1) Look at everything with a fresh eye. You want your work to have a distinguished point of view and an accomplished look. Having said that, never lose sight of the client’s objective in making a piece of content. If you create work that is innovative, makes people stop and watch, elevates perception of the brand, and advances the client’s business goals, you will have a busy career.

2) Become the producer every team requests to oversee their projects. Learn as much as you can. Develop a great eye for creative. Keep looking for fresh talent. Work harder than everyone else. Earn your colleagues’ trust. Pay attention to every detail, but always keep the big picture in focus. This will help you anticipate problems before they become unmanageable and allow you to offer up timely guidance and solutions. There are going to be curveballs and tough situations; accept this now, be ready for them, and respond constructively. Your team needs you to be a leader. Be one.

1) When it comes to directors, I’m looking for the best creative fit first.  Everything else (scale/complexity of the work, agency or client credited, etc.) comes second.  If a reel isn’t appealing visually, emotionally or comedically within the first couple spots/content pieces, it will probably get passed over.  So, even though it’s kind of obvious, lead with your most engaging work.  Also, if you’re sending a reel for something specific (particular client, agency producer or EP, etc.), it definitely helps to do some homework and customize for that specific intent versus sending a broad “catch all.”  You’d be surprised how many reels I get which have nothing to do with the type of creative or clients I work on.

2) For producers, the same advice applies, but with some modification.  If I’m evaluating talent for possible staff or freelance, I want to know you can handle what you’re being considered for and/or are a good fit.  I’ll look at complexity and breadth of work on the reel.  Have you produced animation, retail, comedy, complex storytelling, and so on?  Also, agencies and clients you’ve worked with definitely get a closer look.  Creativity is still a piece of it, but I’m looking for the skill set of a producer first since I can’t be sure how much creative input they’ve had in the work on their reel.

What Technology is a “must be proficient in”:
Programs like those in Adobe Creative Suite are tech you should have some familiarity with.  Decreasing budgets and time, coupled with less willingness to take creative risks are leading to more proof of concept edits before work is sold.  If you add in the increased need for ultra-low budget content, I think knowing the basics of software like Premier, After Effects, Audition, etc., especially among more junior producers, is a good thing.  Yes, final editing/animation/audio on larger projects should be left to skilled full-time artists, and not producers (or creatives) who dabble in it, but some basic skill in those areas is definitely the future of production departments. 

Career-Life Balance:
It might sound simple, but turn it off.  Yes, there are times when I have difficulty putting down the mobile phone, but having four kids made me realize there’s life outside of advertising.  I’m not one to take frequent breaks during the day, so I go pretty hard at it when I’m in the office or on set, then try to spend as much time as possible with family when I’m home (again, it doesn’t always work out).  Also, take time to decompress.  Our jobs are pretty stressful, so take some time to get lost in things that aren’t advertising or production related.

1) My best advice to new directors is to keep directing. The barriers of entry are gone. You just need to direct something that people like. These days all you have to do to cast a shoot is to post a casting notice. Shooters are easy to come by. Work on your craft, If you have the talent you’ll be found.

2) If you want to be a good producer, you better develop your taste level. Go to museums, watch classic movies, read books about storytelling and learn narrative structure. The best producers know how to mix the right ingredients for the best possible execution of a story.

3) My efforts at McCann have been to build a production department that can make “anything.” I needed to learn what a modern production method could be — and to bring in producers that have different backgrounds and expertise, who can help make anything. We take on never-been-done-before projects, so we are always collaborating in different ways: both internally as a department and also in how we work with new types of vendors.
I’m constantly learning on the job, but that’s always been my experience in production: when a creative idea needs to be brought to life and it demands a deep investigation to figure out how to best execute it.

4) Releasing the Universal Love album for MGM after 2 1/2 years of development is a proud achievement. My wife and kids are proud that I worked on Universal Love. The campaign represents all that’s good in our industry. We’re lucky to have a client that had the patience to allow us to produce an album that has an impact.

1) Keep true to what it is you want to do, and do it better than everyone else. A lot of directors try to be everything for everybody to get more work. These always seem to be the directors that work less than others.

