BRINGING RELATABILITY TO BIG BRANDS WITH KYLA PHILANDER

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The hardest challenge for most directors is being able to stamp their own authenticity into a project, especially in the world of advertising and big brands. Which can sometimes provide strict creative briefs and tight deadlines that can sometimes limit the director’s distinctive voice to be heard through the noise. NERD director Kyla Philander has made a career of crafting relatable and grounded stories while also working with some of the biggest brands on the planet such as Google, Instagram and Volkswagen, to name but a few. Perfectly shaping worlds and narratives brimming with diversity and personality that shines on all screens. 

So how does a director juggle working for huge brands, while telling stories that resonate with them and reflect their own identity and background? Well at the core of Kyla’s work it’s focussed on human relationships, tangible and relatable people going by their everyday life with natural performances and subtle but cinematic filmmaking techniques. 

Kyla’s ‘Meta Facebook Lite Connected’’ commercial would be a prime example of her human approach to story crafting, the narrative follows various people at different stages of pregnancy and parenthood, capturing the mundane to the sublime, from contractions to the baby’s first steps. Relatable moments that the audience will resonate with on an emotional level, well also cleverly capturing the technology of Meta and how it can connect us, as the commercial showcases the various people using Meta to celebrate, communicate and to search for support.

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Meta film available here

Diversity and inclusion is another key ingredient in Kyla’s filmography that allows them to express universal stories from around the globe that reflect different aspects of society. Their Redbull Uncredited ‘The Origins of Afrobeat’ film invites the audience into the world of Afrobeats informing the viewer into the music genre’s origins from the streets of Lagos to Fela Kuti, while showing the importance of dance. Mixing cinematic shots with grounded talking heads. Capturing the spirit of afrobeats and the kinetic passion of the dancers, it’s informative and inspiring and brimming with love.

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Redbull Uncredited available here

Klya’s work portrays people from different races, body types and gender but their work also captures places with the same attention to detail and care. Fully comfortable with shifting between documentary realism and large scale cinematic scope, they utilize every frame to paint a portrait of life. You get a sense of place and vibrancy that many other directors are unable to accomplish. Taking the opportunity to take us to places that aren’t often shown in advertising or film, for example their Google Station commercial takes is to the Western Cape of South Africa, Gugulethu a township with a population of 98,468, the entire piece feels like a love letter to the people who call it home.

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Google film available here

Raised by mixed-race parents, Kyla was surrounded by different cultures and perspectives that shaped their curiosity for the world. Growing up in a loving and accepting environment, this is reflected in their filmography, showing great empathy and understanding of each other and the world we share. 

To see more of Kyla’s outstanding body of work click here.

NERD PRODUCTION’S MONO GHOSE – SCRIPT TO SCREEN

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To quote Alfred Hitchcock “To make a great film, you need three things – the script, the script, and the script”. The script is the blueprint, the screenwriter is the architect in which worlds are built and shaped. Studying scriptwriting at Goldsmith, University of London writer-director Mono  Ghose understands the importance of the script and has applied his skills as a writer into his skills behind the camera producing thought provoking stories. 

We recently caught up with Mono to discuss his background in scriptwriting and how that transferred into his work as a director in commercials and a narrative designer in gaming.

How did your desire for storytelling start?

It started with my upbringing where story, films, sports and games were a central part of my life. I’ve always loved the way a good story can make people laugh, listen, and lean in. It’s a kind of magic that’s somehow both ancient and modern.

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What was the most valuable skill you gained from studying scriptwriting at Goldsmith?

Learning to kill my darlings. At Goldsmiths, I learned that writing isn’t precious; it’s a process of brutal, loving revision. Also, coffee. I definitely mastered the art of surviving on cheap coffee.

Do you follow a strict structure as a writer or does it depend on the project?

It depends. Sometimes you need a solid structure to keep the chaos at bay, like putting up invisible walls for your ideas. Other times, you have to let the project breathe — wander off the path. In short: structure is important, but flexibility keeps the work human.

Do you think your skills as a writer gives you an advantage as a director?

Absolutely. When you understand the bones of the story, you can direct with real intention — not just pointing a camera at things and hoping for the best. You can focus on the truth and follow the emotional core of the scene, whether that’s the actor, setting or object.

What type of stories are you personally drawn to?

I’m a sucker for stories about imperfect people trying (and often failing) to do the right thing. Anything that mixes heart, humour, and a little bit of chaos feels true to life for me. I guess I’m drawn to the beautiful chaos of being human — the flaws, the funny bits, the occasional existential meltdown.

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What’s the major difference between creating a narrative for commercial work versus designing narrative for video games and are there any other mediums you would love to craft stories in?

Commercial work, you have seconds to make someone care, connect, and remember you. Video games are more like being a tour guide in a city you secretly built — players want freedom, but you still need to lead them to find the good stuff. As for other mediums, I’ve produced a podcast series recently on sports and books but I’d love to do a film or narrative driven podcast series — there’s something magical about a voice in your ear painting entire worlds you can’t see.

To see more of Mono’s commercial work click here

And to see Mono’s video game narrative work click here

NERD’s LUCAS BORRAS – MIXING IT UP WITH MIXED MEDIA

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It kinda feels greedy to be a master at both live-action and animation but Lucas Borras’s creative appetite knows no bounds. His award-winning work is a banquet of creativity but that’s enough with the food analogies, we wanted to catch up with Lucas to see why mixing it up works so well in the world of commercials. Furthermore, we wanted to learn more about Lucas’s process and the pros and cons of working in a mixed-media format. 

What inspired you to get into visual storytelling in the first place?

