reacts with light and colour? And in the end, one has to have a story going. Where are we, where is this dish supposed to be, whose place is this? Even if it’s just a white background where the food is placed, it should bear the soul of the people involved in preparing it.

Your Mediterranean cultural roots shine through in the textures, shadows, and colours of your work. How do you incorporate your cultural influences into your photography, and how do you believe it sets your style apart in the industry?

I believe that one’s style has to be true to oneself to have some significance. I’m equally fascinated by the South as I am by the northern crisp sunlight or the shadows of an object lit through a window on a gloomy day. Maybe having lived in Germany and the UK, being originally from Greece.  I somehow came to understand and appreciate the southern narrative elements better and learn how to combine them with the northern ones. That might be one thing. And the other might be that I don’t particularly care for stereotypes and try to avoid them. Removing elements usually works better than adding.

Winning the Portrait of Humanity award and being shortlisted for prestigious awards like the Pink Lady Food Photographer of the Year demonstrate the recognition your work has received. Can you tell us a backstory of your Portrait of Humanity winning image?

Oh, I love this image. The great thing about living in London is that you rub shoulders with all those cultures, all those different people. The shot was made in Stamford Hill, where most of the Jewish Orthodox community lives. I was working on a book about Jewish kosher cuisine at the time and Purim was going on, a religious celebration similar to carnival. People get totally bonkers there during the festival. It’s a wonderful thing to observe and interestingly not many Londoners know about it. I was roaming the streets, camera in hand and these kids were just coming out of their place to join the festivities. I took a shot, then they noticed me and as they gave me a shy smile I managed another two shots. One of them made the Portrait of Humanity competition. A lovely moment.

And to finish off, tell us a NERDy fact about yourself 🙂

Here’s two:
I love Superbad.  
When I edit photos I listen to weird, modular, glitch music. Or Frank Zappa’s mad guitar riffs.

See more from Manos here.

Chantel King: Q&A

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We sat down with NERD’s beauty photographer Chantel to chat through her favourite projects, her creative push and the importance of diversity and representation not only in her work but also on set.

What inspired you to pursue a career in beauty and portraiture photography, and how has your journey from art foundation to graphic design influenced your unique style?

I began my career exploring fashion photography. I was captivated by Tim Walker’s portraits. I love his wonderful, creative use of lighting and oversized props to enhance his images. Honestly, I began shooting beauty due to a lack of finding a brilliant fashion stylist, which is extremely important in fashion. To my surprise, I find so much joy in shooting beauty and portraits and wouldn’t look back. I love photographing all skin types well and capturing the realness of a person.

Your portfolio showcases a diverse range of projects, from soft and gentle portraits to bold and dynamic compositions. What is your favourite project to date and why?

There are many favourites of mine; however, if I had to choose one, it would be my ‘Synthesis’ series. I love this series because it’s not merely a portrait, but a collaborative piece involving makeup, hair, styling, and art direction. I shot the portraits alongside still lifes, which were then collaged together by the art director to form a new portrait, hence the title ‘Synthesis.’ These portraits have received much praise and recognition.

Your commitment to inclusivity and representation in photography strongly aligns with our values at NERD. How has being a black female photographer impacted your journey in this industry?

Representation is extremely important to me; being seen makes a huge difference in this industry. I address this message wherever I can. I also ensure that I have a diverse team, whether in front of or behind the camera. This diversity is reflected in my portfolio and the stories told through my work. I notice the significance of subtle surprises from models who recognise me as the photographer, and the fact that the majority of assistants who reach out to me are women of colour. They see themselves in me, which is deeply rewarding. Additionally, I strive to pay my expertise forward in various ways.

Experimentation seems to be a key element in your creative process, from playing with different lighting techniques to exploring various styles. Could you tell us about a particularly memorable experiment or project that pushed the boundaries of your artistic expression?

Yes, I love playing with light. The shoot where I pushed myself the most was in my ‘Art of Glass’ beauty series. For this series, I held different vases in front of the lens, creating a beautiful spherical viewpoint of the image that I simply could not recreate in post-production.