2) Build relationships with everyone in all aspects of our industry. A great producer is one with deep contacts that can help get any project done in any situation and location. Also a great understanding of the technical side of things is a big help. Knowing more than just what software and hardware that is used can be a huge help in managing artists on projects, bidding, and being realistic about deadlines.

3) The market is pretty ruthless and unpredictable right now, and I think some of the most valuable lessons learned as of late involve bidding and pitching for a project.
You really have to be able to read a bidding situation, and know if you are just a check bid for a project meant to go internal, going into a pitch with a studio already as the recco, or just an agency looking for numbers to bring someplace else. The lesson learned, ask tons of questions and be honest and upfront when approaching a bid or pitch.

4) Our recent Rebrand of the Washington Post stands out, as we built a pretty sophisticated toolkit that required some serious scripting and building a custom After Effects to Premiere pipeline.
https://vsnyc.tv/projects/content-re-brand/

1) There are a lot of directors in the market vying for the same jobs. Competition is stiff. You must find a way to separate yourself from the pack. Find a niche that is true to you. Develop a style that speaks to your talents and interests. Don’t make things you think other people want; make what you want. Only when you are authentically yourself can your differences shine through. There will be an audience that wants YOU. You need to show them who you are.

2) I’ve been a producer for 20+ years, and I still can’t explain what I do in a way my mother can understand it. Because as producers, we do a bit of everything. You are talent manager, problem solver, crew leader, location finder, accountant, casting aggregator and host to clients and agencies with high expectations. Your job is to determine what is most important about a piece of brand communication, and find ways to make that message clear to your audience. There is no one right way to produce a job. Be nimble. If your first idea doesn’t work, try another approach. There is almost always a way to execute your director’s or agency’s vision. You have to constantly be learning and exploring new technology and methods than can help get you there.

3) I am really intrigued by the benefits of AR for educational and travel films. We are currently developing a multi-media project for a client that has a full narrative story, an AR gaming app, and an immersive theater experience activated by GPS technology on users’ phones. One of the big lessons I learned was that with AR your point of view is outside looking in; with VR it is inside looking out. So designing shots in AR has been totally different and challenging. But the possibilities are so endless that your story can go anywhere. And maybe that is the biggest lesson I’ve learned through it all – it doesn’t matter what technology you employ, story is most important. If you don’t grab a viewer with compelling characters and their journey, the technology can’t hold on to them.

4) We produced an interactive film for IBM Mobile with Ogilvy that was shot as an action thriller. We helped ideate and execute a narrative story that was told in chapters, where users could choose their path of action. We shot it like an episode of TV, with a TV crew and award-winning director Brad Turner from “24” and “Homeland”. It was the perfect example of working together as a team – agency, client, and production company – to achieve an ambitious, common goal. Check it out: https://www.ibm.com/mobile/takeaction

1) Stick with your vision, don’t compromise your integrity. Create your own projects, be willing to wok on spec and be your best marketer.

2) As an up-and-coming producer, there are so many avenues that you can venture into. My thoughts are to stay open minded to all possibilities that may cross your path. You never know what doors may open or where paths may lead you. Speaking from experience, I have always had a goal and focus on where I would like to take myself and my business. However, I could have not visualized how the path would unfold.

3) Yes, I am continually learning sometimes stumbling through the process. Just yesterday, I had an enlightening experience during a meeting with a dear friend, our director and another producer. We have been having some creative differences on a project and I was ready to chalk it up as a loss! However, being open, honest and available to other’s feedback, concerns and creative passion, we were able to walk away with a mutual agreement and commitment to continue on with the project. I am proud of that.

4) I am proud of my work on the upcoming “Pose” Print and Social Media Campaign. I am proud to be involved in something I feel has a social issue behind it and I love being part of projects that represent real people, hardships and triumph, even if it’s bittersweet. The short film projects we produce have a similar vibe. Our motto is “Creating What Matters,” which I understand may mean different things to different people. To me, it means giving others a voice, a chance to be heard and a platform to tell their stories

1) The first thing I look for is a point of view. What distinguishes you from other directors. Be sure to get out there and be creative, make spec spots, make the work that you want to be doing. Make sure to research the production company you are approaching. Research the company, the EPs, what sort of work are they doing and what have they done. And research your competition. Remember, you are interviewing a new production company, just as much as they are interviewing you. Present 3-4 pieces of your best work and explain why you made it.

