The next wave: Young agency producers on navigating a changing industry

Last Thursday night, East London’s Bistroteque restaurant filled with conversation and clinking glasses as young producers came together to share stories and advice from the paths they’ve started to carve.

It was Electric Theatre Collective and Biscuit Filmworks' annual Young Producers Dinner; an evening dedicated to celebrating emerging talent, fostering connection, and recognising the commitment and craft of this next generation of agency producers.  

Each attendee was nominated by their department heads in recognition of the enthusiasm, hard work and promise they’ve shown over the past year.

Rupert Reynolds-MacLean, MD of Biscuit Filmworks UK commented: "I love the Young Producers Dinner. It's the thing I'm most proud of us doing.

I feel like I say every year that the art of producing is getting harder, but this year more than ever. With shorter deadlines, merging departments, less contact with the creative people we're working alongside, the confusion created by AI, and smaller budgets - all of it landing on producers - it's even more important to create a network of support for the next generation. A space where they can share experiences and contacts early in their careers.

This is another incredible collection of people I'm excited to collaborate with in the future."

Jon Purton, CEO of Electric Theatre Collective added: "The Young Producers Dinner is something that has really stood the test of time. Each year that we do it is a reminder of why it's such a valuable and enjoyable event. With so much disruption, change and opportunity in the creative industry it's more important than ever. Making connections, creating friendships and council amongst people that are traversing the same planes is like gold dust and we're really honoured to be a part of this special event."

Above: Rupert Reynolds-MacLean, MD of Biscuit Filmworks (left), Jon Purton, CEO of Electric Theatre Collective (right).

What was it that first attracted you to the industry and the role of Producer?

Freddie Black, DEPT: I started on the ideation side of the industry, particularly within grassroots and cultural projects. Over time, I saw strong ideas stall when it came to execution, often due to a lack of structure or the right people. That led me into production, where I discovered a real passion for facilitating ideas and working with people I genuinely connect with to turn concepts into tangible projects.

Havin Agca, Neverland: I was drawn to the creative industries because I love films, series, and work made with real craft and care. Advertising shares that same end to end creativity and cultural impact, seen in iconic campaigns like Nike’s Just Do It. I wanted to be a producer because of the planning, problem-solving, and the vital responsibility of bringing creative ideas to life. Without producers, no creative idea can come to life.

Every project brings with it new challenges and I love that you never know what’s around the corner.

Elle Francis-Kent, Havas London: I’ve always been drawn to making things and expressing myself creatively. I studied photography at university, and after graduating I landed an internship as an agent/producer - which is where everything clicked. I realised I loved being the person who helps bring ideas to life: collaborating with talented people, pulling all the pieces together, and turning a creative vision into something real for clients. There’s something incredibly satisfying about working as part of a team to make great work.

Penny McNally, Elvis: I began my career in-house at Eurostar, working on their new TV campaign. I loved being on set and in agency reviews and realised I wanted to be more involved in the production process. For me, producing is the perfect mixture of problem solving, people/project management and creativity.

Roisin Fogarty, AMV BBDO: Before working in Production, I worked in the new business department of agencies for a few years. I used to see the work that was going on in Production and think that it was something I wanted to be part of. Producers were always off travelling the world, meeting interesting people, and let’s face it, having the most fun out of every department in the agency! Every project brings with it new challenges and I love that you never know what’s around the corner.

Above: Freddie Black, Havin Agca, Elle Francis-Kent. 

Is there a particular piece of advertising from the past year that made you say, 'I wish I'd made that!'?

Scarlett Taylor, Sky Creative: Not the most 'exotic', but Tessa Film made an ad for Smartphone Free Childhood US - Let's Change The Norm - directed by Tim Mason. Smart phones have been around a while now, and I think perhaps we forget how harmful they still are - especially for younger people. It's funny but with an edge.

Rita Aboderin, Saatchi & Saatchi: As a fan of animation and Christmas, John Lewis' The Bear and The Hare is gold standard to me. It's the perfect balance of emotionally captivating and visually engaging. The craft that went into it is a lot more detailed than I initially thought. So, it was a privilege to be part of the John Lewis Christmas ad last year, my first year at Saatchi. 

After seeing Mother’s recent campaign for Anthropic, my mindset [on AI] slightly shifted, which is the sign of a great ad.

Ted MacDonnell, BBH: The Uber Eats spots with the Ex-Premier League managers is really fun. I love niche ads that aren't concerned with pleasing the masses.

Oona Webster Jones, VCCP: Dog - The Power of Sweetness for Lynx by Lola MullenLowe and directed by Lionel Goldstein. I think it is properly funny. It really enhanced my flat's collective telly watching experience.

