In Production: Judy Hill

Judy Hill, the newly-appointed executive producer, new business, at Nexus, has been in the ad industry for decades (if you count her time in front of the camera in commercials for Imperial Leather, Findus Pancakes and Knorr).

After realising that her acting talents were “pretty poor”, she joined JWT on a graduate scheme. She rose up to account director at the agency and left to join production company Spectre, then Large, Outsider and Nice Shirt Films. In her new role, Hill will be focussing on creating new business opportunities in commercials, TV and cinema at Nexus, as well as nurturing new talent.

In in the first of a new series of producer-themed features, Hill gives us further insight into her life in production, including projects that have impressed her recently, the changing nature of her role and how companies need to be adapting to technological advancement.

Tell us about an ad campaign you’ve seen recently that stands out for its production quality and standards.

I was drawn to Nexus for many reasons but obviously a big one being the quality and ingenuity of the work they produce. Honda Hands being a case in point – here was a two-minute film that was running as 15-second excerpts at the beginning and end of the ad breaks on Channel 4.

The interest and intrigue it generated drove over four million people in 10 days to watch the full-length film on YouTube. This massive level of interest encouraged Honda to run the two-minute film during an entire ad break – it was a try before you buy approach.  

The reason I like this spot so much is that the highly complex technique of moving from one Honda product to another is backstage (you never question how they did it) and the level of engagement is ramped right up. This is clever directing. It’s a joy to watch from beginning to end.

Why do you think the role of the producer is becoming more prominent and crucial today than it has been considered in the past?

It comes down to progression and ambition. The producer's role is evolving and becoming ever more crucial because so often the agency has a complex creative project – this could be a spot that interfaces with Facebook – so depending on the territory in which it is airing, the viewer can upload their selfie so they are part of the ad.

Typically a project like this may come to us in a very different form, merely as a verbal idea and our job is to develop the project with the agency until it is in a form that can be sold through to the client and executed as such.

The role of the producer is to carry the job creatively through this process until it is clear who the appropriate director or creative lead is for the project. We are finding, more and more, that we are a creative partner to agencies and not just a production supplier, but this hinges entirely around the producer's creative strength.

What’s your most valued production tool (tech or otherwise) and why?

For a daily creative litmus test, it has to be shots.

Thanks, the cheque's in the post. Tell us about a recent risk/investment you’ve made in your career or for your business?

Switching to Google Mail. However, the jury is still out on that one...

How has the industry changed since you started working in it?

I think the biggest change is being used as a creative partner as opposed to a production supplier and the idea that we can now deliver a joined up production right from the 30-second ad, to the supporting storybook app, the website, the print and even the designs for the merchandise, all under one roof. That is what agencies and clients want – a totally integrated solution from their chosen creative partner.

How do you relieve stress during a shoot?

Preparation is the key to avoiding stress on shoots. All the important decisions will have been made prior to turning over. Obviously things pop up on occasion that no one could have foreseen but I'm in the fortunate position of working with a hugely experienced crack team of producers who appear to take stress in their stride. Plus, a cup of earl grey tea at 4pm every day is the answer to everything.

What’s your favourite thing to do away from work?

You’ll often find me hidden up in the gods of the Royal Opera House watching the ballet or walking the dogs for hours on Hampstead Heath.

What has been the most significant shift in the world of production recently?

I think the Olympic Games Opening Ceremony was a big turning point where suddenly technology, with all its bangs and whizzes, was directed by a storyteller [Danny Boyle]. This was recognition that technology needs a narrative and an emotion for it to resonate with viewers.

For too long we have been happy to accept that technology is a good enough solution on its own but now we have realised, to really make it move people, it has to have a director in the hot-seat.

On a daily basis we are getting enquiries for our directors to drive tech projects; this could be an installation with an interactive element – a recent example was when celebrities on the show Project Runway appeared on a giant screen on the High Line in New York and judged the fashion of the passing public, reacting in real time.

Or an audio-visual experience based on an Oxford University professor’s research into jetlag. We took this research and created a pod with an entry system in which you tapped in where you had flown from and then it exposed you to a photo shower of light that helped you to overcome your condition. And, before you ask, yes, it did work! There was a queue round the block at the TED conference last year.

Our agencies and clients understand that our input turns these into talked about projects that create a level of interest way beyond what was originally intended.

If you weren’t a producer what would you be doing instead?

Seriously, I would be attempting to be a travel writer/photographer. In dreamland, I’d be on a constant safari in the African wilderness.