Motherland in Adland: Casey Bird

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In this instalment of the ‘Motherland in Adland’ series, the creative director explains how discovering AI during maternity leave unlocked a new creative freedom – and why mothers must play an active role in shaping the future of work

Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.

In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Casey Bird, a creative director who most recently worked at Channel 4.

During her second maternity leave, Casey didn’t just return to work – she rewired how she thought about creativity, career progression, and possibility. AI became her tool for liberation, reinvention, and self-determined ambition. Now, as she launches her own creative studio, she’s calling on mothers across adland to experiment, challenge norms, and help shape the next era of work – because if they don’t, the future risks being built without them.

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The AI Revolution is Here. Mothers Can’t Be on the Sidelines.

I’m not a technologist. I’m not a coder. I’m a mother of two (Hi Ruby & Mason, mama’s in LBB!).

I’m an award-winning creative director in advertising and marketing by trade, and someone who spent most of my career working global brands or brand partnerships, most recently Channel 4. But, during my second maternity leave in 2024, something happened: I became obsessed with AI. I became obsessed with the possibilities, the opportunities, the limitless ideas and thoughts. My brain literally exploded.

Not in a “sci-fi robots” kind of way, but because I saw how powerful it could be when applied to real life. I devoured hours of podcasts or YouTube vids on the topic. I started using it to brainstorm business ideas, draft pitches, shape creative concepts, things I had always relied on late nights or over-caffeinated mornings to do. Suddenly, instead of squeezing myself into a workplace model that was never designed for me, I could start designing my own.

That shift was life-changing for me. In 2025 I created the first advert for a brand on behalf of Channel 4 using creative imagination, prompt engineering and a lot of human editing. I could do this, because I felt confident with the tools I had been practising behind the curtains, that when the opportunity arose, I was able to raise my hand and stand out. It was so much fun feeling limitless in the execution and not restricted by a shoot.

Now? I’m currently in the process of taking a pause whilst I launch my own creative studio, one that works around my time, my energy, and my commitment to my family. And AI is at the heart of it, obviously. My imposter syndrome sometimes can tell me this is a bit of a gimmick, but I truly believe it’s going to the scaffolding that allows me to build a business on my own terms as a mother.

Here’s the thing I’ve been pondering, AI is being called the biggest shift since the internet. But if mothers aren’t part of this revolution, then once again the future of work will be built without us in mind. And we can’t afford that. Women constitute only 20% of employees in technical roles in major machine learning companies, 12% of AI researchers, and 6% of professional software developers. (UNESCO)

Because let’s be honest, the traditional workplace is already failing mothers. And if you’re reading this and nodding along, you’re not alone. Too many of us are pushed out, sidelined, or quietly exit because the system doesn’t bend and work with us and our commitments. AI could change that. It could be the tool that helps us re-enter, reinvent, or completely bypass the structures that excluded us in the first place.
So imagine if mothers everywhere used AI not just to lighten the admin load or think up dinner ideas for the week, but instead:

  • Prototype businesses faster: turning that “what if” idea into a plan overnight. With no-code website builds you can take your idea to MVP in a day. No dev dude to patronise you.
  • Access opportunities that don’t depend on presenteeism: pitching, networking, or upskilling on your own schedule. Getting LLM’s to challenge you, set goals and learning schedules. Research indicates that women adopt generative AI tools at work 25% less than men, potentially widening the gender gap in career opportunities. (AllBright)
  • Rewrite the CV narrative: using AI to frame maternity leave not as a “gap,” but as proof of leadership, resilience, and creativity. The more we feed the LLM’s and tools these narrative, the less bias will present.
  • Create new economies of work: where flexibility isn’t a perk, it’s the foundation. The opportunity is enormous. But only if we claim it!

If AI is left to be defined by the Silicon Valley bros and tech dudes in your office, it will replicate the same systems that already shut us out. If mothers step in, experiment, and shape it, we can build something better. Not just for us, but for everyone.
Think of it as inventive, as being resourceful and creative with our thinking. And mothers have always been good at that, right?

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So here’s my call to action for mothers and others, reading this…

Mothers, play with AI. It’s not scary or uninviting. Break it, bend it, push it. Use it to sketch that side hustle, to pitch that business idea, to design work that actually fits your life!

Because if mothers don’t step in now, we risk being erased from the future of work before it’s even been written. Now is the time to really flex the skills, and pull up a seat at the table. In fact, forget the table, build your own AI table with cosy chairs and warm cups of tea and invite other women to sit at it with you.

Motherland in Adland: Sarah Collinson

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Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.

In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Sarah Collinson, chief executive officer of Havas New York.

Sarah shares her experience of navigating pregnancy, parenting and leadership all at once – from fertility struggles and all-day sickness to the emotional tug-of-war between work and home. With candour and humour, she reflects on what it really takes to lead while parenting young children, and why embracing imperfection, drawing boundaries, and showing up authentically may just be the most powerful form of leadership we have.

Being a leader is tough.
Being a leader, while being a parent to a 4 year old, while also being pregnant is maybe the hardest thing I’ve ever done.

Part of me feels bad even saying this because my journey to parenthood has been an exhausting fertility rollercoaster that has taken up the majority of my thirties.
From the relentless ‘keep-trying-but-nothings-happening’, to the nightmare of miscarriages and an ectopic, to countless doctors’ appointments, injecting myself in random bathrooms, and running around cities at 7am trying to find somewhere to get a blood test before a meeting – it’s pretty much been the opposite of a good time

But MAN, working parenthood is tough.