Roisin Fogarty, AMV BBDO: Like most people I have been worrying about the impact AI will have on my work and my life. However, after seeing Mother’s recent campaign for Anthropic my mindset slightly shifted, which is the sign of a great ad. Keep Thinking puts a positive spin on the help AI can provide rather than focusing on what it might replace. I also loved the cinematic feel and thought the soundtrack was perfect.

Above: Penny McNally, Roisin Fogarty, Scarleytt Taylor.

What’s currently the most difficult part of your job?

Scarleytt Taylor, Sky: Getting sign off on stuff... There's a lot of uncertainty currently in this world, and think it creeps into all walks of life. No one knows what to say yes to, take risks with, or approve.

Freddie Black, DEPT: At the moment, the biggest challenge is adapting to working with more corporate clients. It requires a deeper understanding of the frameworks and guidelines that come with operating at scale, where there is a greater level of responsibility. That said, I am enjoying the challenge, there is a lot to learn and it definitely keeps you sharp.

Havin Agca, Neverland: As someone very new to the industry, my biggest challenge is balancing learning with being genuinely helpful. I want to support my senior producers, who are incredibly busy, while also developing my skills and asking for guidance. Finding that middle ground where I contribute effectively without slowing them down can be challenging as they’re teaching me whilst doing their own demanding jobs.

Social is usually a key media buy and demands social-first content, which doesn’t naturally fit into a TVC shoot as it previously might have. 

Rita Aboderin, Saatchi & Saatchi: Remembering everything... When I started I used to wonder how producers were able to just pull out necessary information from their brain: facts, figures, names, everything... and getting it right! Thankfully, I can already see that's something that gets better with time and experience. It's easier to remember things when you're more involved. I'm getting more involved now so I'm able to recollect so much.

Penny McNally, Elvis: Balancing budgets while deliverables continue to increase. Social is usually a key media buy and demands social-first content, which doesn’t naturally fit into a TVC shoot as it previously might have. So producing more assets for more platforms, with the same budget, whilst maintaining the craft and quality, can be a challenge!

Above: Rita Aboderin, Ted MacDonnell, Oona Webster Jones.

And the most rewarding?

Darcey Goldstein, Uncommon Creative Studio: The most rewarding aspect of being a producer is witnessing the finished product and feeling proud of the journey and collaboration that made it possible - not only of the outcome itself, but of the hard work, coordination, and creative challenges overcome along the way.

Natalie Roloff, Mother London: I especially love how being a producer allows me to work closely with the most talented creative people, and to be able to help bring their brilliant ideas out into the world.

That shared moment when you can step back together and say, “we made that” is pretty hard to beat!

Eden Hastings, Grey: Working in a team of such wonderful, creative individuals - I love being surrounded by like minds and feeling like we are all pulling together towards the same goal, be that with members of our team at Grey or the incredible partners we work with. That shared moment when you can step back together and say, “we made that” is pretty hard to beat!

Ted MacDonnell, BBH: The social element of being an (assistant) producer is really rewarding, there is always something going on and an opportunity to meet interesting people. I also love sitting in the offline edit and being present for conversations between the director, editor and creatives.

Above: Darcey Goldstein, Natalie Roloff, Eden Hastings. 

What do you think the main challenges and changes will be in your role over the next few years?

Natalie Roloff, Mother London: I feel that a big challenge for our industry over the next few years will be to learn how we best work with AI, and how we can use it for our benefit, whilst ensuring that originality, imagination and human emotion are preserved in our work during these times of ever-evolving technological developments.

Darcey Goldstein, Uncommon Creative Studio: I think that there will be significant changes driven by technology. The growing use of virtual production, and AI will require producers to constantly adapt, upskill, and make informed decisions about how and when to integrate these tools without compromising creative integrity.

 The challenge will be staying genuinely adaptable; both understanding and integrating tools that meaningfully improve how we work, while remaining savvy about which innovations are more noise than substance on a practical level.

Oona Webster Jones - VCCP: I wonder about my role as a producer of almost exclusively TV ads. How will the hierarchy of campaigns continue to shift towards social first, rather than TV? Perhaps my role will become more integrated across different media? Or will there be a point where the social shift swings back? I’m not sure, but a degree of adaptability will be key to my success!

Eden Hastings, Grey: I think the biggest changes are already in motion, particularly around consolidation and the rapid uptake of new technologies. These shifts are actively redefining what is expected of a Producer, both creatively and practically. I would imagine the challenge will be staying genuinely adaptable; both understanding and integrating tools that meaningfully improve how we work, while remaining savvy about which innovations are more noise than substance on a practical level.