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And finally, tell us a NERDy fact about yourself 🙂

I absolutely love all types of puzzles whether it’s jigsaws, escape rooms, sudoku, or any puzzle where I have to solve something, I get so excited and even more when I complete it.

See more from Chantel here.

NERD Productions Welcomes Illustrator Amanda Lanzone

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Catching up with Amanda, we took a peek into her creative journey and explored her sources of inspiration, her favourite work,  and found out she really is a true NERD!

What has been the most exhilarating source of inspiration shaping your bold and playful style in illustration, and how has it evolved throughout your career?

I have always drawn from my own life and interests. I enjoy drawing the things I love, things I think would be clever, my surroundings, things inspired by memories, current happenings, or things I wish existed. Inspiration can really come from anywhere at any time. I have taken pictures of trash in the street because I liked how the colours looked together.

I think it’s very natural for an artist to continuously grow, and at the same time hone in on what makes them consistently and uniquely themselves. Over time, my style evolved naturally. I pretty much use the same base formula when I make new work, but expand it by tweaking things here and there. I just do what feels right to me at the time.

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Could you share with us a memorable project where you offered a clever creative angle to a concept, and how did you approach the process to achieve it?

Vice had me come up with some unique banners for each of the astrological signs for their horoscope section. This concept was inspired by a big corkboard I had in my childhood bedroom that had a bunch of my stuff stuck to it. (photos, drawings, stickers, tickets, small toys, crafts, trinkets, etc)

The creative process for this was very involved, but also very fun since they really let me run wild with this idea. I worked closely with an astrologer to come up with specific items to fill each sign’s ‘cork board’. Putting these together was meticulous since each item had a specific purpose behind it, which I still think is really cool when I look back on it.

As both an illustrator and a professor at the School of Visual Arts, how do you balance your creative pursuits with teaching and mentoring aspiring artists?

You have to make time for the things that are important to you. Both creating artwork and teaching are very rewarding to me. With my art, I do my own thing, and I guide each of my students to do their own thing, too.

I remember what it was like and how it felt when I was a student at SVA, I learned so much while I was there. And over the years, my career experiences and personal work have taught me things, too. I’m grateful to be at a point where I can pass my knowledge and help young artists blossom. Even as someone who now teaches others, my learning and development are constant.

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And finally, tell us a NERDy fact about yourself 🙂

I definitely have a bunch of niche interests, but some of my more ‘nerdy’ ones revolve around Japanese media. I have a few different old video game systems still plugged in. I never gave up playing games like Katamari Damacy and Dance Dance Revolution. I also still take care of Tamagotchi. I read manga and watch a lot of anime, too. ✌️

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See more from Amanda here.

3 Minutes with Billelis

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Billelis’s distinct visual style serves as a testament to his unconventional inspirations. Drawing from a diverse array of influences including religious iconography, Tarot symbolism, sci-fi aesthetics, demonic imagery, Renaissance masterpieces, anatomical illustrations a la Da Vinci, classical Greek and Roman sculptures, Baroque extravagance, tattoo artistry, and adorned saints, his work resonates with a haunting beauty that defies categorisation.

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Bill’s recognisable artworks have captivated audiences across the world, propelling him into collaborations with industry titans such as Nike, Warner Music, Netflix, Red Bull, Sony, and Apple, among a myriad of others. Through these partnerships, he continues to push the boundaries of artistic expression, leaving an indelible mark on the creative landscape.

We sat down with Bill for a cup of tea, (yes he drinks tea… just like us 🙂 ) to find out more about the most prominent moments of his career and hope for the future.

What’s the most exciting place one of your artworks have lived in?

Choosing between Times Square and The Dart Milan art gallery is a tough decision! Both hold significant moments in my career and are iconic in their own right.

What is something you’re looking forward to exploring or learning more about when it comes to your craft?