2) Don’t be shy about self-promotion. Your network of contacts is your net worth. Don’t ever discount a contact. Assistants have become Heads of Productions, and you never know where someone will end up. When making a contact, don’t reach out in a cold way. Do your research on LinkedIn or social media, and see what contacts you have in common, so you can reference who you both know. That outreach becomes much more warm and may be more successful in making the connection. These are the two things in my career that have led to success.

4) We have a new campaign launching for Teleflora for Mother’s Day this month, shot by our directorial duo Riess|Hill. Chris and Amy just debuted their new short film “Hula Girl” at the Tribeca Film Festival and this is their newest commercial campaign about the breadth of what it means to be a mother. Using real people, the campaign shows real mothers and the challenges they have taken on in their motherhood. It’s very touching and a perfect project for Chris and Amy. We had the best time collaborating with the agency creatives at Wonderful.

1) How about new directors at a new company? I think if you’re joining a shop in a director’s role it is crucial to take the first few weeks or months to feel out the culture of a place. Understand how people work before truly implementing any process changes or putting your mark on things. You don’t want to turn people off by acting like you have all the answers (you don’t anyway). So take the time to learn who you’re working with so you can set them up for success.

2) Don’t be afraid of baptism by fire. I really believe the best way to learn is to just throw yourself out there and get the experience. You will learn a lot on challenging projects — mainly how you would run it the next time. That is where you become a good producer, when you can start to plan for the obstacles — that don’t exist yet — but you know they are around the corner and you have a plan of attack.

3) Not sure if this is a lesson, but build in time for failure. Call it R&D to your client. While at Firstborn I worked on one of the first VR projects for a brand. Oculus was only a Kickstarter at the time, there was no blueprint for capturing content, very little VR documentation, but somehow we sold in a VR project! 

Our next step was building a camera rig — so we 3D printed several rigs that would house multiple GoPros. While that was going on, we had a creative technologist working on stitching software. Once we started to feel good, it was time to test out our rig. And by test I mean putting our cameraman on a skateboard and bombing down 6th Ave in NYC to get our footage. After some trial and error, we nailed it.

4) Our latest TV spot for Cobra Golf is a special one to me. As is often in our business, we had an ambitious timeline and no room for error. We laid out a complex workflow at the beginning of the project that we felt good about and it got executed almost to perfection. As Producer, that’s the best feeling you can have on a project. https://vimeo.com/250482740

1) Get yourself in front of agency producer and creative types. I’m not talking about rep lead presentations. I’m talking about grassroots reaching out to people like me, and getting your foot in the door that way. We’ve had a few young directors that were based locally come in for some face to face meetings, and it led to good things for both of us. We’ve had the same luck with some young talents in New York. These are essentially independent directors vs rostered talents. Though, two have now moved on to formal representation, and more work. 
And be collaborative. It’s necessary.

2) To be humble, and become a world class listener. There is nothing that will hobble a young Producer’s career like not admitting what you don’t know, and talking before listening to what your team/client/vendor partner are really saying, so you can understand where the issue or opportunity is - and then making an informed and smart comment on the best next step. Even if that comment is an honest, “I don’t know, but I will go find the answer.”. It’s okay that you don’t know everything. You’re learning, and you should just embrace that and soak it all in.

3) Well, the most recent one was today and it has to do with an existing SAG waiver that, when used in a certain manner, can be very helpful with the challenge of costs for the myriad of assets being desired. But I think the thing I’ve learned the most is...that even after 18+ years as a Producer, every day is a new day, and a new opportunity to expand your knowledge base. It might be a SAG thing, or a new bit of tech that you can wrap an idea around to make it stronger, or just a different way to approach a VR shoot to control costs while still maintaining quality. If you seek out information, and allow yourself to admit what you don’t know, you’ll be far better off. I preach this to my team, and practice it myself.