My journey into visual storytelling began with a love for filmmaking, sparked by my friends who were filmmakers themselves. Growing up in the ’90s, I was captivated by MTV, particularly the innovative music videos of Michel Gondry and Spike Jonze. Japanese animation and cartoons also played a huge role in shaping my early visual language. 

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The Chemical Brothers ‘Let Forever Be’ directed by Michel Gondry available here

As I grew older, my fascination with iconic films like ‘2001: A Space Odyssey’ solidified my passion. It’s a blend of influences that continues to inspire my work today.

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Were you always experimenting with different forms of media to craft stories?

It’s been an evolution. I started with a fascination for art and physical crafts, influenced early on by my father, an artist. My weekends as a kid were filled with museum visits, where I developed a deep appreciation for form and color. As I delved into filmmaking, design, photography, and typography, I began experimenting—giving typography a volumetric feel through sculpture, merging analog with digital, and exploring the emotional resonance of stop motion and live-action.

I’ve always been drawn to the spaces where different mediums intersect. For me, storytelling has never been about using just one tool—it’s about expanding the toolkit and pushing boundaries. There’s a kind of magic you can only find when you step outside the screen… and then return to it with new materials to merge and transform.

What excites you the most about working within mixed media and what’s the most daunting aspect?

What excites me most about working within mixed media is the sense of creative freedom—it’s like speaking multiple visual languages at once. Each medium brings its own texture, emotion, and possibilities, and when you blend them thoughtfully, you can tell stories that are deeply layered and unexpected. Each medium also connects with the audience emotionally on a different level, and I love that about mixed media—you can harness the very best of each form to create something truly unique.

Whether it’s placing 2D illustration within a CGI environment or merging stop-motion with live action, there’s a magic that emerges—something that gives a story a dreamlike touch that would be impossible to achieve otherwise. I’m drawn to the challenge of finding the right balance, where every element enhances the narrative and creates a singular emotional experience.

American Express ‘Personal Loans’ available here

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The most daunting part is also what makes it so exciting: navigating the complexity. Mixed media projects often involve many moving pieces—multiple teams, tools, workflows, and creative languages—and aligning them under one cohesive vision requires both precision and flexibility. But that tension is where the breakthroughs happen. It’s where you stretch, evolve, and ultimately elevate the work.

But for me, that tension is part of the joy—it pushes the work to a higher place.

Maybe you could let us peer behind the creative curtain and share one example of an obstacle you faced with a brief and how you overcame it.

One of the most memorable challenges I faced was during the Shopify “Marketplace Replatformers” campaign. The brief was ambitious: create a suite of localized video ads across six global markets, speaking directly to experienced marketplace sellers and inspiring them to expand their business with Shopify.

We initially planned a film that would be 80% live action and 20% animation. But as we progressed, that balance flipped completely—eventually becoming 80% animation and 20% live action. That pivot could have derailed us, but instead, it became a lesson in adaptability. I leaned into listening—really listening—to the evolving needs of the client and responded with quick, effective solutions grounded in ideas that still hit the original brief.

The biggest creative hurdle? We had no established brand guidelines—just three static screenshots. For a campaign of this scale and visibility, that level of ambiguity could have easily slowed us down. But I saw it as an opportunity.

I proactively built a visual system from the ground up, initiating collaborative meetings across Shopify teams to extract design preferences, tone, and brand language. I led explorations in gradients, UI, typography, and motion—developing prototypes that acted as tools for alignment as much as they were design tests. We shaped the brand together, in motion.

I also kept the team energized by turning uncertainty into possibility. I encouraged exploration, while always anchoring us in our north star: empowering sellers to feel ownership over their brand and growth.

The result? Over 120 localised video assets delivered!  But more than that, we created a brand visual language where none existed—and delivered a clear, powerful message: with Shopify, you can sell anywhere.

That experience reminded me that the best creative breakthroughs often come from constraint—and that the key to leading through ambiguity is empathy, curiosity, and decisiveness.

Shopify film available here

DEVOTED TO THE DOUGH – THE MOUTH WATERING NEW PAPA JOHNS CAMPAIGN

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The new Papa Johns rebrand film is a love letter for pizza enthusiasts all around the UK, a kaleidoscope of cheesy saucy goodness. Centered around its pizza-obsessed consumers and the brands own commitment to better pizza and superior ingredients, we are delighted to share with you the “DEVOTED TO THE DOUGH” TVC.

The brilliant creative chefs behind the new campaign cooked this one to perfection, deserving of a Michelin star or too. The film was brought to life using various mixed media techniques like cutouts, photography, 2D animation, AI generated assets and glorious food shots. All of that came together in a collage of bombastic colours and flavours. Weaving between delicious live action ingredients and animation which brings playful, vibrant and fun energy to the piece.

Director, Ahmet Iltas shared his experiences working on the project “Making the Papa John’s film was an incredibly exciting experience for me. The creative challenge of bringing together the idea of pizza obsession and PJ’s DEVOTED TO THE DOUGH across various media and visual styles kept things fresh and dynamic throughout the process. From intricate close-ups of the product to quirky moments that introduced relatable humor and personality, it was about finding a balance between the love of pizza and making something that would grab attention in today’s fast-paced, content-saturated world.

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The mixed-media approach allowed us to explore multiple layers of storytelling playfully, merging real footage with illustrative elements and graphic transitions. This kept the visuals both engaging and unpredictable, which was something I really wanted to achieve from the start. It’s always fun to experiment with different mediums and see how far we can push the boundaries while still staying true to the brand’s identity.”