Our industry is about people.
We have to research them, understand them, appeal to them – and yet with all that knowledge of what it takes to be a human, the basic pulls of working in a client-service business mean that for parents, balancing work and home can feel impossible.

The constant juggle that makes it feel like you’re half-assing everything, anti-social global hours that don’t take bathtime into consideration, and pitches that can swallow a weekend or five. All this, coupled with the thing I always struggled to admit – that when my son Felix was very little, working sometimes felt easier than being with a crying baby.

This industry also demands energy.
It’s a team sport, and we have to show up every day for our colleagues, teams, and clients.

It’s the thing I’ve found the hardest (and most rewarding) about being a CEO. If things are good, the people responsible need to be celebrated and recognized. If things are bad, they need encouragement and help. If you lose an account or a pitch, everyone else can despair, but you need to be there pretty damn fast with momentum and a game plan that helps people pick themselves up and start again.

It takes a lot out of you. And there are times I feel I give everything to work, and then rush home only to be a moody parent who doesn’t have the energy to read Curious George eight times in a row.

I found out that I was pregnant with my second child at the end of January and almost immediately started pretty epic morning sickness that lasted all day (and until week 16). Think heaving in the toilets no one uses on the 4th floor before big meetings, exhaustion levels that meant I wanted to nap under my desk and a generally crap feeling that never dissipated no matter how many bagels I ate.

Almost as soon as this phase wrapped (thank god), my hips and lower back seemed to disintegrate. I got an ugly belly band and tried to up my stretching, but walking was painful and standing still for any length of time became excruciating (why does no one sit down at drinks events??)

None of these things are conducive to being a pinnacle of energy and light.
It was a particularly tough adjustment because my first pregnancy was at the height of covid, and I didn’t step foot in an office.

To deal with it, I’ve become maniacal about energy conservation.
Getting good sleep, trying to ‘exercise’ – even if that means just walking for 30 minutes in the evening – and becoming even better at saying that wonderful word: “no.”

There is no solution for how to make this easy, but these are my learnings :

Tell partners early

Because of my fertility history, I didn’t tell anyone for a long time, but as soon as I brought the leadership team in, I felt supported. From ordering me mocktails when out with a booze client, to moments in pitches where I thought I might hurl and whispered they might have to take over (it never happened – but it came close), to simply having people to moan to – they, and everyone else at Havas, have been truly wonderful. The good news is we work in an industry of amazing humans. Let them help.

Prioritize ruthlessly

If you’re a parent, you’ll already be doing this. Do this more. Cut the chaff and focus on what is essential and meaningful. Sometimes that will mean cutting meetings short and delegating things you might not have before (they have to get used to you being out soon anyway).

Draw ground rules for yourself that you don’t break

This is something I’m telling myself in retrospect, as I very much did not do it initially. Give yourself a break, allow yourself to rest, hold time in your calendar to stretch, to walk, and to just sit in silence. Maybe don’t go into the office as much – especially if it’s summer in NYC and a million degrees.

Know there will be adjustments

I went to Cannes six months pregnant. I still did all of the Cannes things, but in orthopedic shoes with scheduled time for breaks. I also discovered the joy of swimming in the sea between panels and going for dinner. And yes, I mean that beach by The Martinez, where the chances of running into your biggest CMO in a towel are very high. I’ve never done it before for this very reason, but there’s nothing like being overheated and pregnant to make you think “fuck it.”

Lean into doing less

As someone who usually says yes to (almost) everything, turning down invitations and saying no has been tough, but I have to admit, it’s really helped. I’ve trimmed my priorities to family and work. Other things have fallen off a cliff, but with the knowledge that it’s not forever and they will be picked back up (I have a running list on my phone of all the fun things I am going to do when I can walk and drink again – a list my friends are increasingly terrified of).

Let yourself go to bed at 9pm
I feel like I’m a kid. But god, it’s helped.

The end is in sight but soon my new messy reality will be parenting two children, requiring more adjustments and a different type of exhaustion.

This journey has taught me that leadership isn’t about having it all figured out. It’s about adapting, prioritizing, and embracing imperfection. If you’re pregnant, parenting, or simply juggling life’s demands as a leader, your resilience to Keep Calm and Keep Showing Up is your greatest strength. So rest when you need it, learn to say no, lean on your people, and show up as the real you (even when that you is exhausted and with ankles so swollen you can barely fit into Birkenstocks), knowing that this authenticity is probably the most inspiring leadership of all.

Motherland in Adland: Marisa Posadinu

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In this instalment of the series, senior support advisor at NABS shares her own positive experience of returning to work after maternity leave – and the insight she’s gained from supporting hundreds of other parents across adland.

Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.

In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Marisa Posadinu, senior support advisor at NABS.

Marisa’s perspective is uniquely dual: both as a working mum herself, and as someone who supports countless parents across the industry. She knows just how tough the juggle can be – and how rare genuine support still is. From her own positive experience at NABS to the difficult stories she hears every day, Marisa shares what true flexibility looks like – and what the industry must do to make it the norm.

I know how tough it can be to be a mum in this industry. That’s because I have the privilege of helping parents across adland in my role as a senior support advisor at NABS. I hear first-hand about the obstacles stopping mums from progressing; about the challenges affecting parents’ mental wellness and ability to thrive at work and at home (because when you have a child, work and home life are more meshed than ever).