1) Be selective about what you agree to shoot for others and yet shoot for yourself whatever you feel will advance your craft and give you pleasure.
Don’t be fooled to think you can save a bad idea or script through execution.
You are only as good as your last job.
Partner with others. A great editor can make or break a film.
Understand your audience.

2) Don’t chase money or title, when you have produced great work, both will chase you.
Explore all opportunities and only work at a place that values creativity above all else and the role production plays in it.
Always understand the business problem the work you are producing is aiming to solve.
Collaborating is where you find the magic.
Take a chance on up-and-coming directors, like you, they are starting out and need opportunities to prove themselves.
Listen more than speak, but know when to speak up.
Don’t be afraid to fail but be sure to have a “Plan B” up your sleeve.

3) I learn something new every day and yes, new technology, of course can surprise and delight and advance our craft but it’s people that never cease to surprise me. Recently, a small team of DDBers went off and produced some inspiring work aimed at tackling the lack of diversity in our business. “Black Out Loud” is a series of films, featuring accomplished African American leaders in the creative and advertising communities, sharing their journeys. Schools and universities, such as VCU Brandcenter, are now using “Black Out Loud” as a recruiting tool to encourage African American students to consider advertising as a career. No client, no brief, no budget, just a genuine desire to make a difference.

4) DDB’s Skittles Super Bowl ambush this year was brave and totally unique. What client wants to produce a huge Super Bowl ad and not share it with 100 million people? The answer, our amazing Skittles clients. With a teaser campaign featuring David Schwimmer, media buzz, a huge Super Bowl worthy production and yet only one lucky person, Marcos Mendendez, got to see it. The rest of the world got to see Marcos viewing the ad on Facebook live.

1) If you’re wondering how to get agencies or production companies to notice you when you haven’t worked for them yet - go make something special and get it out there. With equipment so accessible and Vimeo and the like, there is no excuse not to. Creatives and producers are looking for new directors online. And a short film with great storytelling, beautifully shot and directed is the stuff they love.

2) If you’re not a “first call” producer every time, get in as a production coordinator and crush it. So the next time the production co. finds its favorite producer already booked, you’re the next call. We’ve promoted super talented coordinators to line producers numerous times – because they were so damn good.

3) To me, it’s the personal, not tech that I really enjoying learning. Because we capture the stories of so many authentic people, there almost isn’t a project that goes by where I haven’t had the opportunity to meet someone fascinating. It could be a super interesting woman who cage fights, a bush pilot working in Alaska, a music teacher or just a guy on the street. Every person has a story, and you learn so much from them when you open yourself up to it.

4) Particularly proud of our recent “In It Together” campaign for LinkedIn with actual members. It shows what docu-style can be when you marry story and aesthetic. Black & White, cinematic. Great stories of people you wouldn’t necessarily expect in spots like this - from ranching, education, culinary, the arts and a mixed-martial-arts fighter. https://youtu.be/VS4sNlXPsB

1) Don’t make spec spots, it’s like playing tennis without the net. If you’re making something without a client, tell stories that are important to you, not what you think other people will want to see. Surround yourself with people who care about you on a personal level, and who will challenge you. Early on, you’re going to need people who believe in you and who will make sacrifices for you to get you where you want to be. Later in your career, you’ll need them to be very real with you if you want to stay sharp.

2) Looking for new, innovative, faster, more efficient ways to produce is always important, perhaps now more than ever. Having said that, it’s crucial to remember that there is a process to creating great advertising content. You can only cut so many corners before it starts showing up on screen. Trust the process. Protect the craft. Give great filmmakers and creatives the space to do what they do best.

3) I have always tried to learn as much as I can from experienced EPs that I’ve been around, and among the many things I’ve learned the two that stick out are: Think fast and think ahead. Production is not unlike poker in that you always want to be pushing the action. That doesn’t mean that you’re manipulating or forcing things, it just means that you’re thinking ahead about what a client or director might ask for and you’re preparing for that 3 steps ahead. I feel like I’m re-learning this lesson all the time and constantly finding new ways to think faster and think ahead.

4) I love the project we just completed for SoundCloud, launching their first brand campaign. We shot with seven artists (including Kehlani, Galimatias, and Taylor Bennett) in three cities and produced films, stills, and audio ads for the brand. We were able to collaborate from the jump and develop creative together. It allowed us to flex all of the MassAppeal’s muscles and put our unique fingerprint on the project.