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Ahmet adds  “By combining traditional live-action footage with AI-generated elements, design, and animation, we were able to create something truly innovative. The result is a next-generation mixed media film that feels fresh and forward-thinking. It’s also a reflection of where modern storytelling can go while keeping the essence of the brand intact.”

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Milana Karaica, Executive Producer, adds – “Being a part of such a big rebrand is a huge responsibility! Having said that with our collaborative agency and trusting brand partners, this project was still such a fun and dynamic production from start to finish. This approach also allowed us to make something that looks and feels fresh. We ended up with a film we are excited to share, that really speaks to the tastes and attention spans of our audience.

And if the delectable imagery and whimsical animation weren’t enough to win you over, the film also features a catchy tune that will be imprinted into your head for the foreseeable.

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Papa Johns DTTD credit list:

Agency – Bicycle
ECD: Graeme Douglas
Creative director: Leigh Gilbert
Creative director: Scott Andrews
Business director: Rosie Bloxham
Senior account executive: Izzy Nott
Senior producer: Bethany Easton

Production Company: NERD Productions 

Director: Ahmet Iltas
Executive producer: Milana Karaica
Producer: Phil Burgess
Director of Photography: Simon Paul
Lead animator and head of compositing: Selahattin Iltas
Art director: Saeed Noroozi
Food stylist: Kostas Stavrinos
Colourist: Danny Atkinson
Music: Resister Music
Audio record & mix: Page Not Found

Unveiling the Enchanting SpinMania campaign: How NERD’S Director Light & Mathematics Weaved Magic and Charm in This Fantastical Commercial

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Step into a world where magic, laughter, and creativity converge. Join us as we uncover the magic behind the making of SpinMania – a journey that promises laughter, wonder, and a truly enchanting experience. Discover a captivating journey of a director whose background includes legendary animated shenanigans featured in Hollywood franchises like Madagascar and Shrek.

Light & Mathematics aka Peter S, as someone who has contributed to iconic franchises like Harry Potter and Star Wars, how do you plan to infuse the magic of those worlds into this commercial while still keeping it fresh and original?

I approach every project as an opportunity for world-building and storytelling. Who are these little characters? Where do they live? How do they move, play, and explore? In the case of this commercial, my goal was to draw upon the whimsical charm and fantastical elements of these renowned franchises in order to imbue these fantasy figures with a life all their own.

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Click the image to see the spot

Drawing inspiration from the rich storytelling and imaginative settings of the Hollywood films I’ve contributed to, I sought to create a world that resonates with audiences on a nostalgic level, evoking the same sense of fantastical, somewhat medieval wonder these beloved franchises offer. At the same time, I aimed to introduce a unique and innovative narrative that captures the spirit of Migros and the playful concept of spinning top characters.

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It’s a delicate balance – maintaining the action and humour that fans of these franchises adore while weaving in new layers of creativity that elevate the commercial to its own level. Using classic story-telling techniques, we build on a solid foundation of narrative fundamentals, while introducing new and clever ways for the characters to interact. We want to keep the audience captivated by the new ways they interact with each other, and the vast world around them.

Ultimately, my experiences have taught me the art of storytelling and world-building. With this commercial, I aimed to channel that knowledge into a project that captures the heart of the Migros brand so beloved by the Swiss viewers, delighting and surprising audiences while offering them a truly enchanting experience that feels both familiar and original.

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The concept of SpinMania sounds exciting! The medieval festival setting with knights, mermaids, and Cyclops sounds right up your street. Can you share any quirky behind-the-scenes anecdotes or fun moments from the set that capture the playful atmosphere of the commercial?

One of the most memorable moments transpired during our early character-testing phase. As we explored how the various spinning top characters interacted, we had a whimsical idea to infuse even more drama and excitement into the narrative. While the unexpected twist in the script was that the Mermaid emerged as the victorious champion, we thought it might make things even more fun if we drew the scene out and had them collide more than once, with the losing characters flying entirely out of the scene.

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Picture this: the characters spinning, twirling, and manoeuvring in an epic battle, and then, with a carefully calculated spin, the Mermaid comes out on top – quite literally! Such a good twist, and since we dialled the action by extending the duel scene, the laughter and cheers from the creative team helped us realise that this approach injected an extra layer of fun and surprise into the storyline.

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This playful experimentation not only added an element of excitement to the commercial’s concept but also perfectly captured the essence of the entire production process. These moments of spontaneous creativity define the spirit of SpinMania and genuinely reflect the dynamic and imaginative approach we took in bringing these characters to life.

How did you plan to add unexpected comedic elements that take the audience by surprise and leave them laughing?

One instance where we’ve harnessed the power of surprise and humor is with the character interactions. Take the playful duel between the characters, for example. In a sudden twist, the Cyclops, after being skillfully knocked out of the ring by the Mermaid, ends up soaring skyward, landing comically in a tree. This unexpected turn of events alone should get the audience chuckling, but the comedic touch doesn’t end there!

As the Cyclops settles into the nest, his rather abrupt landing inadvertently prompts a tiny Phoenix chick to emerge from its egg. This whimsical touch adds a layer of lightheartedness. It creates a delightful visual gag that catches the audience off guard, sparking genuine laughter while introducing and highlighting another of the collectable toys.

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These unexpected comedic elements, carefully woven into the narrative, aim to surprise the viewers and evoke genuine amusement. By leveraging creative twists like the Cyclops and the Phoenix Chick, we ensure that SpinMania is not only visually captivating but also a source of true delight, engaging the audience in a way that’s both memorable and light-hearted.

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With the rise of humorous ads, how do you see the evolving role of humour in advertising today compared to traditional approaches?

