For this week’s Special Report on production companies, SHOOT surveyed a selection of agency producers and asked them the following questions: As a producer, what do you look for in a production company, beyond the talent of its directors? What are your top picks for production companies? Among up-and-coming spot directors, whose work impresses you? Keep reading for their answers.
Matt Bijarchi
Senior VP/director of
broadcast production
Young & Rubicam, Chicago
As a producer, you look for a production company that ultimately shares the same passion for the project that led you to its director in the first place. Obviously, the role of the executive producer is critical. You need to feel that they have an organic understanding of what you are trying to accomplish and will leave no stone unturned in an attempt to get what needs to get done, done. You look for a willingness to lead … a collaborative process that brings the best out of all parties involved.
Among up-and-coming spot directors, whose work favorably impresses me? The directing team Happy of bicoastal Smuggler; David Preizler of bicoastal Epoch Films; Stewart Hendler of Omaha Pictures, Santa Monica; and Matthias Hoene of bicoastal/international Partizan.
Brian DiLorenzo
Director of broadcast,
North America
Fallon, Minneapolis and New York
It’s not the primary part of the process in selecting the right directing talent for the spot, but if there’s a difficult decision between two directors, the tiebreaker is the quality of the producer/line producer.
A lot of production houses are great at establishing confidence during the bidding process, but I’m a freak about who the actual producer will be on set. I want one that has a solid relationship with both the director and the production house at large. Even though the functions are different, it’s incredibly important to have a producer that has the same passion and imagination for the project that the director has.
Our producers are as passionate about the work as our creatives. And in the same manner that the creatives have the director to work with, the production producer and the agency producer need to truly be a team in order to bring about the best work. There are different interests for each to protect, but bringing back the best spot possible better be on everyone’s agenda.
I’ve been in a couple situations where the assigned line producer has been either a disinterested or un-empowered employee, and it clearly affected the shoot in a negative way. Then things become a battle. Thankfully, more often I’ve seen line producers respond proactively and nimbly to unforeseen problems. When they have the ability to solve budget or schedule crises on the spot, it’s a credit to the companies that hire them.
I really admire the U.K. protocol where long-term partnerships are formed between directors and producers. It shows a sense of commitment and trust that usually translates into a healthy collaboration between all parties. Overall, it’s a good thing to have one more person on the set fully engaged in ensuring that the production maximizes the potential of the concept and budget.
I’ve been looking at comedy reels lately [and have liked]: Tim Godsall of Biscuit Filmworks, Los Angeles; Lionel Goldstein of Czar.US, New York; and Kevin Thomas of Thomas/ Thomas, London (repped in the U.S. by Sandi Mollod & Associates, New York), who’s new to this market.
Jennifer Golub
Head of production
TBWA/Chiat/Day, San Francisco
There is beauty and integrity in the craft of the production process. My heroes are the executive producers—the creative problem solvers who support and assure their artists and clients alike. They manage the risks and vagaries of the production process in the pursuit of a concept, which is inevitably delicate.
Some new directors: Spencer Susser of bicoastal Bob Industries; Lionel Goldstein of Czar.US; and Ben Radtz of MK12, Kansas City, Mo. (repped by The Ebeling Group, Los Angeles), to name a few.
John F. Higgins
VP/group executive producer
Grey Worldwide, New York
After screening the reel of a prospective director, I’ll ask the production company to provide me a list of who the producer and agency was on each spot. I will then cold-call in to get a reference. I have gotten a range of answers from ‘Great!’ to ‘Never again.’
If I find myself in between (with a broad range) I have to trust my instincts (and follow-up to find out if the producer I’ve spoken to is known as being either ‘always pleased’ or ‘always disappointed’ by calling around within my network of friends/colleagues). I have no problem putting to writing my expectations. That has worked insofar as my rubric ‘don’t mistake my kindness for weakness’.
I met this wonderful young woman Jackie Oudney in Cannes. I think she is going to be the next big star in directing. Other than the female dominated agency producer category, I find there are not enough women represented in directing and editorial (think Carolyn Chen of Believe Media, for whom I fought to get her foot in the door here at Grey for Panasonic (she has subsequently gone on to shoot Pantene, Covergirl and the new KMart spots).
Steve Humble
Senior VP/director of
broadcast production
The Martin Agency,
Richmond, Va.
I am always honest and up-front from the start of the bidding process through the shoot. I really feel when we award a job to a production company that they are our creative partner. We are in this business because of the work, and we look for production companies with the same emphasis on the work. We are working together as a team to make the spots as good as they can be. It is important—as the production goes through the inevitable bumps along the way—that we work together.
My primary worry, however, is that shorter time frames and shrinking budgets are limiting our ability to collaborate, and these constraints can keep the work from being its best. The production company’s role is crucial in supporting this team atmosphere—from problem solving to dealing with financial concerns.
The Martin Agency has been very fortunate to work with great collaborative companies that have proven to be true creative partners. Companies like bicoastal Villains, bicoastal Epoch Films, bicoastal/international Hungry Man, bicoastal Anonymous Content, bicoastal/international @radical.media and bicoastal/international Partizan are shops that we have worked with recently that care about the work and care about making it as good as it can be.
Adam Isidore
VP/executive producer
BBDO New York
Production company criteria: I look for a production company that does what it says, stands by its word, is flexible and is familiar with the way we work, which can be trying at times.
I need to be able to count on them to handle the little details, like location directions and reliable shipping, as well as larger issues, like production know-how, excellent crews and good taste.