1) At Tango, we are lucky to have a roster of both veteran and up-and-coming directors. I think it’s important for new talent to keep an open mind and a positive attitude. As a new director, the work coming your way might be incredibly challenging but it’s an opportunity to step up, problem solve and leave a great impression - it’s very likely that you’ll be working with that client again. I believe the best directors can walk away from just about any shoot and tell you something they learned and how that experience can benefit their next project.

2) Coming into production from a postproduction perspective taught me to pay attention to items that are often overlooked by new producers but are crucial to making the story complete. I’d encourage new producers to learn as much about the entire process as they can. Knowing the ins and outs of each position arms you with knowledge and allows you to become a good leader. As a new producer, choose to wear many hats on a project - you’ll learn a lot. Also educate yourself on emerging tech, and ask for guidance from more experienced team members - there’s lots to be gained from hours questioning approaches and bouncing ideas back and forth.

3) We are always learning on the job. Just when you think you have it figured out, something inevitably changes. for Tango - working on virtual reality jobs is something we are doing more and more of - but it’s relatively new. We recently added director Elliot Dillman to our roster, while he is an expert in virtual reality, we are learning lots from him as we ramp up on the most cutting edge techniques in VR production and post. We also realize what we “know” today will change three months from now - it’s exciting! 

4) One of the of the most interesting projects this spring was the incredibly fun content out of Team One for Lexus called “Genetic Select”. It was part of their April Fools Campaign with 23 & Me. We had a great time doing it and enjoyed watching the roll out in the week leading up to April 1st.

1) Work as much as you can, find your style and continue to evolve it.
Take every job no matter how big or small. When you’re first starting out don’t be shy to jump in. It is important to get out there and learn as much as you can and make connections. The more exposure and experience you have the more you will find and define your distinct style. It is also the best way to stay current and fresh.

2) Don’t ever say or assume something can’t be done and if you have to say “no” make sure it sounds like a “yes.”
If you are looking at the bottom line sometimes ideas can feel impossible, but get creative. Anything can be done when you are telling a story.

3) If there isn’t an immediate solution, brainstorm to come up with innovative and original options.
A few years ago, we did a project with Volkswagen and National Geographic. The ask was to create a high-res timelapse 360 video. A 360 timelapse is a rare combination so we had to create proprietary technology in order to make it happen. Within days, Deutsch, Supply Frame and National Geographic created an off-the-shelf solution to bring the VW campaign, “STRANGE Terrains,” to life, which was shot by world renowned photographer Renan Ozturk.

4) I have recently been involved with a non-profit called Film2Future (F2F), an organization that works to build the pipeline of diverse students into the entertainment and ad industries. The path to film and creative careers are filled with obstacles that come with a price tag. This program provides diverse at-risk students with courses to expose them to the vast opportunities in the creative communities. F2F has had great success landing its students in jobs, internships and even getting some of their students full-rides to universities such as Syracuse and USC. I am proud to be part of this mission. https://www.film2future.com/

1) Tracy Wong sometimes talks about the difference between listening with an empty mind versus an open mind. An open mind is already filled with ideas and beliefs. You might be open to hearing a different perspective, but your head is already crammed full of your own experiences as you listen. Listening with an empty mind allows you to process a story or idea without that bias. That’s an especially important skill for new directors to hone because they’re fundamentally telling other people’s stories for a living. Empathy and collaboration are critical to doing that effectively, and that starts with listening well.

2) Don’t pigeonhole yourself. The best producers are naturally great listeners, creative thinkers, and problem-solvers. They’re also super-organized. If you foster those skills in everything you do, while embracing every kind of project opportunity you’re given, you’ll add a diversity of hard skills to your kit that will make you invaluable to any production or organization. You might find that you prefer producing TV spots over apps or social content, for example, but having that variety of experience early and often will make you a better producer of whatever you ultimately decide to focus on.