Discovering the fulfilment that arises from achieving a genuine balance between life and work has been a game-changer. Over the past decade, I immersed myself in work, but it took a toll on my personal life. Recently, I’ve made a conscious effort to prioritize my free time, and surprisingly, it has led to heightened productivity and inspiration. It’s as if setting self-imposed deadlines at the age of 35 has proven to be incredibly effective for me.

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Do you have any dream illustration projects? What are they?

We love a glass ceiling, don’t we? I have been so fortunate to work with many aspects of Hollywood and the gaming industry, coupled with the music industry and publishing book cover scene, I found myself spoilt for choice.

I have recently really enjoyed working on more collaborative projects like beer can artwork, stage art for bands and personal illustrations.

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I would love to create a coffee table book with my entire body of work, but focusing on commercial opportunities I would have to say more gaming projects and perhaps a curveball would be fashion. The tangible aspect of my work out in the world is very fulfilling.

See more from Billelis on his NERD Productions profile.

Welcome, Justine!

Justine

Introducing Justine, the latest addition to our NERDy family! Going by the motto ‘if it can be crafted, it must be made’, Justine is a dog-loving and an award-winning director with a diverse portfolio, ranging from heartwarming moments to action-packed car sequences.

Get to know Justine in just 3 mins below! 


What are 2 things our readers should know about you?

  1. I used to teach kids’ drama lessons to raise money for my gap year. It was  my “Steve Jobs typography” moment.  At the time, I thought it was to make a quick bit of cash and it ended up being a catalyst for a lot of my career/work.
  2. I love the research and pitch process as much as the production process – it is where the heart of all work starts.  It is a time for learning, discovering and dreaming (before all those pesky logistics set in).
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Tell us a short story of how you became a director and your journey so far.

After studying stop motion animation, I landed a job in the research department at one a big production company.  The thinking was that no one would let me do stop-motion unless I could direct real live people.

I spent a few years cutting my teeth in creative research and becoming an advertising NERD. My catchphrases are all still from those good old ads and they make sense to no one except my husband, bless him.

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About 8 years ago, a producer I had met through this research journey, the very brave Brenda Wilson, approached me to start a company and we became an all-female partnership along with production legend, Lebo Mabuela.

The three of us built our reel from scratch and found niches we never thought we would – kids & cars being top of the list.

My research background opened many doors into conceptual and smart work and we managed to pull off some super interesting work like Siemens Fabric (through King James).

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Tell us about your favourite project to date and why it has a sweet spot in your heart.

It must be a spot for ‘Toyota’ – MARS.

Creatively, the job spoke to so many things I love – cinema, landscapes, kids, storytelling, science vibes…who DOESN’t want to nerd out in Star Wars land?

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Personally, it was remarkable to scout and shoot in such an isolated part of South Africa. The landscapes were truly out of this world. Filming in harsh environments with day time temperature going up to 39C and torrential downpours the night before shoot, comes with its own unique set of challenges, but motivating crew to work through it and achieving the most gorgeous shots makes those days extra sweet.

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And to finish off, tell us a NERDY fact about yourself.

There are few things that are not NERDY about me. 🙂  I love anything that will keep my hands busy – embroidery, paper flowers – if it can be crafted, it must be made.

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See Justine’s profile here.

Minority Mental Health Awareness Month: How Immigration can shape Creativity, embrace Diversity and Empower Others – Milana Karaica

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Milana Karaica, executive producer and founder of NERD Productions, shares her journey as an immigrant and reflects on her past and present. As a child of war, Milana faced challenges during the many transitions in life but discovered her passion for creativity and a drive to make a positive impact. Despite obstacles as an immigrant and minority in our industry, she remained determined to bring diversity and inclusivity to her work. We spoke with Milana about her experiences, including childhood struggles, relocation, creative beginnings, and how her early life has influenced her as a woman and founder.

Please tell us a short story as to why you initially left your home and what the future looked like for you at that point?

I left home for the first time when I was about five years old. As a child, I didn’t think much about the future. All I knew was war, and it made it hard to imagine what the next day would be like. My family had to move from the city to the countryside because it was safer there. Even though we had good times playing and exploring, we didn’t understand the real reason we had to live there. When we left, it was sudden and scary. We had to grab our things quickly, and my mom told me to take just one thing. I chose a picture of my dad because I worried about him being dead and not seeing him ever again.

