Mental Health Awareness Month: Prioritising Self-care within the Advertising Industry

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In every walk of life and within any job role we all deal with challenges both internally and externally we often tell ourselves not to let our private lives interfere with our work-life, however is it really that black and white? With May being the month of Mental Health Awareness we wanted to have an open and honest conversation about how as individuals we find ways to balance our well-being with our work output. The advertising industry can be a savage and unpredictable environment with tight deadlines, days of endless calls and meetings that sometimes can feel like dead-ends rather than destinations. An emphasis on freelance work can sometimes add extra pressures of long-term stability and career growth, financing projects can become an upward struggle and sometimes the work days can be long, meaning spending less time with our families and friends. 

There are no straight answers to this topic and we all do our best to find ways of finding that perfect balance between productivity and relaxation, knowing when to call it a day, knowing when we need to recharge our social battery. We all come from different walks of life, may it be culturally or financially, each of us dealing with our own insecurities or anxieties and as a society we like to pretend that we don’t. We’re programmed to think we have to be perfect all the time but sometimes the flaws are what make us succeed, it’s how we grow and learn. 

Thankfully the conversation around mental health is becoming less taboo and more of an open dialogue and In this article we wanted to get involved in the conversation

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Esther At Work (Illustration: Esther Lalanne)

THE ART OF TRYING NOT TO OVERTHINK – LOUIS HUDSON (WRITER AT NERD)

For me moving to London was the first daunting step into the creative and advertising industry. After staying in Leeds for both of my university degrees I finally decided to kiss goodbye to my affordable rent and family. My first attempt however was compromised by the global pandemic (just my luck) when the time did eventually come to move down. I had a little bit of PTSD from the pandemic. All that time stuck in lockdown, overthinking, would I be good enough, will I fit in. Imposter syndrome rearing its stupid annoying face. Which I think is a universal thing we all go through at some point in life but I think for me it was exemplified by the pandemic suddenly swapping working from home to attending multiple networking events and having to build up a new social life for myself provided a little bit of whiplash. 

Coming from a traditional northern working class background I wondered whether or not I would fit in, whether my accent would be patronised or even understood and apart from the couple of occasions I’ve been mistaken for being Scottish I can confirm people can understand me just about… 

For me I learnt that giving myself a schedule helped with the anxiety, even something as simple as going for a walk once a day or finding time to do a bit or personal admin would be a way for me to focus my mind. Post pandemic I’ll take myself to the cinema as much as possible because going to see a really depressing foreign romantic drama really makes me feel better about my life. I also write comedy, which is something I’ve continued to pursue since studying film at university. Since moving to London I attend London Comedy Writers and I’m always trying to get projects on the go, so it’s all very exciting but also gives me something to focus on outside of work hours that feels stimulating and creative.

BALANCING CREATIVITY AND PRESSURE – VIKTORIIA (MARKETING & PHOTOGRAPHY AT NERD)

Growing up, I always knew I was meant to do something creative – something that had a spark but also a slice of structure. I’ve always felt a strong drive to perform well in any role I take on, and with that comes pressure. When I moved to the UK, that pressure only intensified, it became about building a whole new life from the ground up. New friendships, new networks, and new opportunities.

Because social media is such a big part of what I do, there’s a constant expectation to be present. Whether it’s about posting the next big idea or simply showing up on people’s feeds, the pressure to stay relevant can be overwhelming. And while I sometimes get hit with that “who cares?” mindset, the reality is every single job or opportunity I’ve had has come from being online, from putting myself out there, from connections made through the digital world.

That’s the double-edged sword of it. While I owe a lot of my career to social media, my mental health often suffers because of it. Imposter syndrome creeps in, feeling like I’m not doing enough, even when I know I’m going above and beyond. Some days, depending on where I am in my cycle or just how much I’ve been carrying, I’ll cry it out. I’ll spiral into “I’m not good enough” thoughts and that’s when I really lean on my husband. He’s my anchor on those tough days. But then, just like that, I bounce back. The very next day I might feel like I can take on the world. I’ve also been incredibly lucky to work with people and clients who are genuinely supportive, and that kind of environment makes a huge difference. The same goes for my friends, just having someone who listens can lift the weight a little.

Photography by Viktoriia Telfer

Being creative in the fast-paced, ever-evolving world means you’re always expected to innovate, stand out, inspire. It’s a lot. But I’ve learned that having a support system and grounding routines can help massively. For me, it’s simple things – going for a walk, spending time in nature, hiking up a mountain. Maybe that’s why I’ve gravitated towards hiking over the past two years, it gives me space to breathe and turns off my loud brain.