3) A few years ago, I produced a series of emerging tech installations using photography, video, and 3D assets layered into various other kinds of digital development, including AR. I didn’t have a large team of producers to navigate the entire program, so I found myself relying on my production partners to fill in knowledge gaps for me along the way. I always try to recruit the smartest, most collaborative production partners I can find because they are usually the best teachers. The project wasn’t without its bumps, but if you have great partners, listen well, and are upfront about where you need their guidance in specific planning steps, you’ll learn what you need to know very quickly. I also believe we are all better producers when we’re just a bit on our heels, doing something that we haven’t completely mastered. I’ve spent most of my career at smaller shops in part because it gives me that constant variety and opportunity to learn new things.

4) Reimagining the entire visitor experience for the Space Needle was definitely a career highlight. From collaborating with the visionary architectural team at Olson Kundig, to building out a year’s worth of individual production programs, that was definitely the most expansive and inspiring project I’ve ever had the pleasure of working on. It was humbling to experience the finished product holistically—and acknowledge what amazing things a relatively small group of people can accomplish.

1) Be Diverse & Inclusive - With so many ways creativity can solve a problem, take a step back and question: Is this the right thing to be doing? Why does this approach matter & who am I talking to?
Make diversity central to your approach and your future. Keep inclusion top-of-mind when looking at a brief – from overall storytelling, casting, locations & wardrobe to your choice of crew. Clients and creatives need to be pushed to ensure they are not only part of social culture, but that they are helping to shape it.
Be curious, open and aware of the world. Travel, listen and engage in diverse human experiences, it’s what we want to see in your work.

2) Be Creative - In today’s constantly changing content environment, speed to deliver fresh, innovative content is essential. Don’t underestimate your creative input; the best producer should be considered a valued creative partner. Get involved as early as you can and be an active member of the creative development process. 
Be Brave - Get comfortable with the unknown. Given the thirst for content innovation, if you are doing something for the first time and it’s uncomfortable – embrace it. You are breaking new ground, developing original creative and production approaches that will lead the client and team to new frontiers. 
Oh, and listen.

3) Be comfortable with the unknown - In a recent pitch the creative was built around “innovative experiential creative” – the production, creative & strategy teams partnered with creative technologists to co-create unique ideas and production approaches. As a producer, entering the world of the unknown was a little unnerving however, it was actually an incredibly exhilarating and powerful experience. If you know it all and have done it before time and time again then you or the work/agency are not growing and breaking new frontiers.

1) When writing treatments, less is better. Make sure your references clearly depict what your vision is. Every reference matters. Ask yourself: Does the treatment address the challenge? Does it meet the main objective of what we are trying to communicate? Don’t use references that are all over the place just because you like them and hope they stick, or simply to get the job. The agency has gone through rounds of revisions already and the team has put a lot of effort, churning the concept until is approved for production. Give the agency a good reason to choose you.

2) The producer has to be a problem solver, so surround yourself with the best talent your budget can afford and never take shortcuts. You’re also the glue that helps enable communication between team members and keeps them on the same page. Be organized, communicate clearly and in a timely manner. Don’t bring a problem to your team without at least two solutions, and keep in mind that money should never be the only solution. Stay up-to-date on technology, equipment and trends. Be a champion and be fair, and most importantly, never compromise the creative.

3) I’m currently involved in Orcí’s website redesign, and we’ve designed an AI-backed section which shows how Hispanics are feeling and analyzes their collective mood based on trending topics in a particular area. Basically, it’s a social media sentiment analyzer and I’m excited about the possibilities. Producers don’t typically get involved in these types of projects, but we have a lot of insight to share and collectively, can broaden a team’s tool kit. My experience with the redesign efforts helped me identify best practices and better understand how to best approach a production, knowing that one component may have to fit in with something with several other moving parts.

4) We recently produced a commercial for Honda’s CR-V, casting children with special needs. It was a fantastic, humbling experience to see all of these talented kids come in, grateful to be considered for an acting role in a commercial. I wanted to hire all of them. The shoot ended up becoming a bit challenging due to bad weather as it rained throughout the day, but we managed to shoot everything without incurring added costs.