I never really thought about the future because every day was tough. I tried my best to support my mom and take care of things while waiting for my dad to come back, even though we didn’t know when and if that would ever be. The future didn’t feel like something that was meant for me and my family. Every time we came close to some normality and safety it was snatched from us for reasons beyond our control. Just breathing or existing it seemed…

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Milana with school friends

What factors influenced your decision to build a new life in the UK rather than return to your home country after fleeing the conflict? Were there any specific opportunities that made you stay?

The civil unrest in former Yugoslavia was fueled by conflicting interests and differing opinions, causing unimaginable hardships for everyone involved. After 5 long years of living in a war, my family was forced to leave our home in Croatia. We fled to Serbia, seeking safety and relying on our Serbian heritage. But we faced discrimination and were treated as outsiders by many locals. In many ways, it was no different than back home. Living in Serbia was challenging, and we struggled to make ends meet, as refugees and immigrants often face exploitation and difficult labour conditions.

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Milana with family and friends.

Eventually, Serbia was bombed by NATO, only adding more trauma and suffering to still sore wounds. We had limited options for a new home, as immigration policies often reject refugees. We made the decision to move to the UK, as it was relatively close to our home, allowing us to visit the rest of the family. Leaving behind our most loved ones was incredibly difficult, as the bonds formed during those unimaginably hard times are stronger than anything you can imagine. When you have nothing, and less than nothing again and again you learn to cherish the people you had left.

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Milana with her sister

Our move to the UK was driven by the need for safety, without any clear plan or prospects. It was a daunting experience, filled with fear and uncertainty, but my parents had to reassure us that it was for the best, despite not knowing anyone or speaking the language. The transition was horrid, and I initially resisted the idea, wanting a stable home and acceptance. However, my parents had to make difficult decisions in order to protect our family. There were no opportunities waiting for us; they simply hoped to find work and provide for us. Despite societal views seeing refugees as burdens, I strongly disagree, as my family and I have proven our ability to contribute to society and go even beyond that by creating opportunities for others as well as empowering them to be their best selves.

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Milana at her desk, studying hard.

Knowing that you immigrated quite early in your life, how has living in the UK impacted your creativity and career pursuits? Did you always want to work in production despite the country you lived in?

I always wanted to work for the UN and fight for human rights to change the world into a better one for future generations. But I felt disappointed by the UN as a kid, expecting them to save us and failing so short in every aspect. As I grew older, I realized that dwelling on my past wouldn’t let me live a somewhat normal life I so desperately wanted.

During my teenage years, I tried to hide my complicated background and fit in. I spent a lot of time lying and wanting to be seen as ‘normal’. Slowly, I discovered that being creative made me happy. It allowed me to imagine and escape, creating my own worlds and being true to myself. This made me want to give others the same opportunity and bring joy to people. So, I decided to pursue a more creative path. My parents may have been disappointed because they wanted me to do something great, but I found satisfaction in creating beauty.

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Milana at the Animation Festival

Can you describe any instances where your immigrant status has intersected with your creative journey? Did you face any unique challenges or opportunities as a result of your background?

I knew it would be tough from the start, so the difficulties didn’t surprise me. People warned me that the industry was male-dominated and not welcoming to ethnic minorities. I faced discouragement from teachers and others who believed advertising was for men or not a creative field for women. Initially, at entry-level positions, I didn’t feel much discrimination, but as I advanced, the cracks started to show. Colleagues from privileged backgrounds made subtle jabs at my school, neighbourhood, and accent. 

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Milana embracing her countryside roots

Despite facing such obstacles, I embraced every mico- opportunity and worked hard, even when I felt undervalued in every shape and form, professionally.  I recognized the importance of making the most of these little opportunities for myself and others who are marginalized. I felt a sense of duty to prove myself and show that everyone deserves a place in the room, regardless of their background. The stigma of being an Eastern European female has followed me, with people assuming I’m a cleaner or even mistaking me for a sex worker at ad festivals. It’s disheartening when colleagues laugh, not realizing the hard work it took to get there. People’s judgments based on appearance and nationality can be hurtful, but I’ve learned to stand strong and challenge those perceptions.