At the end of the day, it really is a journey. Some days feel weird, others feel heavy, but there’s always something to learn.

WHEN TO ASK FOR HELP – MARGAUX MADAMBA (SOCIAL MEDIA MARKETING AT NERD)

For years, I knew I was struggling with a mental health disorder but there were just so many things hindering me from seeking professional help. I thought if I just got to know myself more that maybe navigating work and life would be easier. I thought that I needed to accept myself more, to be kinder to myself, and to be more patient with myself. I read so many self-help books, listened to my mentors’ advice, and browsed through pages and pages of Reddit and Google threads. A lot of those things helped in their own ways — but it wasn’t enough.

Coming from a third world country, I knew it wouldn’t be easy to seek professional help for my internal struggles. I had assisted my younger sibling in the past with their own mental health problems and searching for psychiatrists, wards, or organizations that could help us was really difficult. We learned one thing that day: If we needed immediate help for our mental health, we were looking in the wrong places AND we were living in the wrong country. It was a very sad realization. Being the eldest daughter meant I’d have to be there every step of the way during my sibling’s own struggles. This was when I was educated deeper about how to properly seek professional help. 

Five years after my sibling’s struggles, I finally got the courage to seek help for my own problems. Post-pandemic paved the way for telemedicine or telehealth apps which made it easy for me to book a psychiatrist or psychologist. It was at the age of 28 when I saw my first psychiatrist and was diagnosed with General Anxiety Disorder (GAD) and Post-Traumatic Stress Disorder (PTSD). I was prescribed medicine for my anxiety but after a few months, I felt like I was just an outsider watching my life happen before my eyes. The medicine wasn’t working – and that was okay. During this journey, I learned that there are many methods to seek help and not every method will work for an individual. I didn’t stop trying and experimenting. I looked for another psychiatrist who focused on talk therapy which gave me relief after just one session. I have felt more peace within myself ever since.

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Coral Landscape (Illustration:  Roman Bratschi)

As creatives and freelancers, we’re used to working and moving independently. Throughout the years, I got used to working by myself and finding remedies in my own ways. It worked until it didn’t, and I wish I asked for help much sooner – I bet my 22-year-old self needed it a lot. If you’re reading this, I want you to know that it is okay to ask for help – ask for help when you’re afraid, ask for help even when you can’t afford it, ask for help even when you’re succeeding in life. It doesn’t matter where you are or who you are, it will always be the right time to ask for help.

VALUE OF PEOPLE IN OUR LIFE – MILANA KARAICA (FOUNDER/EXECUTIVE CREATIVE PRODUCER AT NERD)

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. Best of both worlds was the goal I wanted to achieve through some miracle it seemed. 

With so much going on at all times and hours of the day it is hard to stop to catch a breath, let alone think about your mental health and wellbeing. I try to be practical, and find time to still show up for my young kids where and when needed while doing the same for my team and clients. 

Sneaking in some alone time for a quick facial or getting my nails done is my time to simply do nothing. Allowing time with people I love… a coffee with my sister, a quick lunch with a friend, a little time with my forever cheerleader- my partner, even if it’s just a cinema date or a walk in the park. All these seemingly small things and times give me endless positive energy, time to reflect on the life we have built and things we still feel we want to pull off before we are ready to live the quiet life! 

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Flower Brain (Illustration: Helena Elias)

So, having said all that, in conclusion – we all need that one person in life or if we are lucky enough, a few of those gems, that will be your source of support, empowerment, inspiration or simply good vibes. This is what really matters and what helps keep me going when times are tough.

Seeing Things In 2D with Alicja Jasina

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Alicja Jasina’s 2D animation stands out from the crowd in a sea of 3D animation and bombastic VFX. The hand drawn aesthetic Alicja applies to her work feels profound and emotive, simplistic in its nature but layered in its storytelling capabilities. 

Her works starts with a line and a line can take us on many journeys, showing us new worlds and introducing us to new characters and over the years Alicja’s body of work has taken us on one hell of a trip. Her distinctive way of thinking about storytelling, and viewing the line as a medium has captivated audiences from all around the globe, not to mention getting shortlisted for an Oscar (no biggie) for her short film “Once Upon a Line”.