Humour in advertising has evolved significantly with the rise of humorous ads most recently, moving from a sporadic element to a strategic cornerstone. Unlike traditional approaches that convey information directly, humour engages audiences universally and memorably through positive emotions, kind of like what we do in films made for younger audiences like Madagascar and Ice Age. It captures attention in today’s media-rich environment, fostering emotional connections and brand loyalty without being overly sales-y. Humorous ads entertain, humanise, and amplify brand personality, creating relatable narratives that resonate and endure. In a landscape where authenticity matters, humour is a powerful tool to forge lasting and enjoyable connections with modern audiences.

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In a world saturated with ads, what is the single most important thing when making a commercial you want to be remembered?

The most critical factor in creating a memorable commercial is the ability to evoke a genuine emotional response. Amidst the multitude of ads, those that elicit a heartfelt emotion – whether it’s laughter, inspiration, empathy, or awe – are the ones that etch themselves into the viewer’s memory. An emotional connection transcends fleeting visuals and catchy slogans, leaving a lasting imprint that resonates long after the ad has ended. Crafting a narrative that tugs at the heartstrings or triggers a relatable sentiment is the key to making a commercial that stands out and lives on in peoples’ minds and hearts.

  • Full Credits:
  • Client – Migros:
    Sara Schneider (Promotions & Activation Department Manager), Stephanie Künzler (Promotions & Activation Project Manager), Delia Candolo (Junior Promotions & Activation Project Manager), Kathrin Lamm (Digital Project Manager), Celina Bernasconi (Media Project Manager).
  • Agency- Wirz Group:
    Lorenz Clormann, Thomas Kurzmeyer, Chantal Heimo, Adrian Busse, Mark Stahel, Zara Velchev, Evelyn Schellenberg, Luigi Vitiello, Nico Keramaris, Cosima Lang, Naomi Meran, Tim Lieberherr, Florian Joller, Vanessa Lehmann-Spalleck, David Offermann, Janna Löhr, Eva Bachmann, Erasmo Palomba, Nadja Kilchhofer, Ruwanie Hayoz, Giovanni Bucca, Yussef Serrat, Oliver Fäs, Sonja Jegen, Karin Gartmann, Rahel Signer, Corinne Räber.
  • production Stills, DOOH, OOH, Print and Film production:
    NERD Productions (production company), Light & Mathematics (director), Jingle Jungle (sound studio), Federico Bettini/Colin Schmid (music composition).

Art in War – Lana Dudarenko

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Following on from Immigrant Heritage Month, we had the opportunity to connect with Lana, one of our talented illustrators, from Ukraine. As she navigates her life amidst the ongoing progression of the war, we sparked a conversation, seeking to uncover the intricate realities of being a creative in Ukraine. Through thought-provoking questions, we aimed to shed light on the challenges and aspirations that shape Lana’s journey. Join us as we embark on an insightful exploration of her unique perspective and the resilient spirit that fuels her creativity.


Please tell us a short story about your experience of learning about the conflict and then making a decision to leave.

We anticipated the conflict but didn’t truly believe it would happen until the last minute. During the invasion, both my brother and I were in Kyiv. We quickly found a car and travelled to my hometown in central Ukraine. I stayed there for around 3 to 4 days before making the immediate decision to leave, as advised by my mom. I went to Poland, to begin with, where my cousin had been living for several years.

What motivated you to return to Ukraine despite the ongoing conflict? How did you find the courage to face the challenges associated with going back to your life there?

After staying in Poland for a little while, we decided to go further and the idea of staying in a safe country like Portugal was wiser, but the unbearable thought of being far from my family made me decide to return to Ukraine after months and months of struggle and tears. It took me days to travel across the country, but after months of emotional struggle, I bought plane tickets without telling my family and came back to be with them. We can’t predict the future, so being together was my priority.

How has your experience as a creative person abroad influenced your artistic expression upon your return? Have you found new sources of inspiration or a different perspective that informs your work now?

The situation affected me, and I channelled my emotions into art, but I struggle to share it publicly. Despite knowing its importance, I find it complicated and have mixed feelings about posting my work online.

My friend and assistant, Gina, who had witnessed the power of my creations, urged me to post my work, recognising the value it held not only for myself but potentially for others as well. Yet, every time I approached the moment of clicking that “share” button, I just couldn’t do it. On one hand, I know it’s important for me to create and express myself. But when it comes to actually posting my work during the war, something doesn’t feel quite right. I can’t fully explain why, and it leaves me with mixed feelings.

Despite this confusion, I actively work on understanding my own beliefs about sharing my art. I remind myself that it’s important, even if it doesn’t have a big impact on the world. I push myself to overcome the hesitation and doubts, knowing that creating and expressing myself through art is meaningful. While the complexity of this issue may remain, I am determined to move forward and share my work with others.

As the months passed and all events unfolded, did you experience a surge of inspiration to create more?

During the first wave of shock and fear, I created a series of three illustrations to express not only my own feelings but also those of fellow Ukrainians I knew. These artworks depicted various emotions such as anguish, pain, and fear. However, I never shared or posted them publicly. It felt like a personal creation, something just for myself.

As an illustrator, I initially focused on simpler art and commissioned work. But over time, my style evolved, and I began exploring more complex and expressive pieces. I am transitioning from being solely an illustrator for clients to embracing the role of an artist who conveys my own vision, thoughts, and mindset through my work. This shift in focus and artistic growth coincided with the experiences during the war, acting as a catalyst for this transformation.

Can you share any particular moments or encounters that made you realise the importance of contributing to the artistic and cultural scene in your home country even during the war? How do you hope to make a difference through your creativity?