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Birth of Milana’s second child

Having built your life and business in the UK, how do you feel it shaped you?

I’ve reached a point in my life where I embrace my uniqueness, my womanhood, and my challenging background. I’ve grown into a strong and resilient person who empowers others rather than seeking personal gain. My focus is on helping people find peace within themselves and expanding their horizons. I’ve come to realize that gaining diverse experiences brings great satisfaction and inner peace. Embracing learning and being open to new things is the winning formula for personal growth and self-reflection.

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Milana with Shay Hamias, one of NERD’s directors and D&I advocates.

Being a diversity and inclusion advocate, how do you imagine your future contributions and impact on your home country, if any?

Recently, I’ve come to realise that limiting ourselves to a single country or border is an unhealthy mindset. It isolates us and doesn’t contribute much to our satisfaction, happiness, or overall fulfilment. Instead, we should focus on experiences, embracing inclusivity, and broadening our horizons. Let’s encourage our children to study wherever they choose, explore their interests, immerse themselves in different cultures, and not restrict themselves geographically. By doing so, we can connect with others, understand their perspectives, and create commercials that truly resonate with a global audience. After all, we are here to talk to everyone not just a handful!

The VFX Factor: Peter S.

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From stumbling upon a hidden door into the filmmaking world to working on some of the biggest feature films and winning awards, NERD’s director Peter S uncovers the secrets behind his remarkable journey. Join us for an enlightening Q&A as Peter shares intriguing insights about his craft, granting us a glimpse into the enchanting realm of VFX.

VFX is a true craft in the classic sense of the word. Where and why did you learn your craft?

Similar to cinematography, VFX is one of those disciplines that requires the encyclopaedic accumulation of knowledge and techniques. You never stop learning, but working at big shops like Weta, with the best in the business, really inspired me to dream big. Initially, I went into VFX because it was a sort of secret door into the filmmaking world. I just happen to have the right skill set, at the right time, and in no time at all, I was sitting beside the world’s biggest directors, studying their approach to storytelling. 

There are two ends to the VFX spectrum – the invisible post and the big, glossy ‘VFX heavy’ shots. What are the challenges that come with each of those as a director?

The invisible shots require a good deal of humility and restraint. Every artist wants to be noticed for their work, but there are better ways to approach those shots. Instead, you have to just stick with the reference, and keep the overall purpose of the shot in mind. It’s a thankless job. The flashy stuff is really fun, but now ALL EYES are on your work so you better not drop the ball!  Those are the shots that give you stomach ulcers in dailies. The potential to fail spectacularly is very real.

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We imagine that one of the trickiest things with VFX is, time issues aside, deciding when a project is finished! How do you navigate that?

With commercials, usually, it’s done when the clock runs out, but on some projects, you are given a lot of time to nail it. And yes, sometimes you can be your own worst enemy, tinkering well past the apex of its potential. I just think that walking away from your work for a little while is the best way to get perspective. Go snowboarding, race go-karts, hike with your kids, anything works. As long as you earnestly disconnect for a little while, and then can return with a fresh pair of eyes.

Is there a piece of technology or software that’s particularly exciting to you in VFX? Why?

At first, I was a little spooked by the AI software that was coming out, but then I leaned into it on a few projects and realised that it can be a useful tool. Anyone who has spent a decent amount of time with AI knows you still need an operator guiding the creative process. It brings a few types of tasks, that have only really been available to the top-tier VFX studios, to everyone else. I’m excited because it levels the playing field a bit, and I can go toe-to-toe with the Titans of VFX! 

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How did you first get into the industry? What was your very first job in the industry and what were the biggest lessons that you learned at that time?