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Once Upon a Line available here

Her unique voice as an artist translates into her commercial output, applying her wizardry to big name brands like Google, Disney and Airbnb. There’s a sense of a throughline throughout her filmography that most auteur directors would be envious of, no matter the brand or the brief her style shines brightly. Alicja doesn’t throw everything at you with overwhelming visuals instead applies a less is more attitude using space and colour to make her characters and worlds pop, often times using a white background to give a doodle-like quality to her images, that allows shapes to bop and move almost like musical notes coming to life. 

Alicja’s style

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To see more of her work click here

Alicja’s style grew out of her personality as much as her practice. She prefers to say less, but says it precisely, gravitates toward empty space, whether in her apartment, her wardrobe, or her frames — space that allows her (and others) to focus, to breathe. She works quickly, almost impatiently, rarely lingering on a single drawing.

Alicja talks about her process – “Back in school, I realized that in animation this could be a strength: simple designs leave more room for expressive movement, especially when resources are limited. For me, the process matters just as much as the outcome, and there’s something deeply satisfying in letting the final piece retain the looseness of a sketch. Often drifting between realism and abstraction, I use minimalism to create a kind of visual pause.”.

In an overstimulated world, her line becomes a breather — a moment of stillness in motion. She explored this idea recently in Liminality, a group exhibition on saturation and sensory overload, on view in Warsaw until May 29th.

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

PAINTING IN MOTION – WITH NERD PRODUCTION’S SHARON PINSKER

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With every brushstroke Sharon Pinsker tells a story that captures and captivates the viewer with images that last forever. Her authenticity and love of the craft shines bright like a beacon with her light inspiring others to pick up the paintbrush and paint. Her book ‘Figure: How to Draw & Paint the Figure with Impact’ is like the holy bible for those wanting to learn the art of mastering the human figure. Sharon’s knack of capturing movements has led her into the world of animation and live action films, collaborating with other barnstormers within the creative industries. From working on fashion campaigns, book covers and celebrity portraits her work shape shifts effortlessly into different mediums and formats. 

We recently caught up with Sharon to discuss her awe-inspiring journey not only as a creative but as a person, to further understand what shaped her work. Like us mere mortals, artists also go through the same self doubts and anxieties, and it can often be the daily obstacles that help shape the best art. 

When you started out as an artist did you ever think you would publish a book that would act as a resource and a guide for other artists?

I can’t honestly answer that question because I never “started out as an artist”.  As far back as I can remember I was only happy if I was making something, usually a drawing or a painting. My artwork was more of  a compulsion, than an ambition. So it was more by luck, than by design I discovered I was able to make a living out of my addiction. I certainly never imagined anyone would be vaguely interested in reading about my work process, let alone want to publish a book about it. So it was completely mystifying to me when a publisher approached my agent and requested a meeting to discuss commissioning a book.

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I remember the look of abject horror on my agent’s face when I turned to the commissioning editor and enquired – “Are you sure you have not confused me with someone else? Have you seen my work ? I really don’t think anyone would be interested in reading about how it’s done.”

EXAMPLES OF SHARON’S STORYBOARDS/VISUALISATIONS

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I still think that book was successful because I shared the struggle I have with achieving goals and meeting deadlines, rather than the work itself. The questions and conflicts that arise with all aspects of problem solving… and the continuous internal dialogue that we all have while working. The title was the editor’s choice, not mine. I felt it implies that I know “How to…”do something -but whoever reads it will quickly realise I am still working it all out myself! That’s ultimately how I see my work anyway, like the “working out in the margin” never as a finite piece.

I still get messages from people telling me how helpful the book has been to them, and it is listed as recommended reading ,even now. I am thrilled by that of course, but equally amazed.

Even more surprising is to see it mentioned in quite unexpected places!

The Interaction Between the Brain Hemispheres While Drawing – PRINT Magazine 

10 Libri per coltivare il “mindset” del perfetto programmatore

Did your distinctive style come naturally or was it something you developed while at Central Saint Martins and Parsons School of Design?

It depends on what you mean by “style”, maybe the images just end up looking the same .That is entirely unintentional though because more often than not, I am trying to do different things all the time. My work is developing and mutating with every new project. I don’t start with a particular look in mind  but every job will dictate how I approach it. Invariably it goes through many incarnations.

Yes, during this process I will be drawing on things I learnt while at CSM and Parsons but also everything I have done since then. Nothing is ever wasted, even if discarded… and a lot is discarded. Everything I do is a compilation of past trial and error.

It can be a hard life making a living as an artist, did you ever go through any self doubts early on in your career?

Every single day.

What do you think is the biggest obstacle for young artists in today’s environment?