During such a challenging time, my primary concern has been the well-being and safety of my family and myself. The overwhelming nature of the situation has prevented me from formulating concrete plans or specific encounters that made me realise the importance of contributing to the artistic and cultural scene in my home country during the war. My immediate focus has been on survival and ensuring the safety of my loved ones.

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Another illustration from Winter 2022.

In your art in general, past, present or future art, do you incorporate any symbols or colours that could tell people who you are and where you’re from?

That’s a great question because it made me reflect on my artistic journey. Previously, I didn’t prioritise incorporating elements of my cultural identity into my work. However, as I continue to develop my style and explore my art, I am beginning to recognise its importance. I hope to find the courage to share my cultural perspective with my audience soon. While I used to believe that my art could change the world, the current situation has made me question its impact. Nevertheless, I strive to be more socially active and understand that art can still influence various aspects of life.

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Having worked with a number of amazing clients and being an important part of NERD, how do you think your decision to stay in Ukraine will impact progress in your career?

The situation definitely had an impact on my work, although not specifically with NERD-related projects. Due to the circumstances, I had to take on various projects to support my family financially during the initial challenging phase of the war. This heavy workload took a toll on my mental state and led to burnout.

Looking ahead, I remain hopeful for the future of Ukraine. I aspire to see a time where we can build our lives and dreams within our own country, rather than seeking opportunities elsewhere. As for my art, I am focusing on transitioning from being solely an illustrator to embracing the role of an artist. I am open to where this artistic journey takes me, going with the flow and seeing where it leads.

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One of the most recent illustrations from Lana for the Saddlehill Academy book.

LGBTQ+ and Safety in the Workplace: Ira Giorgetti

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In honour of Pride Month, Ira Giorgetti, one of NERD’s passionate Creative Producers, discusses the key factors that make a workplace safe and inclusive for people who identify as LGBTQIA+.

We explore the significance of inclusive policies, diverse leadership, and an open and accepting culture in order to foster a sense of security, trust, and belonging for all.

As a queer person of colour, what makes a workplace feel safe or unsafe for you?

When it comes to feeling safe and supported in the workplace, there are a few key topline factors that play a significant role:

  1. Inclusive Policies and Practices: A safe and inclusive workplace has well-defined policies that explicitly protect LGBTQIA+ individuals from discrimination and harassment. Leadership has to ensure that policies are communicated effectively and upheld consistently, creating a sense of security and trust among employees.
  2. diverse and Representational Leadership: A workplace needs diverse leadership, including individuals from LGBTQIA+ and racial/ethnic minority backgrounds. Representation at the top sends a powerful message that everyone’s voices are valued, and it helps foster an environment where different perspectives are respected and celebrated. At NERD Productions, we are lucky to have an open-minded female founder from an ethnic-minority background, so we’re a head above the rest right from the starting line!
  3. Open and Accepting Culture: A safe workplace is one where people can be open about their identities without fear of judgment or negative repercussions. Creating a culture of acceptance, where colleagues and superiors actively listen, learn, and support each other, is crucial. This includes embracing differences, challenging biases, and fostering a sense of belonging for all employees.
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Pride Inside National Campaign DOOH (2020)


In contrast, an unsafe workplace for me would be one where discrimination, microaggressions, or biases go unaddressed, creating a hostile and unwelcoming environment. A lack of diversity in leadership positions and a culture that ignores or dismisses the unique experiences of LGBTQIA+ individuals and people of colour can make it challenging to feel safe and thrive professionally.

At NERD Productions, our core values revolve around crafting excellent creative work and championing diversity and inclusion. We strive to create an environment where colleagues and partners feel safe, respected, and empowered to bring their authentic selves to work. By fostering a culture of acceptance, celebrating differences, and providing a platform for diverse voices, we ensure that our workplace is a haven for everyone, regardless of their sexual orientation, gender identity, or ethnicity.

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Raven Mandella (Great Exposure UK 2022)

Can you compare your experiences as a queer person who has worked and lived in two countries with differing views on rights and protections for the LGBTQIA+ community?

In the Philippines, where comprehensive anti-discrimination laws are lacking, marginalised groups, including the LGBTQIA+ community, often face underrepresentation and are susceptible to abuse. The absence of legal protections and societal acceptance creates an environment where expressing one’s authentic self can be challenging and sometimes risky.

On the other hand, moving to London in 2016 offered a transformative experience for me and my partner, with whom I’d been in a long-distance relationship for over five years. The city is known around the globe for its progressive stance on diversity and inclusion, which shows in its comprehensive legal protections for LGBTQIA+ individuals. Such laws provide a profound sense of safety and allow people to openly express their identities without fear of legal repercussions or social exclusion.

The contrast between these places highlights the significance of safe and inclusive workplaces. Working in a company like NERD, which prioritises diversity and inclusion, becomes particularly meaningful. Our team and culture provide a supportive environment where individuals from marginalised backgrounds, including myself, can thrive and contribute their unique perspectives to the creative process.

Having personally encountered the challenges faced by the LGBTQIA+ community in a country without robust legal protections, I am deeply aware of the urgency and importance of advocating for greater rights and equality. My experiences in the Philippines and London fuel my passion for promoting diversity, amplifying underrepresented voices, and working towards a more inclusive future for all.

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Pride Inside National Campaign DOOH (2020)

How does feeling safe in your working environment impact your personal life?

Feeling safe at work as a queer photographer and producer positively impacts my personal life. It allows me to authentically capture the beauty of men’s fashion and the intricacies of the male form without holding back and fearing judgment from my professional peers. It allows me to create art that resonates with my identity, build meaningful relationships, and maintain a life with my loved ones by my side.