Before I write about those challenges and my thoughts on what we can all do to support working mums, I’m going to share my own experience. It’s an experience I’m lucky to have, and I share it because I want everybody to know that it is possible, even simple, to offer working mums the help they need to do well.

NABS is a really fantastic place to become a mum. I had my daughter in 2022, two years after joining the team. I had an inkling that I’d be in safe hands, because there are so many working parents at NABS; come into the office on any day and you’re sure to have a conversation with someone about nursery, school, the holiday juggle… I knew that I’d be met with flexibility and understanding, and I have been.

I communicated with my manager sporadically during my mat leave and this increased in the final few months. I had 10 KIT days, which I used to get up to speed with any changes and get myself back in to ‘work headspace’. I chose to do this: there was no pressure to use my KIT days at all.

When I eventually came back after 13 months, onboarding was great, thanks to empathy and awareness that sleep was still an issue. I was assigned a work buddy who I could turn to with day-to-day questions and had regular 121s with my manager to discuss my transition back into work.

Although I wanted to come back full-time – extortionate childcare costs have placed financial pressure on me and my partner – it soon became apparent that I needed more flexibility. I changed to condensed hours, working my full-time hours across Tuesday to Friday, and two years on I’m still benefiting from this pattern. It allows me to be better organised and focussed while having an extra day with my daughter. And when sick days and doctor’s appointments happen, I can take them with no judgement.

I’m lucky. I know from hearing hundreds of stories that this isn’t the case for all of us.
Mums calling NABS tell me that the juggle isn’t just real, it’s overwhelming. A lack of flexibility and long hours make the demands of the industry unmanageable; many mums will log on after bedtime, exhausted and struggling to keep up. Burnout, stress and anxiety are common as a result, with people calling NABS for urgent emotional support.

It’s even more difficult for parents of children with SEND, who need even more flexibility at work to navigate the system and fight for additional support.
I also hear of mothers being discriminated against by managers, allocating projects, clients and promotional opportunities to those who are ‘unencumbered’ by childcare responsibilities.

Add in the rising costs of childcare to this difficult mix, and it’s no surprise that many mums are looking for roles outside of the industry.

This is a terrible shame, and it can be – and should be – avoided. Mums have so much to contribute to adland, so we all need to work together to keep them with us.

So what do we all need to do?

As an industry, we could create a standardised parental policy, raising the bar to reduce the disparity between organisations and making sure that parents get the support they need across the board.

Support networks, mentorship, coaching and training should all be created and encouraged – and also point parents towards NABS’ resources including our advice line and group workshops.

Managers are key, as we discovered in All Ears, NABS’ community consultation. Equip your managers to have more open and supportive conversations with their teams – our Managers’ Mindsets workshops are a brilliant way to develop these skills.

Flexibility helps to remove stress, support mental wellness and furthers creativity and productivity as a result. Remote working, flexible hours and job sharing are just three solutions here. It’s about output, not presenteeism.

Many people become even more motivated about our careers once we have children. By putting the right structures in place, we can enable them to thrive. Let’s celebrate parenthood as an asset, not a hindrance.

A VERY NERDY HALLOWEEN FT – ORCA & ARCADE

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Halloween is here and for all you horror freaks out there, turn the lights off, sit back and relax or cower behind a cushion in fear because we’ll be taking a deep dive into these spooky films by NERDY Orca & Arcade director teams. 

Arcade provides endless Halloween spookiness with their latest animation for Apple bringing a playful and wicked sense of energy to the table. We’ve also been informed no vampires were harmed during the making of the film!

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Click here to view Apple Halloween

Click here to see more of Arcade

Ed and Nelly over at Orca have done a few projects over the years for the scariest holiday of the year. Including their delightful deranged ‘Halloween’ short that creates a sense of dread and unease in what can be described as an existential chase sequence.The animation style is reminiscent of prime Cartoon Network if it fused with the unsettling body horror of John Carpenter’s The Thing which is to say it’s pretty messed up…

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Halloween 2023 available here

Here’s what Orca had to say about the film – “We wanted to create something for halloween and thought about those nightmares you have when you’re running from something and you can’t seem to get away –  that was the starting point. For the imagery itself we didn’t take influence from anything in particular, we just started drawing and came up with this monster which we found quite funny/ terrifying. We then filmed video reference for the animation as this is always really useful for timing and capturing acting decisions that you might not think about when drawing. For the background we wanted to continue on this dream/nightmare train of thought and created a barren desolate place where you would always be able to see the monster chasing you. 

Another ghoulishly horrifying project Orca worked on was for a show within a show for the fifth season of the BBC and HBO show “Strike”. The animation is inspired by point and click video games. Perfectly blends Orca’s trademark style with the themes and atmosphere of the programme.

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Strike available here

Orca discuss the creative process working on Strike – “At the beginning, the main point of reference was the artwork of Jan Pieńkowski, however as we developed the look further (with production designer Hugo Cuellar) we moved away from pure silhouettes as we wanted to show the character’s expression and all the details of the heart character. The use of shadows, silhouetted shapes against a marbled sky carried through though, which we think works really well. For the video game sections, we looked at video chat games such as Club Penguin and then wondered how they would look with a more gothic twist. It was also important for the plot that we referenced a real section of Highgate Cemetery, which proved a really rich source of inspiration when it came to the types of architecture and foliage we included in the background art. 