I think young people today have so much more to deal with, the challenges must be overwhelming. When I was at St.Martin’s, as it was then, we had three choices for a degree course after Foundation, these were Fashion, Graphics and Fine Art Now young people have to choose from so much more including live action film, 2D animation, stop motion, photography, graphics, cgi, motion graphics, motion capture, VR, WebDesign, AI. to name a few ..there is so much pressure to specialize which takes time and experience which means less time for development and growth in other disciplines. 

The advantages of more advanced technology and accessible information at their fingertips doesn’t lessen the disadvantages of not having any more time or freedom to experiment and find their own focus. I wanted to paint people so I chose to study fashion because I realised I would have more access to life drawing classes. Fundamentally we had to know how clothes would work on a body. If I had chosen Fine Art, back then the life drawing  classes were few and far between, they had been abandoned in favour of Abstract and Conceptual Art.

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I don’t know if it would be so easy for me today to study Fashion and then Fashion Illustration but I do know that if I hadn’t had the chance to experiment in those fields then my work would not have taken me on the journey that ended up with my working in film and animation which was a place that my illustration work seemed to fit best. 

The pressure of having to choose a career in itself is a terrifying prospect for a young person when they are trying to find their way in a scarily competitive field. They need space to make mistakes and learn from them and how valuable they are… more valuable, in my opinion, than their successes.

So to answer your question the biggest obstacle for young people, I think, is lack of time to find their feet before having to join the race.

You’ve worked with fellow NERD director Shay Hamias, could you maybe tell us a bit more about that dynamic?

Shay is fabulous to work with. He is one of those people that can make anything work. However challenging it might be, he makes it look easy. I remember if ever I saw a problem he would see a solution. 

He smiles a lot too and that makes a world of difference, collaboration with Shay was a joy! 

I can’t wait to craft with him again.

Do you still feel like you’re learning and growing as an artist?

Absolutely. It’s that eternal paradox, possibly Aristotle? ” The more you know, the more you know you don’t know “. 

The learning and growing process only increases the more you do… which is all the more frustrating  because, of course, then you have less and less time!

Whether you’re just starting your painting journey or looking for a source of inspiration we highly recommend reading Sharon’s ‘Figure: How to Draw & Paint the Figure with Impact’ and to see more of her wonderful work click 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

BALANCING CINEMATIC SCOPE WITH INTIMATE STORYTELLING WITH NERD’S MARTA CHIEREGO

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In the latest “Get to Know” article Louis caught up with visionary filmmaker Marta Chierego to delve into her stunning and global spanning filmography. Her work is a rich tapestry that perfectly balances ambitious and sophisticated cinematic language with stories that feel handcrafted and intimate, which is no easy feat to pull off even for the most seasoned of filmmakers. So let’s all gather around the metaphorical campfire as we explore together what makes Marta’s distinctive brand of storytelling so special and how her craft was shaped and molded over the years by the people who inspired her.

Let’s rewind back to a young Marta, did you always have the goal to be a filmmaker or was it something that you came into at a later stage in life?

I fell in love with cinema at a very young age. Some of my earliest memories are of Star Wars and 2001: A Space Odyssey – even Twin Peaks, although I realise that’s not great publicity for my mom . And while I grew up appreciating many art forms, I watched films relentlessly and probably obsessively more than anything. I remember the experience of watching a film and ‘knowing’ that the camerawork was good, but not understanding why yet. Initially, I wanted to be an actor, so I immersed myself in theater programs all through high school. But when I moved to London at 19, I realised that what truly fascinated me was what happened behind the camera. Since traditional film school wasn’t an option financially, I enrolled in a hands-on program and started working on film sets, taking on as many roles as possible to understand the mechanics of filmmaking. That experience serves me to this day, as it gave me a deep appreciation for every department on set and a firsthand understanding of why every role matters. So, in a way, cinema has always been with me. The path evolved, but the passion never changed.

It’s funny when we first spoke I had the imagery of Terrence Malick imprinted into my mind as a visual reference for your own work, which is someone you ended up mentioning as a source of inspiration. Could you tell us a bit more about how his work influenced or informed your own filmmaking?