Whether I’m shooting in Soho, a vibrant queer hub in London, or working with friends from home who also identify as part of the community, a safe working environment strengthens connections. It allows us to embrace our identities fully.

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Munroe Bergdorf (Trans activist, Contributing Editor at British Vogue)


Working with clients and freelance talent in the LGBTQIA+ community is a joy. We share a common understanding and appreciation for each other’s journeys. Feeling safe at work fosters an atmosphere where everyone can bring their authentic selves to the table, resulting in collaborative projects celebrating diversity.

Feeling safe also spills into my personal life with my partner and our chihuahua, Momo. When a workplace is genuinely secure and inclusive, it allows one to strike a healthy work-life balance, allowing for the time and energy to nurture relationships and create a loving environment at home.

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Portrait of Abigail Thorn (PhilosophyTube)

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.

“You Can’t Call the Same Five Friends”: Addressing Gender Bias in Production

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LBB’s Zoe Antonov spoke to NERD’s Founder Milana Karaica and experts across the industry on International Women’s Day about how production companies can champion female talent, how to break gender bias and why trust is paramount.

Another International Women’s Day comes around, which means another March 8th spent pondering how the world has become better, or how it can do better going forward. A day or month of patting ourselves on the back for giving women space to speak, breathe and exist. The communications industry, as hundreds of other industries, has in recent years realised the painful irony of a day-long (or even month-long if we’re talking International Women’s Month) celebration of women, with the backdrop of the blatantly misogynist practices that still take place on the inside. They could be as small and negligible as office-based sexism, and go through to ruining somebody’s career, or wholly excluding women from work at certain stages of their lives.

So today, we look at how the production world in particular has changed for the women in it and for those trying to enter it. Do production companies make sure that female talent gets the same shot as their male counterparts, not only in commercials about cosmetics or periods, but also in automotive and sports; not only in scripting, but also in VFX, sound and music? We wanted to find out if the back-patting and echoing inclusivity discussions ever escaped the circles they initially began from, reaching C-suites and clients of the industry and ultimately changing minds and practices. Beyond Women’s Day, or Women’s Month, we wanted to know if brands and agencies actually want to trust female directors and other female production talent with their messaging. 

What does fostering female talent mean to the industry?

Back in 2019, according to Forbes, women drove 70-80% of all consumer purchasing decisions, yet somehow the communications world favours male creativity when it comes to selling and branding. “It only makes sense to speak to those individuals in a relatable and authentic way,” says NERD’s founder and executive producer Milana Karaica, speaking about this illogical split. “We can’t do that if their stories are told by men. Equality is really easy to achieve if you actually try rather than just tick boxes.”

Executive producer and partner at Merman Siobhan Murphy agrees: “Without female voices we end up recycling the same, somewhat stagnant stories, told in the same way.” To Siobhan, gender balance within production and the wider advertising industry should be spoken in the same breath as the discussions around ethnicity, sexuality, age and socio-economic backgrounds. 

Milana explains that when the team is looking at folios and CVs at NERD, they tend to remove the names, to be able to pick the person based solely on ‘raw talent and creative ability’. “No matter how extensive the reel or folio is, you can always see true potential if you put away any possibility of unconscious bias.”

The team at NERD are also very much aware of the need for a push when it comes to pitching female and underrepresented talent, so are always prepared to do whatever it takes to equalise the chances with those of more established talent. Milana continues, “We make it our mission to empower and support our young talent, so we can make a difference to their career, not just so we can make the industry more diverse and inclusive.”

Tango, which has, despite its origins in the ‘90s, become quite the female-driven force, also valuers harnessing varying points of view in this industry. “Throughout the years we have had a good gender mix at our company with both brilliant men and women. Having a diversified workforce, either at the office or not set, makes for a good balance and better work,” says executive producer at Tango Julia Bidakowska-Andren. 

On the musical side of production, things aren’t much different. Founders of music agency RESISTER, Hollie Hutton and Hannah Charman are categorical that the hunger for diverse talent has grown exponentially and parallel to the need for it. “There are also a lot more diverse voices in creative and senior roles, so the message is trickling down,” says Hannah. Hollie adds that the appetite for female-led stories has increased, whereby working with women composers feels like an important and natural choice. 

Admitting the need for equality and acquiring young female talent, however, is only half the story. It’s no secret that many women face struggles climbing the agency and communication ladders, and are more likely to drop out of their career than their male counterparts. Helping mothers return to work after having a baby, for PRETTYBIRD executive producer Paulette Caletti, is of huge importance for retaining women. “When I had my kids, I didn’t feel I could juggle work and being a parent, so I didn’t work. My confidence was low when I returned, but it takes support from production to get you back up to speed.

Children exist and industry has to support mums especially.” And although Paulette admits things have improved from when she had her eldest child nearly 13 years ago, we need to strive for a moment when this discussion becomes irrelevant. Juliette Larthe, PRETTYBIRD UK co-founder and EP however, isn’t as optimistic as her counterpart when it comes to any improvement from 13 years ago: “The situation has got worse in terms of the industry supporting and nurturing female talent. Everyone needs to do better.”

For Helen Hadfield, owner, managing director and executive producer at Snapper, enough people in the industry are aware that diversity is the lifeblood of creativity, so the conversation itself might be getting a bit old – what is left now, is to commit to making it happen. “The popular rallying cry across our industry is to value creativity, so for the sake of its creative health we need to promote, foster and develop the talent to make that happen.”