1) Hone your craft by directing as much as possible. Directors need to be out there experimenting with story, technique, and actors. Make interesting short-form pieces of content that pique people’s curiosity. Live an interesting life. Experiment. Fail. Travel. Meet strange people. Get out of your comfort zone. Work with different people. Explore as much of the world that you can so you have stories to tell, and the technical ability to tell them in moving images. Own your career path. Your success is ultimately in your own hands.

2) Produce anything and everything you can at any budget level. Protect your directors. Give clients excellent service. Say yes. Find ways to make any request happen. Producing is about empowering the creative vision or visions of whomever you’re working for. So figure out how to do that and you’re off to the races. Never ever, ever give up. Be nice to people as much as possible but be mercenary when you need to be. Be fair and honest.

3) There are innumerable lessons I learn on a daily basis. I would say the greatest lesson that I continually come back to is that you need to constantly evaluate your successes and failures every day. Never stop self-evaluating. Ask the tough questions of yourself and others. Hold yourself to the highest standards.

4) Bullitt recently produced a project for Stevie Wonder and CAA to commemorate Dr. Martin Luther King Jr.’s dream which I’m incredibly proud of. Candice Vernon directed the project, which achieved 1.1 billion Twitter impressions and 380 million unique views. Link: https://www.dreamstilllives.com/

1) Learn the business and never stop creating. Directing for a living is a privilege very few get to experience. Respect that privilege, and when someone gives you the opportunity, drop your ego, be a team player, and do it with a smile. You’ve got a daunting challenge ahead of you, so make the journey as special as you hope the destination will someday be.

2) Don’t pretend like you know everything. It can seem scary to risk asking a dumb question, but by allowing myself to do so, I’ve learned exponentially faster, made fewer mistakes, and earned the respect of those around me quicker by being honest and genuine. We live in a time where all aspects of our industry are constantly shifting. There is no road map, there is no guide book. You need to forge your own path, and make sure the path you forge is one that you love – because you’ll spend a lot of time walking it.

3) In airline safety messages they remind us, “If you’re traveling with someone who requires assistance, secure your own oxygen mask before assisting others.” This advice is important to heed even when you’re not flying. The industry we work in can be stressful and chaotic, and often we prioritize the projects needs before our own. This year I’ve been focusing my attention on this lesson: In taking care of your own health and happiness we better serve the needs of our projects. With this change of perspective, my team and I have taken meaningful steps towards building a happier, more creative, and more productive workplace.

4) I’m extremely proud of a recent pro-bono piece we did in collaboration with youth poetry organization Get Lit and social justice group Into Action. It was directed by Mike Harris and Aaron Grasso, and creative directed by Ido Gondelman of agency Fast Machine. These are challenging times, replete with turmoil and uncertainty, and we were honored to help realize the groups’ voice and vision. https://vimeo.com/264681819

1) It’s all about the treatment. Your treatment has to represent your strong creative vision for bringing the project to life. We’re looking specifically that you walk us through what the spot is actually going to be – not just the feeling or some references. You have to own it. And when the project is completed, everyone has to be able to say that you delivered the treatment.

2) You are the face of the production, the first person to represent the work when you begin bidding the job and you are the constant contact throughout the production. How you react to all of the ups and downs of the production is the barometer for how team will react. Stay calm, it all will work out.
You don’t need to tell everyone everything. Just share the information that has the greatest impact on the work, not all of the day to day minutia that comes up.
And, always call the EPs who are not being awarded the job. It’s the right thing to do.

3) I learn something new on every job; traditional TV production, digital content, social or experiential. It can be as simple as a new way of sharing notes on a shoot from the creative team to how a director communicates with video village to something as complicated as figuring out the best way to produce a client-sponsored comedy series (Here’s a tip on that last one… get production help finding comedy series writers, not directors as directors fluctuate on series, but writers don’t.