I was so touched to hear you say that my work reminds you of Malick. He’s had such a profound impact on the art of filmmaking, there’s truly no one like him. I still remember watching The Thin Red Line in theaters when it first came out and being completely transfixed by his style. What makes Malick so special, in my view, is his ability to create a cinematic experience that feels both poetic and immersive. His films evoke a sense of awe, an emotion I’ve explored in my own work. I’ve come to realize that awe has a profound effect on us; it enhances creativity, deepens gratitude and awakens something fundamental in our sense of being alive. We throw around the word ‘awesome’ so casually that we sometimes forget its true meaning. Regardless of one’s spiritual beliefs, his films have a way of connecting you to something greater, something beyond yourself. You don’t have to believe in anything specific – you just feel it. Which again is something that I seek to express with my work. A sense of presence, and an exploration of what some call the ‘Great Mystery’.

Terrence Malick’s poetic approach to filmmaking blends wild landscapes with intimate human moments.

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Marta beautifully captures the same sense of poetic scale and human interaction in the stunning ‘unconditional’ a film in which grand vistas collide with compassionate close ups.

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To view full film click here

Inspiration is a shapeshifter that can present itself in many different forms and sometimes at inconvenient times. Where do you often find inspiration when you find yourself searching for new ideas?

Creativity isn’t a linear skill. It has its own rhythm and you have to allow space for ideas and inspiration to find you. I love Julia Cameron’s invitation to regularly take yourself on artist dates. I consider a day well spent when it involves looking at paintings, visual art, listening to music, watching films and documentaries, as well as reading. I miss observing people more, as so much of our life has become digital. My approach to inspiration is both eclectic and voracious; I absorb a wide range of influences, but I can also hyper-focus and dive deeply into a single topic. For a long time, I thought I was being lazy or undisciplined if I didn’t immediately put pen to paper when trying to generate ideas. Over the years, I’ve come to realise that my creative process involves an essential marination stage, oscillating between expansive curiosity and intense focus and letting thoughts percolate until they begin to take shape. Sometimes they emerge as fragments, other times as fully formed concepts and eventually, they start to constellate into something meaningful that I can start building on. It’s a process and I’ve found that movement plays a key role in it. Being outdoors, walking, dancing, yoga, even singing – all of these somehow help shift ideas between the body and mind, allowing them to develop in a more complete form.

We see a lot of big brand commercials that can oftentimes feel like bloated product placements but people feel front and center of your stories. Could you tell me more about your process?

For me, the starting point is always the universal human experience. Whether it’s a beverage, a car, or a software, there’s human passion and intention at the core of every product. So I flip the script, I start with the human story and let that naturally guide how the product or brand fits into the narrative.

Of course, in a highly competitive market, brands want to stand out and a lot of work goes into that. But at the end of the day, what truly makes people remember a brand isn’t just the product – it’s whether they felt something when they experienced the story behind it. 

I also think that modern marketing has really evolved into aligning a brand to the core values of the audience it’s trying to reach. So for instance, a brand might get behind a story that shows thought leadership within a space they know is of interest to their customer base. I love working on those kinds of briefs as they give you the highest chance to tell a story that feels rich and authentic.

Some directors are more confident behind the camera and others are more comfortable directing the actors but in the world of commercials, time is limited so how do you make sure you’re getting the best from the talent?

I wish I were Dr. Manhattan, so I could be ubiquitous 😀. Until then, my approach to commercial shoots is all about preparation. I make sure every shot and camera movement is well thought out in advance so we can achieve the most ambitious visuals. When working with actors, I try to keep things relaxed and open, as well as giving them precise and tangible direction in terms of the emotion or tone I’m looking for. Actors have a special place in my heart, probably because of my experiences on stage when I was younger. Everyone’s role is valuable on set and I think actors specifically gift us their vulnerability so that we can feel something. So I try to honor that and I’m really proud that many of the actors I’ve worked with have specifically reached out to tell me how much they enjoyed the experience. Making art is not easy and we often have to pressure each other to get there, so knowing that people like working with me is the highest praise.

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You’ve lived many lives and have called many different places home since leaving Italy, do you think this has influenced you as a storyteller?

Absolutely. I’m grateful to have lived and traveled extensively around the world. It’s shaped the way I see humanity. To me, diversity isn’t about blending everything into a single, homogenous norm. It’s about embracing the richness of our differences, while at the same time looking for the common thread that defines our shared human experience. As a storyteller, my international life journey allows me to take multiple perspectives into account, recognizing that no single viewpoint tells the whole story. It’s also given me a deep appreciation for cultural nuance, an understanding of the subtle details that make a place, a community, or a tradition unique. Whether it’s the way people communicate, the rhythm of a city, or the values that shape a particular region, I bring that awareness into my work through a genuine and deep sense of curiosity.

Burnout can happen to the best of us so how do you remain focused and engaged?