The question is, how to do that effectively? Last month, Snapper, alongside Missing Link Films, showcased four short films from four young female filmmakers at Havas for interested advertising folk from multiple agencies. “The filmmakers and their films went down a storm,” says Helen. For her and Snapper, gaining awareness needs to be converted into creating opportunities. “This is where the rubber meets the road. We need people to embrace, not just sympathise with a mission. This can only create a stronger, more interesting industry and advertising we want to own up to.”

Production companies need to pass on the love in terms of crew and specialism

Diversity and equality are the key to adequate creative, and action rather than talk is key. Taking that action, for NERD’s Milana, means that you can’t call your five friends every time you’re on set – this is the surefire formula for getting repetitive, boring and samey work. NERD’s anonymity approach when looking at folios and CVs also helps them ensure equal chances when it comes to crew on set, animation crew or music/sound partners on projects. 

Siobhan stresses that many other actions can be taken when it comes to production companies helping women push through in the industry – mentoring, investing and working hard towards a gender balance across production specialisms. “The most important thing is that production companies work towards subverting conventional gender roles within crews,” she says. “As an industry we tend to conform to certain stereotypes and, in turn, pigeon-hole women into pursuing roles that are perceived to be female-centric, such as production, hair and make-up, wardrobe, art departments. It is imperative that women who aspire to more traditionally male-based roles, such as electrical, camera, grip, first assistant director, sound, VFX, etc., are provided with the right opportunities and training to propel their careers and address the imbalance.”

The same applies when addressing the gender imbalance when it comes to directing within ‘traditionally female’ sectors. Although more is being done industry-wide to challenge the stereotypical usage of female talent in healthcare, beauty and fashion, there is still more work to be done to pave the way for women to take part in automotive and sports-based campaigns. “The rise of misogyny and the crackdown on women’s freedom is based on men’s fear,” says Sara Eolin, partner and EP at Tinygiant.

So to combat this trend, we need to “normalise women in all traditional male roles, and men need to embrace stepping into the stereotypical female roles.” And while casting might have come a long way when it comes to portraying the customer, and brands have become better at ‘combatting the haters’, there is still change that needs to be done behind the content. Sara is categorical: “The more you see it, the more you accept it. The numbers of women directors, CEOs, presidents, CCOs has certainly risen, but it is not yet the norm. When it is a norm, we’re more likely to create content that depict our lived reality.”

Agencies and brands giving female talent a fair shot is imperative 

“Even though I strongly feel a director or any other member of crew should be chosen for a project based on their experience, knowledge and expertise and not based on gender, an extra push from big brands or agencies towards choosing a female director is one of the best ways to diversify the industry,” says Tango’s Julia. What she mentions about choosing a director based solely on gender or in some DE&I box ticking exercise touches on the wider topic of tokenism. NERD’s Milana looks forward to the day when production companies no longer see requests for female directors or underrepresented groups or pledges from agencies to have ‘one of those at pitch stage’. These are all the wrong reasons to get women or any underrepresented groups on board and a sure formula to make them feel like a token.

“Let’s just stop worrying about those little boxes and hire the right person for the project without them,” Milana says. “Stay mindful of the fact that not everyone has the endless list of awards under their belt, but you can help them get some and shape their career history if they’re the right person for your project.”

Siobhan from Merman turns to FREE THE WORK (formerly Free the Bid) as a fantastic example of an initiative that provides women with equal bidding opportunities, however is also aware that it is imperative that emerging female directors aren’t just included on the pitch list as the token ‘wildcard’. “It would be great if agencies and brands were to sign-off reels at the shortlisting stage and then base their decision to award the job purely on treatment and budget.” 

She and Milana both understand that it is to be expected that agencies and brands will seek security when picking the right person, or worry that they might be taking a risk, but the reality is, that risk is offset if a new or up-and-coming director is represented by a competent production company. “That production company is adept at developing talent and surrounding the director with highly skilled technicians to guide them through the process,” says Siobhan. For Milana, insisting on diversity is not being painful, but being fair, and means you’re seeking options that could make the project as good as possible. “If you have an up-and-comer on the list, don’t expect to see 20 examples of the same approach. They don’t have it. Hence the ‘up and coming’.”

This is where trust comes in – trusting the production company to put up diverse, exciting talent, regardless of if they have awards under their belt, and then stepping out of your comfort zone as a brand or agency and choosing who is actually right for the project, not who you have seen before. Milana turns to Havas as an example – “They’ve been a great partner to us when it comes to looking for exciting and fresh talent. They trust the process and our EPs, and a little trust goes a long way.” 

The team at Chromista calls out those brands who talk the talk, with zero walk and those whose messaging has very little to do with their practice. When you’re brand messaging is ‘Let’s celebrate the joy of being a woman!‘ maybe don’t award that job to a non-female identifying director this time.” Their advice is simple – hire women and pay them the market rate. In the case that they don’t know what that is – tell them. 

RESISTER believes that transparency and accountability about suppliers of talent is also to be taken into consideration. “All too often, music agencies won’t get a credit, and if they do, they don’t credit the actual composers and producers behind the work.” This leads to a lack of clarity on where more work needs to be done, and blurs the actual size of the gender gap in the space. “The first step is more transparent crediting and this hopefully would lead to more responsible talent choices,” says Hollie.

Of course, this journey doesn’t end with inclusion, it only begins with it. Showcasing how successful projects can be when they do trust new talent, especially female or other underrepresented talent, according to Snapper’s Helen, can make the world of a difference. “Not only should brands and agencies explore the production landscape for female talent, but develop a strategy which can be judged by positive results, not just intentions.” To her, actively using the talent, not just showing it exists, is what matters more, otherwise we risk lip service with no change. “Until more women directors direct more ads we create Groundhog Day.”