Working with the client, (Bronte films, the production company that makes the Strike series), was really fun and super collaborative.

Ed and Nelly shared the films that scared and influenced them. 
Ed: “I was particularly scarred by Nightmare on Elm Street, which I saw when I was 14. It really stuck with me and I definitely had that in mind when we created our first Halloween microshort.

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Nelly –  “The Exorcist is one that really disturbed when I was young (and still does) – it’s so scary, but also grotesque and incredibly uncomfortable to watch. It must have influenced something on a subconscious level!

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Click here to see more of Orca’s 

And to find out more about NERD Productions click here.

Bringing UK Drill to the Cinematic World of Dune

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When you think of UK Drill you don’t often think of the sand dunes of Arrakis but with visionary director Lewis Andrews new music video for Baza he brought the cinematic scope of Denis Villeneuve’s Dune adaptation to the music genre.

 What inspired you to make this project?

 I was first inspired to create Baza when I saw this frame from the Dune 2 movie.

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I wanted to take the UK Drill scene, merge it with the Dune universe, and try to create something quite unexpected. I was kind of obsessed with the franchise for a while as it had such an impact on me in the theatre. BAZA was a way of soothing a creative itch.

One of the things that makes the Dune movies so special is Hans Zimmer’s music and sound composition. I was inspired by the delicate and haunting duduk sounds in Zimmer’s ‘Herald of The Change’. I produced a rough beat using some samples from the original score and it blended together really nicely with a basic drill beat that I arranged in a Final Cut Pro timeline. It was this demo that gave me enough belief that the project could be something really cool. I called my friend and music artist Richard Akam and put the wheels in motion for a Dune X Drill Scene video.

How did the music take shape?

From the very beginning, I knew I wanted to create every element of the project from scratch. Inspired by Hans Zimmer’s ‘Herald of The Change’ duduk composition, I sampled the duduk section of the track and merged it with a rough UK-drill style beat. I asked Richard Akam to write some lyrics to the demo beat. He is extremely gifted, always able to write something very easily and nail the vibe each time. The demo beat wasn’t good enough, and was just a tool we could use to shoot the video and get the lip sync tied in. I knew I wanted to also produce the beat for this project.

After the shoot was done, I started to experiment with a duduk composer Armen Kostani. I sent him a chord pattern so he could freestyle something in the same tone as Zimmer’s track. I started off using longer sections of the sample and then ended up cherry picking the best stems that had the cultural tonality and flare the instrument is famous for. I wanted the beat to have an electro-bass feeling similar to Alt J’s Fitzpleasure. The beat started off with buzz kicks, but that was the wrong direction. After many months of playing around and fine tuning, I took the beat to be professionally mixed and mastered at West Point Studios by sound engineer and magician Shane Shanahan. The beat took many twists and turns, mainly due to my willingness to explore and experiment. Shane really helped bring my track to life and played a pivotal role in channelling my vision in the coolest, highest quality.

How did you capture the aesthetic of Arrakis for the shoot?

I knew I needed to find a desert. I already had some locations in mind such as the Agafay Desert in Morocco. We wanted to shoot in Morocco but had difficulty with permits so we used the trip as a scout. Eventually, when I was working on Blade Runner 2099 – a six month job for Amazon Studios primarily based in Prague, I decided to use a weekend to attack the BAZA shoot in one sweep. The Amazon production also shot in Barcelona, so I ended shooting in Bardenas Reales, the closest desert to Barcelona I could find. I hired a fantastic production company, Activa Experience. The production company organizes shoots and tourists’ experiences in Reales. I studied some of the scenes and imagery from the Dune movies and noticed that I could achieve almost the same aesthetic in a rocky desert. This is despite knowing the Dune movies are iconically known for being set in sandy dunes. This was the perfect setting for BAZA and building the Arrakis vibe.

The next thing to pin down was the costume. I searched online for Dune stillsuit outfits and found an incredible designer brand, Demobaza which nails this look. I organised a Demobaza long overcoat, boots and trousers for Richard Akam, and the look was complete. The outfit is so incredibly detailed and punched strongly enough to give Arrakis an impression with a nod to a modern, futuristic sci-fi look.

The final piece to complete was some decent cinema glass for my RED KOMODO-X. I chose an Atlas Orion Anamorphic Primes set of 40 mm, 65mm and 100mm. The combination of location, costume, and lenses completed the Arrakis look.

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Could you tell us more about how the project evolved in the post production stages?

The project then evolved heavily in production, both musically, VFX and the colour grading pipeline. When I saw the raw footage I realised there was lots of potential to expand the story and futuristic, space appeal to the video and make it something “off world”.

VFX work tends to capture an audience’s attention because it’s showing the audience something which generally cannot be achieved in camera. Even though I only shot a few things on location where I knew I wanted CG to go, it wasn’t something I vouched for with any real intent during the shoot. I shot a mix of wide and close coverage so I could manage VFX ‘from afar’ and not have to worry about perfecting realism with close-up CG. I shot some plates that would allow for the VFX to go in but without knowing the full extent of what I wanted to do. I wanted the focus to remain on the artist Richard Akam, and keep the CG to a minimum, almost like background details, as if the things happening in his world are not unusual to him in his world.

Some key visual effects I decided to focus on were, adding some planetary constellations (the impossible double eclipse), huge orange blooming moons and ‘The Black Dog’, which is the monolithic, triangular spaceship. I wanted the design of ‘The Black Dog’ to be simple, and have a hollowed-out core. Some subtle work helped to sell ‘off world’ in the video. For example, in the opening establisher that features the monolith style spaceship, simple paint outs of trees or earth-like features were replaced with CG asteroid craters.