That’s a great question for our times. We move through different seasons in life and I think the key is to develop a healthy relationship with yourself, so you can pursue your ambitions from a place of love rather than conflict. Being an artist is a vocation and I’ve shaped my life around its demands. For me right now, it means staying grounded, sharp and soft all at once. Ambition requires focus and courage, but I also believe it needs heart and compassion — because at the end of the day, our best work is measured not just by what we create, but by the impact we leave on those around us. Having healthy routines is essential for me, and that includes being mindful of what I feed my mind as well as my body. Digital culture has seeped into every aspect of our lives, often leaving us feeling disconnected, alienated and lacking empathy. I think it’s more important than ever to make a conscious choice to remain anchored in the real world, as our brains, bodies and souls cannot function properly without it.

Working in advertising and filmmaking in general can often be about compromising so how do you work with restrictions?

Sometimes constraints can actually fuel creativity rather than hinder it. Instead of focusing on what I can’t do, I ask myself, What’s the smartest, most inventive way to make this work? Being a professional  means knowing how to clearly communicate your vision and knowing how to strike a balance between protecting the integrity of an idea and embracing the realities of production. The better you can articulate the value of an idea, the easier it is to align with clients and collaborators to meet its needs. It helps me to remember that when a client hires me, they’re placing their trust and often their own professional stakes in my hands. They bring with them not just their hopes, but also their fears. I remind myself that the people I’m working with have their own pressures and responsibilities and part of my job is to make sure they feel like they are part of the journey, while still pushing for the strongest creative outcome.

Marta’s output across commercial, documentary and branded content makes for an outstanding body of work, with each project made with the same level of professionalism and passion. We can’t wait to share more of her work with everyone in the future.

Until then click here to see more of Marta’s stellar work.

Perfect Imperfection: How NERD’s Lewis Andrews is Redefining Commercial Direction

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We sat down with NERD’s director Lewis Andrews who brings a refreshing perspective to the evolving landscape of advertising and filmmaking. Lewis has carved out a distinctive space in the industry, embracing both traditional cinematic excellence and the raw authenticity that modern audiences crave. From shooting music videos in Prague to crafting horror shorts in his hometown, his journey offers unique insights into the future of commercial directing.

What are some upcoming projects that you’re excited about? Tell us a bit about them?

While working on Amazon’s TV show Blade Runner 2099 in the Czech Republic, I’ve been simultaneously directing two music videos too. One captures the essence of Prague’s heart, while the other, shot in Barcelona, draws inspiration from the Dune franchise. I’m particularly excited to reveal the Barcelona project soon, which pays homage to Dune’s cinematic universe.

What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities? 

The most exciting development is the industry’s metamorphosis toward natural, raw, accessible visuals rather than glossy overplayed perfection. We’re in an era where a single tweet or Instagram post can outperform a multi-million-pound campaign. Look at British retailer Currys, who now uses employees for social media content, or Kanye West’s Super Bowl LVIII ad – just a selfie video in a car announcing he didn’t spend money on traditional advertising.

Of course, not every filmmaker can achieve Kanye’s results with a selfie video. But what these big players have demonstrated is that traditional filmmaking isn’t always necessary. The impact of a brand’s advertisement depends on the message, creativity, and authentic resonance with the audience.

What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

I’m drawn to unique concepts, extremely high stakes, time travel, apocalyptic moments, disaster, quick-witted dialogue, comedic timing, and culturally relevant themes. I love when scripts incorporate topical news stories and social issues that challenge viewers’ values and beliefs. There is no perfect film script, because art is supposed to spark debate and divide people’s opinions.

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How do you approach creating a treatment for a spot?

My process often starts in complete darkness. The creative process isn’t always linear – I’ll work through multiple ideas until something clicks. It’s not methodical or structured; I let ideas flow and see how they align with each brand’s needs.

If the script is for a brand that you’re not familiar with/ don’t have a big affinity with or a market you’re new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

A brand will approach me based on my creative skill and capabilities as a filmmaker rather than my detailed knowledge of their brand history. When it comes to creative direction, you can develop an affinity with anything, even without knowing the full facts. I welcome each project as an opportunity to be unbiased in my creative assessment, basing the direction on my creative instincts first.

For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

A great director has a strong working relationship with all creative professionals involved – Director of Photography, Camera Operator, Art Director, Producer, and Costume Designer. The team can make or break a project, which is why I maintain a black book of industry-level talent.

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What type of work are you most passionate about – is there a particular genre or subject matter or style you are most drawn to?