Producing Tomorrow’s Producers: NERD’s EP Milana Karaica – learning on the job, diversity & inclusivity and getting it done!

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Milana began her journey in the production industry at just 17 as a runner and worked her way up to Executive Creative Producer, proving that nothing is impossible when you set your mind to it. But she didn’t stop there. Milana went on to set up her very own production company, one that champions diverse and inclusive talent. Her success story serves as a testament to her unwavering work ethic and her ability to learn and grow from every experience.

And now, Milana is sharing her story and valuable lessons. She wants to inspire and motivate those who are just starting out in the field of production, and help them connect with fellow producers and mentors.

What advice would you give to aspiring producers or content creators hoping to jump into production?

That’s easy! There are two bits of advice that I always share and those are the two things that have never let me down, to this day. Always have a ‘can do’ attitude and do the best you can. Nothing you present or do should be less than your best effort! It is the only way you will truly reach your goals and have a sense of achievement and fulfillment which only comes from doing hard work.

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What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?

It really depends on what area of our industry you wish to focus on. Production Producers are very different from agencies’ side Producers, for example. There is quite often this misconception that a ‘Producer’ should be able to do it all which is not the case at all!  It’s actually when things go wrong on production most frequently. 

I would say choose a direction and really try to master that before you start another 4 or 5 others. I know it is trendy to try and be a Jack of all trades these days BUT it just means you will eventually be the master of none. Being able to be that person that is absolutely a must-have on a project for a specific quality or skill is invaluable to your hiring success rate.

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What was the biggest lesson you learned when you were starting out in production – and why has that stayed with you?

I started my career at just 17 as a runner in Soho.. Literally making tea & coffee and dropping off parcels to post houses and agencies. We didn’t send anything on a link in those days… it was a DVD or printed out and you physically had to deliver everything. Seems like a strange concept now!

From there I crawled my way through the ranks and became an Office Manager and then a Producer, followed by Executive Producer. It all happened quite fast for me as I was relentless in how hard I worked and I worked hard. I feel it happened to me very young and even though I had the experience of doing the physical work and being in production I was not a seasoned individual. There came a certain point where I accepted the unfair treatment of crew, and staff, and just thought that was a way of life! I guess it was fear that my job would vanish that never allowed me to question that and put a stop to it until I found myself as a person through some amazing clients and friends.

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Don’t get me wrong, going against that grain made me an enemy but it is this that motivated me the most to start NERD and make it a production company like no other! Empowering, nurturing and making D&I our focus to be a  better industry overall.

When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this? 

As a leading D&I-led production company we advocate diversity and inclusion by championing an innovative and forward-thinking company culture that focuses on constantly seeking, nurturing and empowering young talent, female talent and talent from under-represented backgrounds. We don’t have boxes to tick and quotas to meet. This is not how to achieve true diversity. It is simply by treating everyone as equal and giving them a chance at an equal playing field. 

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And why is it an essential issue for the production community to address? 

Our consumers are literally EVERY single person on this planet! So as an industry, we need to be talking to all those individuals in a relevant way and with an authentic approach. At NERD we are constantly inspired by the people around us that share the same passion for building an environment reflective of the people that we create the work for – the consumers.

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There are young people getting into production who maybe don’t see the line between professional production and the creator economy, and that may well also be the shape of things to come. What are your thoughts about that? Is there a tension between more formalised production and the ‘creator economy’ or do the two feed into each other? 

As a company, we do actually see a mix of asks for both of those approaches!  To us they do feed into each other and why not?! Again, as influencers and shapers of lifestyle trends, we do need to see emerging trends in culture as something to embrace and not fear. I know this is a concept that our industry doesn’t quite accept on so many levels but the sooner we do the sooner we will have less out-of-touch advertising! 

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If you compare your role to the role of the heads of TV/heads of production/ Exec Producers when you first joined the industry, what do you think are the most striking or interesting changes (and what surprising things have stayed the same?) 

When I first started, EPs were mostly at lunch or flying someplace exotic to shoot something super exciting!  It was the dream role for many for this very reason. I kind of feel sorry for the EPs of today. They are often overwhelmed by responsibility, lack of support and this endless expectation that they can and should just do everything alone! Don’t get me wrong, we will still get that afternoon at Soho House but these guys do need a little support. 

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When it comes to educating producers how does your agency like to approach this? (I know we’re always hearing about how much easier it is to educate or train oneself on tech etc, but what areas do you think producers can benefit from more directed or structured training?)

It is really difficult to supply structured training for Producers and we do prefer hands-on training. Working alongside our seasoned senior producers and directors is the best and most efficient way to absorb knowledge and gain hands-on skills. Seeing others at work and crafting together is also great for social skills development and gives a sense of team play you can never have in any other approach. 

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On the other side of the equation, what’s the key to retaining expertise and helping people who have been working in production for decades to develop new skills?

I think this is covered in the question about EPs. Everyone has their value! Those that are very experienced and have the knowledge to share- we still need to help them keep up with the latest equipment, software etc We must all keep learning and helping each other by sharing that newly learned knowledge with our team. There is always something new to gain for all of us no matter the level of experience. 

Clearly, there is so much change, but what personality traits and skills will always be in demand from producers? 

  1. Being nice! It is really not that hard! Those Producers who are very kind will always get more out of their team. 
  1. Keeping a cool head. As a Producer, you can not afford to be the one creating the drama on set. You need to be calm and zen, smoothing everything out and ensuring everyone else is not feeling the stress. You will have a very successful shoot if your whole crew is supported and able to do their part. 
  1. Being organized! Don’t think I need to go into that one hehe!