A big part of this project was colour management within Da Vinci Resolve. Every 3D render was created in a linear colour space so that it could be transformed by CST’s in my node-based colour managed project. Once I had sorted out the correct colour space transform for the R3D footage (RED Wide Gamut, RGB, Log3G10) I found the mid grey point within the Da Vinci Wide Gamut colour space and nuanced a curve which served my clips on a macro level. I then used groups in Da Vinci to establish a look in a Group Post-Clip and then performed all of my clip level grades.

I wanted the VFX to be a big selling point of the final video. I knew that I wanted BAZA to have a heavily tinted aesthetic with deep reds, amber skies, and crushed highlights. This posed some challenges, maintaining a consistent look between the software I used to handle the post works: Cinema 4D, After Effects, Blender, Logic, and Da Vinci Resolve. 3D works were done in Cinema 4D and composed in After Effects, most of the EXR renders were conformed in Da Vinci so that I could do a full Rec. 709 round trip, and run the material through my pipeline built with node-based colour space transforms.

What is the biggest difference between directing a music video and a commercial?

A music video gives you a lot more expressive freedom, and feels closer to serving as a demonstration of an ‘artist’s work’. A commercial is usually driven in some way by a more rigid level of strategy, brand or message to sell a product directly on the back of watching it. A music video is selling a person, so they are kind of like personalised commercials for humans. They are similar in the sense that they build impressions of a product or an artist in the same way.

Do you have any dream artists you’d love to direct for?

Ye.

Lewis is currently running the BAZA Open Verse Challenge, with 4 international rappers from Nigeria, South Korea, USA, Germany, if you would like to find out more details about this click here.

To see more of Lewis’s work click here.

LUCAS BORRAS AND CARLOTA SANTAMARIA – MOVING ACROSS THE GLOBE TO MAKE MOVIES

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Life as an artist can oftentimes be a life of moving to where the work is or travelling to new places to be inspired, living a nomad existence, always seeking out the next project. On the 4th and 5th of October World Day of Migrants and Refugees was celebrated and we wanted to take this opportunity to speak with NERD Productions talent Lucas Borras and Carlota Santamaria originally from Spain have lived all over the globe swapping the towering skyscrapers of NYC and now finds himself in tinsel town living amongst the stars. The pair will be moving forward as a collaborative force known as Chosen Family and we cannot wait to share more with you in the near future. 

Moving can be a hard and difficult process like leaving a piece of yourself behind, places can root us down, remind us of people and memories. Another consideration is uprooting family, having to look for new schools and fit in with new cultures and customs. We caught up with both of them to discuss how migrating impacted his work and whether it inspired or changed his approach to making art.

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How did you both originally meet?

Like all great stories, in prior days of online dating,  we met dancing in Barcelona and from that point onwards we just clicked together.

What was your first creative collaboration?

“The first time we collaborated was on a TV show called Anecdotari—a project that marked the beginning of our creative partnership. It went on to win both the Gold LAUS Award and the European Design Award. I led as Director and Animation Director, while Carlota brought her vision as Design Director and Illustrator. It was a project rooted in shared values, distinct perspectives, and a deep creative trust.” – Lucas

Was home sickness something that ever impacted you when you first moved away from home?


“We’ve always had each other’s back which always helps, naturally most of our family still live over in Spain but what’s helped since moving to LA is there’s a strong spanish speaking community in our area. We’ve made friendships through work collaborations, but as well through exploring the “californian” culture and taking our children to school and it’s important that we’ve built connections outside of the film and advertising space as well.” – Carlota

How does living on the West Coast differ from living on the East Coast?

“New York moves at a very different pace, you’re at what feels like the center of the universe, the hustle and bustle of a sprawling metropolis. When we moved back in 2009 it was very easy to build up connections especially in the creative space. You were always within walking distance of agencies and creative studios. LA on the other hand is more spread out and vast, unless you drive a car it can be harder to get from A to B. So you learn to find your people where you’re based which in a lot of ways helps with the community feel.

Our surroundings often provide us with inspiration, when was the last time the LA sunshine helped form an idea?

It’s so true, our surroundings provide us with so much inspiration, moving to LA in many ways felt like going home to Spain, the sunshine beaches and the open air provided us with a sense of clarity that was almost impossible to achieve living in New York City. We have more time to relax and collaboration feels less strained. I think in LA we have mastered work and life balance better than what was possible living in New York.

Take a look at some of the prime examples of Chosen Family’s colourful work.

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Click here to see to see colourful and inspiring Erno Laszlo film.

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Click here to see Quantic

Could you tell us a bit more about your creative relationship and how that’s evolved over the years into Chosen Family?

“After 18 years of living—and creating—together, we’ve developed a rhythm that allows us to balance the personal and professional with honesty and flow. Our different points of view consistently push the work to new places, and we’ve found that what might feel like friction at first often becomes fuel for something better. Over the years, our dynamic has matured into one of synchronicity and clarity, especially when navigating complexity or high-stakes moments.


We’re both deeply curious and wired for what’s next. We thrive on experimentation, openness, and momentum. If we had to name our shared ethos, it would be this: Live without fear, and create like you mean it. That mindset permeates everything we do—how we collaborate, how we take risks, and how we bring ideas to life.” – Lucas & Carlota

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How do you deal with prejudice in and out of the workplace?