I am quite drawn to horror, and all things which seem a little bit off. I love reimagining. I love reimagining characters, emulating real-life encounters, and incorporating my dreams into my film work.

What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

I once had less than 24 hours to coordinate a shoot in Morocco. We managed by connecting with a local film student who had filming permissions, enabling us to shoot in Marrakesh, the Agafay Desert, and city center.

How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Clear communication and thorough pre-production breakdown are essential. This preparation helps prevent later confusion. I keep in mind that creative briefs are just ideas, and ideas for someone else’s project can never truly be yours, because that wouldn’t be a collaboration.

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What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

AI is a genie out of the bottle for quickly projecting ideas in pre-production stages. Mid Journey is a super tool that can produce fluid imagery from text. In the past, I would solely use photoshop to enhance treatment imagery but now I can create rough concept art quickly with Mid Journey then I process it to finalise.

Which pieces of your work do you feel show what you do best – and why? Include 3-4 links and a sentence or 2 about each piece of work!

I would love to share the new works here but they are not quite ready yet! To give a flavour …

DRINK (Music Video): https://wonderfilmpictures.com/directings/drink/

DRINK was a project where I could control every creative aspect. From the set design (creating a cobwebbed dark bedroom out of my outdoor cupboard space), selecting and designing the costumes, sourcing an E-Type Jaguar, creating and executing the whole film storyboard, embedding cool visual effects. DRINK was a project I was fully immersed in.

Clown (Short Horror Film): https://wonderfilmpictures.com/directings/clown/

Clown was a short film which represents the imperfection I was talking about earlier in the article. It’s a small project I created with my friends in the town where I grew up. We shot it in the early hours of the morning so that I could transform the town into an eerie film set. I wanted the piece to feel as morbid and haunting as possible whilst retaining the audience until the end.

From navigating last-minute shoots in Morocco to transforming outdoor cupboards into cinematic sets, Lewis Andrews exemplifies the modern commercial director’s need to balance technical precision with authentic storytelling. His approach – embracing both high-end production values and raw, unfiltered creativity – positions him at the intersection of traditional filmmaking and contemporary digital culture. Andrews isn’t just adapting to the changing landscape of commercial directing; he’s helping to shape its future.

FOR THE LOVE OF NERD & WORKING TOGETHER

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We all know the stereotypes and cliches surrounding working within the creative industries, crazed directors, evil interfering producers and runners getting the electric chair for producing the wrong shade of coffee. But what if we told you that isn’t always the case and you can create something special in a warm and inclusive environment? If you didn’t already know Valentine’s Day is here and everyone at NERD wants to spread a different kind of love, a love of working together and reminding everyone why we work in the industry in the first place. A celebration of making the craft and sharing stories with the world that hopefully inspire and bring a little joy. 

Getting involved in the action is the lovely and super talented, award winning director Shay Hamias who is a champion for supporting NERDs underrepresented and up and coming talent. He makes collaborating feel like a smooth summer breeze. Over the years Milana and Shay have worked together on endless projects, building up a level of trust and creative harmony that would make most married couples blush. 

So get those valentines day chocolates out, stick on some smooth jazz and have a read of our latest get together.

Where did it all begin for you both as a creative collaboration?

Shay: I can’t actually remember, as it’s been so long ago but Milana was always my favorite producer to work with so we got paired up quite often while at the production company we both worked at, which is where we first met. We were both instantly in sync with each other, so it made collaborating a breeze. 

What’s the most invaluable lesson you’ve learnt from working together?

Shay: A valuable lesson I have learnt from working with Milana is to be patient and her ability to manage client expectation while also providing me with enough creative freedom to do my job is borderline inspiring to witness. 

Milana: To be yourself because by doing so you will be able to bring the most to a project and pave the way for others to do the same! When I first started I was heavenly and unfairly judged for being from South London, for not being of privileged background and for simply not being white enough. However, working with Shay and just being in his presence allowed me to be myself and shine with my skills, craft and worry less about my appearance, accent and background. Simply by spending less time focusing on how to present myself etc I could just concentrate more on how to do the best job in my role. It is so liberating! This has since led to much of how NERD treats all our collaborators and talent. Inclusive, nurturing and supportive work space is what we have formed, where people don’t feel judged but simply celebrated for their contribution and skills.

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Separate from working together, what are your main icks when it comes to collaborating with people?

Shay: Red flag for me is when boundaries are unclear creatively… in order to be creative,we need some parameters that allow creative problem solving, when some of these are unknown it can generate friction during the process. 

