Rebecca Bourke on Being YDA Producer of the Year

In Cannes last month the Young Director Award [YDA] celebrated the filmic achievements of a host of youthful directorial prodigies. Coverage of some of those winners will be featured in the new issue of shots magazine, issue 165 (out later this month).

But in addition to the directors awarded, the YDA also highlights the achievements of producers with its Producer of the Year award. In 2016 that accolade was taken home by Assembly Dublin founder and eminent producer, Rebecca Bourke [pictured above with YDA president, Francois Chilot, left, and Martin Werner, president of this year's YDA jury].

Below, Bourke talks to shots.net about her role, how it’s changed and what it takes to be a successful commercials producer. 

How did you become a producer and was it something you’d always aspired to?

From a very young age I wanted to be in the film industry in some capacity. When work experience came around in school, I opted for a position in the newsroom in our national broadcaster, which I loved.

As soon as I finished college, I began working as a runner and started climbing the ladder. Initially I was assisting on TV shows until a friend asked me if I would freelance in a commercials production company for three weeks. I said yes and ended up staying there for five years.

You’ve spotted and nurtured a number of very talented directors, not least one of this year’s winners, Benjamin Cleary; how hard is it to know when someone has the ‘something’ that you think will propel them forward?

The 'something' that directors need is creativity and drive. Passion, ambition and talent are crucial too. Benjamin has all of those attributes and more; he's very meticulous and his attention to detail is exceptional. I can say the same of [previous YDA winner, with PlayStation Our Shoes, above] Ciaran Foy and, in fact, all the directors we have: they live and breathe their job.

What do you think is the most important attribute that a producer needs to have?

Organisation; you need to be on top of every aspect of the production and, if you are, everything should run like clockwork. Naturally there are some hurdles that you will inevitably encounter along the way and are impossible to anticipate but there's a solution to every problem and it's about approaching everything in a calm manner.

Creativity is important too, after all, it’s a collaboration, the producer and director are a team and you need to be able to take whatever the director is visualising and ideally make it better!

In your time as a producer, what’s the biggest change you’ve witnessed in relation to your role?

When I set up Assembly I started representing photographers, illustrators and composers as well as directors. That was a big change to my role as a producer, crossing between all the mediums, but a very welcome one; I thoroughly enjoy moving from job to job.

On any given day I can be working on a photoshoot with one of the photographers, a commercial with one of the directors, a piece for radio with one of the composers, a spread in a magazine with one of the illustrators or all of the above. It’s really exciting. Our company goal is to cover all aspects of a campaign with the talent that we have. It’s a one-stop-shop for agencies and brands.

What’s the most unusual situation you’ve found yourself in as a producer?

From time to time you end up stepping into different departments or roles; whatever you need to do to get the production done. A few years ago, I was producing a low budget production for a charity called ISPCC (Irish Society for the Prevention of Cruelty for Children) focusing on runaway children.

There was a controversial scene that we had to shoot and at the last minute our stunt person pulled out so I had to step into her place. That was definitely the most unusual situation I’ve found myself in… in my producing role, anyway!

Why do you think there are many successful female producers, but far fewer successful female directors?

Honestly, I don't know why. What I do know is that there are some outstanding female directors out there at the moment and I think it’s beneficial to focus on recognising them more, rather than concentrating on the lack of female presence in the directing world overall.

How important are events like the YDA to encourage and reward young directing talent?

It's extremely important and a great opportunity to launch careers. Obviously there are a few different routes a young director can go down but in my opinion, aiming to enter the YDA and get a nomination, is by far the best option. The exposure is fantastic and the director is automatically on the radar of production companies and agencies without having to knock on doors.

What does it mean to you to win the YDA Producer Award?

It was the best moment of my career to date and totally unexpected. I knew there were some serious contenders, producers that I hugely admire, so I presumed they had it in the bag. It's a massive honour.

What advice would you give to people looking to break into producing?

Get experience in a couple of production companies before you start producing. Work your way up, assist, coordinate and manage. I was lucky enough to work under some of the best producers in our industry and I learnt so much from them.

There is a huge amount involved in producing and mistakes can be costly. If you have experience under your belt the likelihood of this naturally decreases. Also, don't be afraid to ask questions. Our job is about double-checking everything, even if you know it’s done already.