With empathy.

What’s the most valuable piece of advice you would give to someone who is also looking to migrate for work opportunities?

If possible, go spend some time in the place you’re considering. Live it. Walk its streets. Connect with the studios, agencies, and people you admire. Get a real feel for the energy. See if it matches what you imagined—if it truly feels like somewhere you want to be.

To see more of Chosen Family’s work click here

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Motherland in Adland: Georgina Leigh-Pemberton

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In this next instalment of ‘Motherland in Adland’, managing director of Turner Duckworth London tells LBB about the lessons she learned about the industry through motherhood, and why no parent should have to “miss a sports day or a school play” because of work.

Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.

In this installment of Motherland in Adland, the series started by NERD’s founder Milana Karaica in celebration of women’s month, we hear from Georgina Leigh-Pemberton, managing director of Turner Duckworth London. 

From her own experience, Georgina tells an all-too-well story of broken promises and settling for a lower-than-deserved role due to her pregnancy. Overworking herself due to the invisible pressure of the industry, and riddled with parental guilt, Georgina inevitably had to address the burnout and left her workplace with nowhere else to go to.

She calls it a “painful but valuable lesson” — one she believes no mothers in the industry should have to learn due to the downfalls of their employers. Read on to find out more about Georgina’s story. 

My first personal experience of this came when a previous employer took me out to dinner after strongly implying that I was in line for a senior role — until, after declining a martini and, when pressed, confiding in the CFO that I was pregnant, the opportunity quietly disappeared.

When I returned to work in a different role after my first child was six months old, I was determined to prove that being a great MD and a wonderful mother was possible. I put myself under immense pressure to succeed — and in doing so, I set myself up for failure.

Every day, I left home before my daughter woke up and returned just in time to put her to bed. My company never explicitly pressured me to stay late, but I was acutely aware of the unspoken expectations. Exhausted, overwhelmed, and guilty, I left after six months, without another job to go to. It was a painful but valuable lesson, one I carry with me to this day: no one should choose between being present for their family and excelling in their career.

I’m incredibly fortunate to now work for a company that fosters a culture of genuine support for working parents. It’s not just about returning to work — it’s about ensuring ongoing flexibility and understanding throughout our careers.

No one should have to miss a sports day or a school play because of a presentation — these moments matter.

I know many in this industry are not as lucky. Parenthood is too often viewed as an inconvenient disruption rather than a natural part of life. This mindset has to change. Flexible working is part of the solution, but we need to go further and offer more adaptable hours, greater autonomy over office days, and a culture that values productivity over presenteeism.

While I’m encouraged to see attitudes shifting away from the expectation that working late into the night is just ‘part of the job,’ the change isn’t happening fast enough. And it’s not just parents who deserve better balance — no one’s time should be treated as less valuable simply because they don’t have children.

Everyone has responsibilities, relationships, and lives outside of work that deserve respect. Until we address the culture of systemic overwork across the board, creating a genuinely supportive environment for working parents will always be an uphill battle.

A UNIQUE VOICE JOINS NERD PRODUCTIONS WITH AWARD-WINNING FILMMAKER SAKARI LERKKANEN

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NERD Productions is proud to announce the signing of visionary filmmaker Sakari Lerkkanen. A champion of crafting stories that are full to the brim with imagination and style that evokes emotion. Over the years Sakari has built up an extremely impressive body of work ranging from commercials, films and music videos. Collaborating with the likes of Campari, Elizabeth Arden, Sony, Bacardi, Flashscore, Petr Cech, and Cecilia Brækhus.

Sakari’s flagship TVC for Elizabeth Arden is a prime example of what he can bring to the table blending breathtaking visuals with kinetic camera work, which comes together to not only capture the brand but tells a compelling visual story.

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Click here to download Elizabeth Arden

“NERD Productions is all about giving a platform for passionate and creative people to tell stories and to allow them to collaborate with like-minded individuals. From our very first meeting I knew Sakari was someone who I wanted to work with and introduce to the other talent. He shared the same principles and desire to tell memorable stories as the rest of the NERD family and to top it all off he’s a genuinely lovely person who is motivated by collaboration. We cannot wait to share more of Sakari’s cinematic universe with you all in the near future”. – Milana Karaica, Founder & Producer of NERD Productions.
Sakari’s love of cinema shines through in all of his projects, this is on full display for the  Campari ‘Ode to Cinema’ campaign which feels like a love-letter to 50s Noir, stylish 60s spy thrillers and hard boiled 90s crime dramas. The project is a celebration of Campari’s relationship to the silver screen appearing in multiple icon films over the years such as Casino Royale and La Grande Bellezza.

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Click here to download Ode To Cinema films

In addition to his commercial success, many of Lerkkanen’s award-winning films are self-penned or co-created with talented writers, reinforcing his passion for storytelling. His distinctive vision and dedication to his craft make him a highly sought-after director for both narrative projects and high-end advertising campaigns. 

“I’m always seeking new ways to evolve and connect with great collaborators. With Milana and her team, there was an instant click. We’re both drawn to global stories told through a culturally distinct lens and share a commitment to authenticity and storytelling. Delighted to be joining forces.” – Sakari Lerkkanen

To see more of Sakari’s body of work click here.