4) I know how much heart and soul we all put into our projects, so I have to say that I’m proud of all of the work that not only I produce, but that my team produces. 
Though this one in particular stands out. We worked on a summer radio/digital project for Coca-Cola where we created a specific song for every name that they printed on their labels. A total of 1,000 Songs. Everyone in the agency wrote lyrics, Score-A-Score created the music and made it all happen and we even created individual animation videos for each name when you viewed online. It was a true integrated production.
Here is the link to check it out. https://www.dandad.org/awards/professional/2018/media/27050/share-a-coke-1000-name-celebration/

1) Consider staying independent while you get established. Agencies like ours have created robust in-house production companies where we hire independent directors all the time. Brands are doing the same thing. There are a number of solid reps out there like WinstonWolfe.pro that will be happy to represent you.
Don’t read your treatment when presenting to the agency. We have already read it. We want you to use the time to articulate your vision for the work.
We want you to make our ideas better. Your treatment should show us how.

2) Your job is to turn creative ideas into tangible things. You must approach creative work with a solution-first mentality.
You are the calm, cool center of the storm. Understand that if you are panicked, the team around you will be panicked. 
Asking questions is far better (and more efficient) then trying to figure it out on your own.
Having a Rolodex of solid, trusted partners is worth its weight in gold. Watch the reels from your reps and partners and cultivate lifelong partnerships with your vendors.
Always personally call the partners/vendors that did not win the bid and explain why. Give them something that they can learn and grow from. They probably just spent thousands of dollars in hours putting together that bid for you, so an email is not enough.

3) Over the years I’ve produced broadcast spots, content, websites, interactive and innovative campaigns, radio and everything in-between. I didn’t set out to be an integrated producer, but I was able to do this by staying curious and being confident that I can figure out how to get something and anything made. To this latter point, knowing my own limitations is critical and having a list of partners and experts to call is vital. I am currently heading up a project where we want to serve interactive content on the main social platforms in ways that have not been developed yet. My job, in this case, is to work with our development team to research various third-party platforms, find out if they have the capabilities to custom-build the features we want to see, and then find out how all of this can be served. Shooting the video and producing the content is the easy part! This an opportunity for me to learn something new and for my clients and teams to be first-to-market with something super cool. It’s part of the job.

4) I have had the fortunate opportunity to produce a few projects recently which have been firsts for their respective brands. I love the work I did for our clients at Southeast Toyota where we were able to promote the safety technology features that now come standard in the Camry by replicating them on a bicycle and filming a docu-style spot. Not only did we discuss and show off the technology, we brought light to the challenges faced by bicycle commuters every day.
I also worked on the Baskin-Robbins “Got Me Like” campaign that just hit the market two weeks ago. This campaign showcases this beloved, iconic brand in a new light, infusing the language of the internet (GIFs, memes, etc.) with the gorgeous product – a perfect way to attract a new generation of ice cream enthusiasts. From a production perspective, I am extremely proud of the collaboration both internally at 22squared between creative, production and account management and also with our production partners at Psyop. The project was clean, under budget (yay!) and yielded work that surpassed our expectations. This couldn’t have happened if all parties were not as invested as they were and able to work as closely as we did – not always easy being on both coasts.

1) It is definitely a challenge when you’re starting out. My number one action - create work to show. Get out there and partner with people, and whenever possible create spec material for jobs you are bidding on to gain experience. Build up your reel and keep it fresh. You have to put yourself out there, so reach out to those you admire most and have them introduce you to industry people that are like-minded. Finally, showing your willingness to constantly try new things will keep you top of mind when teams are concepting.
 
2) A good Producer not only works to inspire others but dives in to help solve problems and find creative solutions. Get to know the people you work with, take the time to truly understand their personalities and needs, and look for unique ways to engage with them. That said, you also need to take time to do research, establish a clear point of view and to get excited about new technologies.
 
3) From the kick-off, ensure that the team is working towards the same goals. Do your research on the technology and make sure that you have the people in place.
That said, embrace what you know but also be prepared to enter the unknown. With new technology, sometimes you have to throw everything out the window and start fresh with experienced participants who are also embracing the unknown by researching, prototyping and constantly learning from new innovations. This was my experience for a recent project using AI. If the goals are focused to map new technologies to conceptually driven work, then the outcome will most certainly delight you, the team and the audience.
 
4) I recently spent time working with a team developing tools to turn casual conversations into innovative voice experiences. We prototyped using a range of techniques to incorporate voice interaction with devices and explored how complimentary voice actions can initiate music. It was an extremely rewarding project with an amazing creative team.