Producing Tomorrow鈥檚 Producers: 'The Production Table Should Be a Collaborative Space' with Claire Perkins
Claire Perkins launched her career in New Zealand at Exile Films, specialising in line production for international clients. At just 22 years old, she transitioned into producing, a role that has since taken her across the globe.
Having lived in London and now Australia, Claire boasts a diverse portfolio encompassing live action, stop frame, 2D and 3D animation, CG, and post production. Her expertise has positioned her as a creative producer, collaborating with renowned directors on a global scale. Previous positions at Unit Post and Nexus Studios London saw her experience combine technology and craft on projects for major global brands.
Claire has worked alongside renowned directors like the Oscar-nominated Smith & Folks and Derin Seale. Noteworthy career achievements include contributing to two projects awarded the Cannes Grand Prix: Chipotle's "Back to the Start" in 2012 and the ALS 鈥淧roject Revoice鈥 in 2018.
As head of production at FINCH and currently working as executive producer at MOFA, Claire has not only mentored emerging talent but also maintained partnerships with leading directors, clients, brands, and agencies.
天美棋牌> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?
Claire> Don鈥檛 rush. Start at the bottom and work your way up. It鈥檚 in excelling at every stage that will make you the best producer. You will gain peoples trust by making a great coffee and having a good chat. Not by dropping the ball because you are out of your depth.
While formal education can provide a foundation, much of what makes a great producer comes from personality, instincts and most importantly what you bring to the table creatively.
Enjoy surrounding yourself with experienced professionals who are at the top of their game. Observing how they work, handle challenges, and manage projects will provide you with invaluable insights, mentorship and help find your own rhythm.
Everyone has a unique approach to production, you鈥檒l develop your own style and workflow so trust your instincts and find the methods that work best for you.
Don鈥檛 just execute tasks; bring your creative ideas to the table and think outside the box.
天美棋牌> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?
Claire> Using a phone. It鈥檚 an oldie but a goodie. So many people are scared to pick up the phone these days and instead rely on emails and chat platforms. Everything can be done quicker, with more nuance and tenacity which can mean the difference of getting something across the line or not.
天美棋牌> What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?
Claire> Be kind. Treat everyone with respect, regardless of their role. Stay calm in stressful situations and help your team navigate challenges. Maintaining positive relationships and reputation is crucial in a collaborative industry like production. Being respectful and empathetic builds trust and fosters a supportive work environment.
天美棋牌> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?
Claire> There鈥檚 still so much we can do to help with accessibility to the advertising industry in Australia. We are screaming into an echo chamber if we don鈥檛 capture everyone鈥檚 voices.
There鈥檚 a few promising practices emerging with the rise of diversity and inclusion consultants on set. Diverse casting is still a big topic on every job and making sure we are portraying a cross section of people across the country. Creatives are also writing more and more roles that speak to this as well.
The Commercial Producers Council in Australia are looking to proactive incentives for broadening access to Indigenous film makers and inclusion programmes for people living with disabilities.
天美棋牌> And why is it an important issue for the production community to address?
Claire> We need to build a society that supports and celebrates all people. Ensuring representation and diversity in advertising reflects and celebrates society as a whole. It's a social responsibility to portray a cross-section of people accurately and respectfully.
天美棋牌> There are young people getting into production who maybe don鈥檛 see the line between professional production and the creator economy, and that may well also be the shape of things to come. What are your thoughts about that? Is there a tension between more formalised production and the 鈥榗reator economy鈥 or do the two feed into each other?
Claire> I think both can coexist and complement each other. The creator economy relies on agile, direct interaction with audiences, and speedy content creation. Whereas formalised production focuses on high-quality, strategic campaigns with more structured processes, highly skilled crew & resources. I think both sectors can borrow from each other's strengths. It鈥檚 important to educate client on the differences though so they can tailor their expectations.
天美棋牌> If you compare your role to the role of heads of production when you first joined the industry, what do you think are the most striking or interesting changes (and what surprising things have stayed the same?)
Claire> There鈥檚 definitely more emphasis on digital tools, agility, fast turn around workflows and diverse content creation. We were hand delivering and faxing call sheets when I started out! It does feel like due to the reduction in budgets but increase in expectation, that producers and EP鈥檚 have broader responsibilities and are required to wear more hats.
Core skills like leadership, problem solving and relationship management remain the same. Along with the need for strategic thinking and creative vision.
天美棋牌? When it comes to educating producers how does your agency like to approach this? (I know we鈥檙e always hearing about how much easier it is to educate or train oneself on tech etc, but what areas do you think producers can benefit from more directed or structured training?)
Claire> To be honest on the job training and mentorship is still the best for us!
In the mean time focus on the digital tools, project management, being pro active, the legal aspects of production and immersing yourself in the craft.
天美棋牌> It seems that there鈥檚 an emphasis on speed and volume when it comes to content - but to where is the space for up and coming producers to learn about (and learn to appreciate) craft?
Claire> It鈥檚 true, it鈥檚 so hard to find the time. Constantly highlighting the appreciation for storytelling, cinematography, editing, and other artistic elements. Attending film festivals, workshops, gigs, and creative cultural references are all relevant to the work.
天美棋牌> On the other side of the equation, what鈥檚 the key to retaining expertise and helping people who have been working in production for decades to develop new skills?
Claire> Companies should be offering learning opportunities and checking in on their employees current goals and ambitions 鈥 as these change regularly. I also like to promote a culture where everyone feels comfortable to ask questions of their peers. Be it small or big the production table should be a collaborative space.
At the moment I would say upskilling your knowledge of sustainable production practices plus an awareness and understanding of diverse cultural perspectives is a huge must.
天美棋牌> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?
Claire> Strong communication, problem-solving, and decision-making skills.
Creativity, attention to detail, and the ability to collaborate across diverse teams.
Most importantly .. the ability to not take yourself too seriously.