Motherland in Adland: Charlotte Coughlan

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In this week’s installment of the series, Leo Burnett managing partner Charlotte Coughlan shares her journey from a disappointing maternity leave, to helping champion initiatives such as Parentland.

Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.

In this installment of Motherland in Adland, the series started by NERD’s founder Milana Karaica in celebration of women’s month, we hear from Charlotte Coughlan, managing partner at Leo Burnett. As a mother of two, Charlotte has experienced the lack of representation and support for working mums in advertising firsthand.

Her own maternity leave left her feeling disconnected and underestimated which fueled her commitment to fostering a culture where parents can thrive without compromise. Under the leadership of CEO Carly Avener, Charlotte champions initiatives like Parentland, ensuring working parents at Leo Burnett feel seen, supported, and empowered to succeed both at home and in their careers.

Charlotte shares her perspective on why representation matters, how flexibility should be a given – not a privilege – and why true equity in the industry means encouraging both parents to take leave.



I’m a working mother of two in the zany, exhausting, but rewarding world of advertising. Unfortunately, growing up in this industry, I had few role models who were mothers to look up to. My personal experience with maternity leave was disappointing – little communication, little support, and an assumption on my behalf that motherhood meant I wasn’t ambitious anymore. I therefore know firsthand how important it is to provide dialogue throughout the entire motherhood journey, from pregnancy through to returning to work and crucially, for maintaining a career. Just because we’re mothers, doesn’t mean we’re not ambitious anymore.

What’s key to creating a better environment for working mums is representation. We’re fortunate at Leo Burnett to have Carly Avener as our CEO. She sets the tone for our culture and agenda, making sure working parents feel included and can thrive both professionally and at home. Her leadership as a single mum is an example of how top-down support can truly impact a company’s approach to work-life balance.

When a culture is right, all working parents feel empowered to work flexibly. It’s not about being in the office five days a week; it’s about being trusted to excel in what we do, all within a structure that allows us to dart home if we get the dreaded call from nursery or need to volunteer at the school disco.


This freedom of flexibility is vital to ensuring that we’re not forced to choose between being good parents and being good professionals.

Feeling isolated and ‘the only one’ at an agency is crippling. At Leo Burnett, we’ve set up Parentland, a strong support system and network aimed at bringing parents to kids of all ages plus carers together and providing invaluable advice for navigating the realities we face. This includes expert guidance, financial advice, and even a Teams chat for solidarity and humour on the tough days. We lean on each other to better manage juggling it all.  So, it’s not just our partners at home getting the brunt of our working-parent-frazzle! Personally I’m lucky with how much my partner has supported me through the journey.

One thing the industry needs to improve on, and we simply don’t see enough of, is encouraging both parents to take leave. It’s time for us to recognise that true equity can’t be achieved without shared responsibility.


If partners take leave, it helps reduce the pressure on mums and can drive long-term change, even as far as reducing the gender pay gap.

We’re so lucky to be a part of this amazing industry, one where we should ALL be able to thrive – but there’s still strides to be made. With dialogue, the right support systems, freedom of flexibility, and representation at the top, mothers in particular can soar without having to compromise.

Motherland in Adland: Mothers in Advertising Speak Up

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LBB’s Zoe Antonov and NERD’s founder Milana Karaica kick off a new series focused entirely on celebrating mothers in the advertising and production industries, and their personal stories of triumph and pain against the odds.

“Motherhood isn’t a limitation. It’s a foundation, a training ground, and a path to better and more empathetic leadership.”

This is what founder and creative executive producer at NERD Productions, Milana Karaica, told us when we first started shaping the idea for this series. 

Countless industry panels and talks dare to lift the veil of unspoken shame and controversy when it comes to becoming a mother in the advertising and production industries – or, really, in most industries. Yet, the stigma persists, and action is minimal. So, when Milana reached out to LBB with her idea, we knew it was time to carve out space for this discussion.. 

Pressure on women comes from all sides – wanting to be a mother is wrong, because you are not career-oriented enough; not wanting to be a mother is wrong too, because you aren’t fulfilling your ‘nature-given purpose’; wanting both, or neither, is somehow wrong too. It’s a tale as old as time.

In advertising and production, motherhood is treated as a hurdle, not an asset – choosing between a thriving career and a fulfilling family life is something countless women face, in silence. And even after the choice is made, the repercussions are life-long, and often tied with varying degrees of guilt and shame. 

This is why, for International Women’s Month, and beyond, LBB’s Zoe Antonov and NERD’s Milana are launching ‘Motherland in Adland’. Through Milana’s story – and those of other incredible mothers – we’ll shine a light on the realities of balancing leadership with parenthood.

From challenges to triumphs, this series is about breaking a narrative – motherhood is not a ‘career break’. It builds stronger, more empathetic leaders – and it’s time for the industry to stand behind them. 

To kick off the series, here is Milana’s story.

I started in this industry very young – at the age of 17.

Through the early years of my career, it didn’t matter to me that I didn’t see women and people like myself around me, as actually, I never really had before either.

Taking inspiration from wherever I could, I excelled in my roles and made my way to executive producer. There were bumps in the road of that journey that were not easy to overcome but when failure is not something you allow yourself to accept, you keep pushing harder with each setback.

It wasn’t until I was in my early thirties – by which point I was running NERD Productions, a creative production company bringing diverse talent to our industry – that I started to feel extremely lonely as a female in a leadership role. NERD was my first baby, my family, and my passion, but I wanted a family at home too. Having always been a nurturer, the one that sees the potential in others and helps them realise that too, I felt that I had what it takes to be a great mother. 