I had a terrifically lucky break when I applied to a little-known studio, called JAK Films, in Northern California. It turned out to be the secret art department that George Lucas was running out of Skywalker Ranch during the making of his Star Wars prequels. It wasn’t until years later that I fully appreciated what a mythic cathedral of storytelling that place was. George had a team of the top concepts in each field – Costume Design, Industrial Design, Creature Design, etc. I got to sit in a room with them every day and see first-hand how much magic you can create when you put egos aside and work to inspire the people around you.

What was your most recent exciting milestone in the industry,  you were super proud of?

While I have won a few awards for some of my commercial work in the past, the award I received last year from the British Animation Awards for AirWick was a really special one. The film was such a simple, clever script that called for a poetic, zen-like approach. Everyone involved respected that calm approach to the crafting of it, and I believe it really shows in the final product. I think that little film will stand the test of time.  

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Watch a process clip here.

What is your favourite commercial/film of all time?

The work that blows me away year after year, is the stuff that I truly have no idea how they pulled off. Apocalypse Now, (based on one of my favourite books) still makes my head explode. It’s spellbinding in its ability to be a huge spectacle, and deep meditation, at the same time. A film like that will never be made again. Like all great art, it demanded the creator’s journey into madness in order to bring back something so special. 

The Art of Production: Maria, Head of Business and Talent in Europe

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Introducing Maria, our Head of Business and Talent (Europe), who offers a glimpse into her life in the production industry. From navigating the challenges of getting started to managing difficult relationships and being the calming force,  Maria has seen it all. Having discovered her love for production in London 14 years ago, she never looked back and knew this was the path for her.

We recently caught up with Maria to gain valuable insights into relationship building in production. Her answers to some of the most pressing questions are sure to provide the invaluable knowledge & truths you’ve been seeking!

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How did you first get involved in the production and what appealed to you about it?

It first started 14 years ago, when I was an office manager in a post-production company while I lived in London. Later on, when I moved to Madrid it became very natural to start as a talent rep as I already knew the industry and its peculiar jargon.

What about your personality, skills and experience make this position such a great fit?

Besides the general knowledge that this industry needs, I believe it’s crucial to possess an empathetic personality to grasp the needs of clients/brands. Luckily, I naturally possess this trait 🙂

What piece of advice would you give to someone just starting their career in production?

To avoid getting overly caught up in the tumultuous nature of this industry, I would recommend not spending all of your energy on it. Instead, prioritise engaging in enjoyable and creative endeavours while also selectively choosing meaningful projects to take part in, as they will help make your journey more manageable.

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Thinking back to some of the most challenging experiences you’ve had in your career, what do you think tends to lie at the heart of the more tense or difficult client? 

Well,  there’s been a few, the worst one involved a poor relationship between the agency and the client, making the entire process much more excruciating than it should have been. I think taking the time to get to know each other, and building trust and respect would help hugely!

And what are the keys to building a productive and good relationship?

Being sympathetic to other people’s situations. Never take things personally, when someone does something wrong, even if you feel it was directed at you, they usually have their own struggles.

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What’s your view on disagreement and emotion – is there a place for it and if not, why not? If so, why – and what does productive disagreement look like?

There’s always a place for disagreement, otherwise, there wouldn’t be a place for productive conversation. It is important to put everyone’s needs and limits on the table to have a better process and better end result. 

These days, agencies and production companies do so much beyond traditional campaigns. As a producer or account manager/sales manager you do so much to put all the pieces together – and that complexity can often be mirrored on the client stakeholder side too.
What’s the key to navigating (and helping the client navigate) that complexity?

As an account/business development manager, the key is to truly listen to everyone’s needs. Paying attention to all creative and practical opinions will help find a balance within all of them and integrate them into a funnel to materialise the best out of it.

What recent projects are you proudest of and why? What was challenging about these projects from a sales/production perspective and how did you address those challenges? What was so satisfying about working on these projects?  

It was a huge campaign for Facebook and the production process was complex. The process was painful but in the end, the campaign was a huge success 😉  It was incredibly rewarding to see all of our efforts come to fruition and to know that we had played a significant role in achieving our client’s goals.