In Production: Colin Pearsall

Colin Pearsall has been in the industry for 20 years but going into production was what he describes as a “random occurrence”. He moved to Poland in 1991 planning to teach English and travel the Soviet Bloc. Instead, he met the CEO of McCann-Erickson at a bar in Warsaw and was offered a job as an account exec. He went on to become a copywriter and then a writer/producer at Studio Oto.

Now, as executive producer/chief operating officer of Passion New York, he works on growing the company’s presence in the US and attracting new talent and opportunities to the studio. He also collaborates with the management team to integrate systems and strategy across the studios in London, Paris and New York. 

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

A campaign that always sticks with me is MCNBC’s Lean Forward.

On a branding level, the campaign places the network in a clear and ownable space. There’s a frankness about the message that lets you know why this network does what it does and the brand identity is enhanced by conceptual production choices. The docu technique is simple and magnetic. It pulls you from complacent voyeurism and into dialogue with the content, which feels very real and present. The execution weds style and strategy.

Do you feel the role of the producer is becoming more prominent and crucial today than in the past?

I don’t think it’s a matter of being more or less prominent, but I do think there’s been a shift. The agency producer’s role mirrors changes in the media. It’s becoming broader and more ephemeral. Agency producers are central to getting a job off the ground but they have less bandwidth on individual projects and more plates spinning at the same time. This trend puts increased responsibility in the hands of production companies who are used more and more as extensions of the agency team. Interestingly, these conditions create both the potential and the need for closer collaboration.

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

Definitely my thumbs. Evolution has optimised me to type on the phone and do my job on the F train.

Tell us about a recent risk/investment you’ve made in your career or for your business?

My decision to take a sabbatical was both a risk and an investment for my career. I recently left advertising for a few years to complete a graduate program in experimental psychology. I wasn’t sure how I’d use the degree but I’d always wanted to study psychology and I knew I’d benefit from the science and statistics. The time I spent wandering in a different direction changed the way I see the world and myself.

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

#LessMoneyLessTimeMoreWork

How do you relieve stress during a shoot?

For me the most stressful part of a shoot is the constant togetherness. Everyone commutes together, eats together, makes decisions together – there’s never a feeling of personal space. I relieve the stress by taking long walks, preferably every day and preferably somewhere unplanned. Walking really far clears my head. It’s like meditating and exercising at the same time. 

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

I really enjoy doing anything contemplative. Looking at art, observing the ocean or lying on the ground and staring at the treetops brings me a feeling of awe. 

What would you like to see change in the world of production?

In my production utopia there would be more live meetings. If agencies invited production companies to take briefs and present their pitches in person the quality of life would improve on both sides of the table. Relationships would strengthen, decisions would be simpler and the work would get better. Some meetings might get weird and awkward, but that could be fun and we’d all have good stories to tell.

Tell us one way your skills at work transfer to your everyday life…

I’ve gotten really good at knowing how to frame situations and I definitely attribute that to my work experience. As producers we are constantly required to look for opportunities that can be difficult to spot if you take things at face value. By framing things in a different light, looking at them from an unexpected angle, we figure out how to position them for the greatest success, giving every idea a fair shake.

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

I’d move to the south of France and help my husband’s family develop their wine business. I’d channel David Sedaris and Vincent Van Gogh and maybe, finally, learn how to cook.