Milana: A big ick for me is working with people who are only motivated by their own shellfish goals, cliche but nobody wants to work with someone who isn’t a teamplayer, we work in an industry that is built upon collaboration, from the boom operators to the focus pullers. Everybody plays a role in bringing something together and unfortunately some people who work in the industry often forget this very important element of filmmaking. Empowering and inspiring your crew is endlessly rewarding as they will do their best work!

Historically the relationship between producer & director can be one fraught with friction, how did both avoid those pitfalls?

Shay: We have full honesty and we both want to get the job done in the best possible way, always open dialogue. I know I can call Milana at any time or NERDs other fantastic creative  producer Ira and they will support or help solve whatever is needed. They know they can ask me for anything as well as what the project may require and we will mutually try and make it work. We share the responsibility for the culture of the company, the success of the projects and we never fight each other. In fact we have developed a close personal friendships and support even goes beyond the professional bounds as we have full trust in each other.

Milana: Shay put it perfectly, having an open and honest dialogue with each other is key to avoiding frictions. Oftentimes the producer can be seen as the harbinger of bad news or someone who is only there to restrict them. However that simply is not the case, my role is to provide the creatives with support to make each project feel rewarding and comfortable. Naturally it helps that me and Shay have yet to have a bust up or even exchange some sarcastic back and forths.

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The creative industries can be known for being very unwelcoming especially for those who come from underrepresented backgrounds, could you tell us a bit more about your work with supporting young talent? 

Shay: I like supporting young talent to help them navigate the brief, clients and even their relationship with the producer. Help them focus on the brief, it is a collaborative process and we are making it for a client’s needs. Even I need to ask Milana what she thinks about a brief, so we hone it down correctly. Sometimes when I was young I’d miss out certain details because it can be a lot to process while chatting with the agencies. The other thing is while on production, in the past I’ve helped the new director understand they have the power to negotiate time or support with the producer and not be afraid of the producer because they’re on their side. I also help directors understand and manage client expectations, to be honest with what can be achieved. I’ve learned from my own experiences of sleepless nights  that clear communication is key for managing expectations.

What aspect of collaborating with others do you love the most?

Shay: What I love most is working with other people who are all talented in their own way. I know my limitations and strengths, and when working with others they bring in a different design or point of view making the project and experience richer. It can be at the producer level suggesting how to approach a project and the agency to the animator suggesting how the character should move. I see my role as a creative director is to help steer the ship, by facilitating other talents to make the work they enjoy most even better.

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How has your working relationship with Shay helped shape NERDs ethos?

Milana: Meeting Shay and the inception of NERD Productions started around the sametime so there’s no surprise my working relationship with him has had a huge influence on the ethos of the company. I wanted to create something that had a true sense of inclusion with a culture of championing voices from all backgrounds. I wanted the talent to feel welcomed and more than just a name on a roster, or someone to tick a box for an agency. Working with Shay was a great reference point for me when looking for new and exciting artists to work and collaborate with.

We all know how demanding the role of producer is, so how do you still find time to love the role?

Milana: I think with any role especially one you’ve done for so long can for some people become stale or repetitive but the joy of producing for me is getting to work with so many different people, be they clients or talent. The creative brief is never the same so the production path of bringing the project to life is always new and fun. Also, for me seeing who we can bring on board to elevate, what new methods or techniques and styles we can mix and play with.. Well possibilities are endless. For example, to know you can help a young director by pushing them and changing the course of their career journey is a privilege and something I want to be remembered for one day. Once again not to sound like a broken record, no two days are the same as a producer and you never know what the day will present to you and there’s a massive, exciting thrill to that. It is all a little bit addictive. 

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How do you balance the emotional and professional aspects of working closely with people you care about?

Milana: I don’t! I believe in hard work in every relationship in life. Things we care about do require effort if we want to reap the benefits. It’s very simple. I do care about every single person I work with and want to do my best by them. They are in my life and we make wonders together so why not make the most of that situation and environment instead of seeing it as something that needs to be a separate set of relationships. 

Of course, if you hate what you do and people you do it with, I can see how ‘balance’ may be much needed. Being able to reach a point in my career where I can choose the talent I work with and clients we craft for is like a slice of heaven and I am aware is a blessing but it is a well deserved one. 

We would also like to take this time to share our love with the team and roster at NERD and all the fantastic clients we’ve worked with over the years who have made everything possible. 

Our romantic optimism is infectious so do be careful! We look forward to forging more relationships in the future, just make sure to swipe right 😉