In Production: Loretta Jeneski

Loretta Jeneski, partner and executive producer at US-based Nonfiction Unlimited, originally moved from academic publishing to production looking for a way to stay involved with creative minds. Now, she’s leading the first commercial production company to introduce a roster of award-winning documentary filmmakers to the advertising world.

Below, LJ tells shots about her love of street art, the beach and what she thinks of the ad industry.

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

Of course, I'm a bit biased but honestly, I love the docu short Scott Rigsby for Holiday Inn that Stacy Peralta directed. It’s a very human story with lovely visuals that references the brand in an organic way. What else? Tatia Pilieva's First Kiss. It's almost been parodied to death, but First Kiss still is a brilliant example of documentary's ability to surprise.

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

Producers make the impossible, possible.  Always have. Always will.

What is your favourite production tool (tech or otherwise) and why?

What Gladwell called “thin slicing” in Blink. You get to the point where you have so much experience under your belt; you can suss stuff out pretty quickly. Can’t imagine a better tool than that. Not only useful, but fun.

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

I made the investment of adding two new documentary filmmakers to Nonfiction’s roster and taking on crossing them over to spots and branded. I recently signed Tracy Droz Tragos, director of Rich Hill, and Rory Kennedy, who directed Last Days in Vietnam. Both out of Sundance this year. 

How do you relieve stress during a shoot?

I learned years ago not to stress about a shoot regardless of what’s up. You surround yourself with great people from the director on down and there’s always a solution to a problem. And then there’s always that Martini at the end of the day.

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

It’s constantly changing. Constantly. Digital is everywhere and it should be. It has opened up new creative avenues for many, especially burgeoning directors. There is no longer an excuse not to get your work out there. The tools are there and there are more opportunities to show agencies and clients how you can tell a story.

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

I’m a big fan of street art and try to find it wherever I travel.  

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

I’d actually like to see change on the agency side with their producers. There are many of us in production working on bringing new directors along, finding ways for them to gain experience and further learn their craft. I’d like to see more training programmes for young agency producers so that they have a better understanding of the craft of spot making and join us as more knowledgeable collaborators.

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

I like to think the skill of being able to figure out anything crosses over nicely. I always feel like I can solve anything. When I don’t know the answer to something it’s, “what would the answer be if I did know”, and in production mode, just figure it out. I’m damn good at negotiating a deal too.

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

Artist, photographer, beach bum.