For some jobs, the choice of the production company and producer can be as important as the director. I prefer producers who are straight talkers and don’t start sentences with "no." I like working with companies that anticipate problems in advance and offer solutions rather than just overage requests.
So much of what we do involves a balancing act between being organized and being able to improvise. A production company must provide the organization that will allow the director to improvise. Last but not least, I also look for people I will enjoy spending 16 hours a day with.
Some of my favorite production companies are bicoastal Tool of North America; bicoastal/international Morton Jankel Zander (MJZ); bicoastal RSA USA; bicoastal Anonymous Content; Backyard Productions, Venice, Calif., bicoastal HSI Productions; and bicoastal/ international Hungry Man. Much of the same applies to edit houses and effects/animation houses. Some of the best are Crew Cuts, which has offices in New York, Santa Monica and San Francisco, and Charlex, New York.
Production schedules seem to be getting shorter and shorter, so there seems to be less time to track down new talent. That said, it’s bad business not to be open to new talent. The following are the names of some directors with whom I have not worked, but whose reels I’ve enjoyed: Christian Charles and Patrick Sherman at Anonymous, Jim Jenkins at Hungry Man, David Frankham at Smuggler, and Sophie Muller at Oil Factory Films, Hollywood.
I’ve also worked with three wonderful editors this year who are new to BBDO New York: Tim Squyres at bicoastal Cosmo Street; Andrea MacArthur, who edits in the U.S. via bicoastal Cosmo Street and in the U.K. through Peep Show Post, London; and Paul Kelly at 89 Editorial, New York.
Deborah Johnson
VP/executive producer
BBDO New York
In today’s economic times, where dollars are tight and production schedules are even tighter, the choice of the production company is just as important as the choice of the director. It’s critical to have the backing of (and the confidence in) a company that can pull together a production fast and turn out high-quality work.
For me, that means choosing a production company that knows how to put together the best crew for a project—a production company that does its homework and knows whom, what or where would be best for producing the spot.
We want the executive producer and bidder to find creative ways to deliver the spot for the money. I want to know that the details have been thought out, and I want to be confident the production company will stand behind their bid and make it work.
Having a strong and resourceful line producer is also essential to this process. A solid line producer who is always one step ahead, who not only anticipates potential complications, but also has a solution, can make the difference between a successful shoot and a complete nightmare.
A good production company is flexible and will allow for changes that will improve the board. Instead of saying, "We can’t do this," they find a way to make it work … and that’s exactly what an agency producer wants to hear.
Bicoastal Headquarters, bicoastal HSI, Omaha Pictures, Believe Media (bicoastal/international), and MJZ are companies that have moved mountains for me at BBDO. Tim Godsall of Biscuit Filmworks is a fantastic up-and-coming comedy director. His sense of comedic timing, attention to detail, and ability to get a natural performance from an actor make him a director to keep your eye on.
John Noble
Senior VP/director of broadcast
Element 79 Partners, Chicago
I’ll pass on a great director if I don’t feel the company has the right resources on the job or I have a weird feeling about it. Good producers have a sixth sense, and they know when they’re being "played." First and foremost, I look for a strong executive producer, preferably an owner, someone who has a stake in the company and is heavily involved and readily accessible. Day-to-day involvement with those cats is paramount.
I look for execs who elevate the directors and enable them to be at the top of their game, but at the same time aren’t afraid to step in when and if a director is off base or out of line. Top creative people need strong support and organization so I look for what I call the "buttoned-up factor" as well. To quell a client’s fears, there’s nothing like a well-run production house. Last but not least, there’s the line producer. … Yes, a good line producer is the most endangered species in the commercial production industry. I’m constantly amazed how many line producers think they’ve done their job if the director has a mocha latte in hand and 8:30 reservations at Chinois On Main. A great line producer ultimately has the power to make great things happen, and to create an environment for a director that enables them to be their best. The good ones should make double their current day rate. … The bad ones should be shot.
Hungry Man, Smuggler, Epoch, Partizan, and Bob are my favorites today. Ivan Bird at Serious Pictures, London, has amazing film. Kim Geldenhuys at Bob is damn good. I also think Stacey Wall at Epoch is incredibly talented.
Aaron Royer
VP/senior producer
Grey Worldwide, New York
In production companies, I look for shops that can quickly react to a project: is the guy interested? How quickly can a call happen? Speed, efficiency, and honesty are a critical element from the production side that can sway a project. A creative may make a great pitch, but if the company can’t quickly show they can pull it off, they are at a disadvantage. Scheduling is an issue especially when (as is more and more often the case) in light of directors being repped by different companies abroad. There will always be conflicts, but the timing and manner of how these are communicated have a huge effect on the process, and ultimately how creatives and producers feel about a company.
The sell-off is an art; it can be handled like a waste of a producer’s time, or being presented with a thought process behind it. If you are offering me a sell-off, what is the angle—will it be cheaper, is he dying to do the board, does he just want the opportunity to share his ideas? Agencies will never say no to hearing a directors thoughts if they are offered with no strings. A sell off of another director is a real opportunity to show the creativeness of a production company/executive producer.
Also, when production companies can leverage their relationships to get a great editor or top post effects house attached, that is a bonus. In terms of the edit, the good production companies enable their director to be involved. While the director may be shooting his next job, the executive producer has to facilitate the communication around the edits. The more a director can input on an edit the better. It seems that all the best directors have invaluable relationships with editors.
In my personal opinion, the hottest company right now is hands down is Smuggler—all their directors are really of the moment. Brian Beletic is a creative genius, and he is at the top of my list and the creatives I work with. His reel has the diversity and point of view that really sets his work apart.