However, I had never really come across many women that were in senior positions and had children. It dawned on me that I didn’t know a single one that was running their own production company or agency. That scared me.

Our industry is so competitive and male dominated, that you can’t afford to ever be half a step behind. Aside from running successful productions, so much of it all is run on networking. The lunches, dinners and endless drinking, going out and entertaining. As long as you can keep up with that, you are ok. But how do you do all of that when you have your babies that need your time, love and affection. What do you do when you have an important meeting booked in for months and months and then your baby gets sick on that very day and simply wants to fall asleep in the comfort of mummy’s warm hugs? Do you cancel the meeting that could potentially change a young director’s career path, or tend to your cherished little treasure that can’t understand why you can’t simply just be there?

Women that decided to have kids were and still are often referred to as ‘taking a break to have a baby’. But we know what happens to women in our industry that took that break. 

They never came back or were slowly pushed out due to lack of flexibility in their roles. Over 55% of women who had taken parental leave in the last five years believe that choosing to do so damaged their careers. Where do we go from that? This is why we are starting this series. To highlight all those incredible women who are somehow doing it all.

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From Guilt to Pride

I did what I do best – kept calm and carried on. 

But this is where things get unbearably hard. Everything practical – juggling appointments, sickness, no sleep or time to eat – I could deal with, but there was one thing that I didn’t account for. The guilt. The kind of guilt you can’t imagine. The volume of it is so high, that sometimes you feel like you could drown in it with every breath.

I worked until my contractions were five minutes apart. And handed over my notes to one of our senior producers, ahead of rushing to the hospital to deliver my first baby.

After one long weekend, I was back to work. With my second baby, due to health complications we had a C section and I was back to work three days after.

In an attempt to be a full-time mother and a full-time CEO, I have breastfed my babies with my camera off on endless Zoom meetings. Feeling guilty that I have to hand them over to their dad as soon as they finish, so I can get back to supporting my team and then feeling guilty some more, that I may have not paid enough attention to every word uttered in that meeting.

In an attempt to support my team’s career goals, I sat on a flight for six hours, while my two-year-old was at home, not responding to medication. Being told that he stood in front of our photo attached to the fridge crying and begging daddy to tell mummy to come home killed me inside. On the other hand, I felt guilty that I had to dash back from a big production and leave my team on their own. 

I missed my daughter’s first parents evening as I was running late on set – a moment in life I will never get back, but I helped a struggling director capture that one shot he really wanted that day! A sense of achievement with a dash of guilt in my stomach for not being the mum I wanted to be that day.

My son came home from nursery, running through the door to show me the card he had made me for Valentine’s Day and I had to almost edge him out of my screen and keep a straight face as I muttered that I will see it in just three minutes.

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Feeling guilty for not cooking a fresh meal on a busy work day, feeling guilty for not attending a work trip… Guilt became the air I breathe. 

Even with the most empowering and supportive partner, endlessly helpful family and friends, there is always something to feel guilty about because you can always do more. After all, you are the woman that wanted it all. You could just choose a career, or family, like everyone else and not struggle.

The flipside? You can carry on like this for so long before you notice your male peers not feeling guilty for taking work trips, for taking on more work, for progressing in their career and for going to a drink after work at the expense of not spending every waking hour with their little kids, or fulfilling their every emotional need. 

They are okay to be more than a dad so why don’t we ever take a leaf out of their book?

We think and we are told that women are the issue, as we have this self-imposed guilt for wanting it all. But why is wanting a career and a family seen as wanting it all and why should we not want it? Why are we judged so harshly for choosing to have a career or for staying at home? 

This is why now, I refuse to allow guilt to rule my life and my choices.

I worked incredibly hard to reach this point in my career and I enjoy my job endlessly.  

Growing NERD from nothing to being here ten years later and representing incredible talent, crafting with people I love and respect, supporting each other in every milestone, including family life has not come easy and with no effort. 

On the other hand, my children are my world and the centre of my universe. Nothing can compare to the love we share and the happiness they bring me with every little cuddle and every little smile they unselfishly and genuinely give. This is not having it all – it is making the most of life and the endless opportunity in it.

I refuse to suppress the sense of pride I get out of being able to set this example for my children.

Since becoming a mother, there is no force that I would not be willing to stand up against. So, in a way, it has allowed me to improve all of my skillset – patience, resilience, problem solving and the unwavering ability to show up, no matter what.

This is why mothers are so vital to each team and each company. They will be there first, support your cause, understand, give, champion and work harder! Sure, they need to leave for the school pick up, or take a day when their child is sick, but they will be back online later doing way more than reasonable and enjoying it too! 

It was the pandemic too, that gave us the opportunity to go from denying that life outside of work exists, to acknowledging that we all have responsibility for other, little lives.

Had it not been for covid, my career, like many others, would undoubtedly have taken a few steps back after having kids. Now, I have even taken my kids to shoots and work trips. Clients seem to accept that you need to pop home and do family stuff before you come back and take them to dinner and post-shoot drinks.

The tiredness after all of these intertwined activities is undeniable. But after a long day, when you finally lay yourself to bed at night and close your eyes – you did do it all girl!

We are making progress. And I hope that in years to come, my daughter, and yours too, never have to shed a single lonely tear, if they choose to smash it in her career, and to be the kind of mummy that she wants to be too.