Rising voices: young producers on creativity, challenges, and change

Yesterday, a handpicked group of emerging agency producers gathered for an evening of fine dining, flowing wine, and networking at Electric Theatre Collective and Biscuit Filmworks’ annual Young Producers Dinner. 

Hosted at East London’s Bistroteque, the event offers up-and-coming producers the chance to exchange advice, share insights and forge life-long connections. Each attendee was nominated by their agency department heads—an acknowledgment of their dedication and hard work over the past year. 

Rupert Reynolds-MacLean, MD of Biscuit Filmworks UK commented:  

‘The Young Producers Dinner is my favourite event of the year, and such a great way to kick off 2025. The dinner hosts some of the best young minds in the industry every year; alumni have gone on to be agency heads of TV, senior producers, EPs and production company MDs.  

I think, more than ever, it’s important we support the next generation of producers and find ways we can support each other. I’m really proud that we can host this event every year, and grateful to ETC for our longstanding collaboration.’ 

Jon Purton, MD of Electric Theatre Collective added: 

'Taking time to celebrate the next generation of agency producers is really important. They're the doers, the unsung heroes, the glue that holds us all together. It's been brilliant to watch this event birth new friendships over the years and also to work with some of the alumni as their careers continue to progress.' 

Above: Rupert Reynolds-MacLean, MD of Biscuit Filmworks and Jon Purton, MD of Electric Theatre Collective.

What was it that attracted you to the industry, and the role, in the first place?

Kieran O'Malley - AMV BBDO: Advertising is pure creativity, and the industry attracts the best, boldest and brightest of characters- people that I want to learn and collaborate with, both inside and outside the office. The production role scratches that irresistible itch of seeing something through.

Kate Shelley - Droga5: I remember a teacher in school telling us to pick what we’d like to do for work based on what we are naturally good at. I knew I wanted a career in film, so being an organised and detail-oriented person, I decided, as young as 14 – which says it all really – that I was going to be a producer. I got very specific actually and was adamant I would be a line producer.

Being part of the process from concept to delivery, and seeing the tangible results of a team’s effort, is both rewarding and inspiring.

Georga-Rae Ash - Hogarth: I’ve always been drawn to the power of storytelling and the creativity involved in bringing ideas to life. The producer role appealed to me because it combines organisation, problem-solving, and collaboration – all skills I enjoy and excel at. Being part of the process from concept to delivery, and seeing the tangible results of a team’s effort, is both rewarding and inspiring. This dynamic and fast-paced industry continues to challenge and excite me every day.

Joshua Harrison - On: I decided to switch up my path in life, which led me to screen production, having already been very interested in film and TV from a young age. I quickly realised I was suited for production due to my organisational abilities, perfectionist tendencies and stress management. It was exciting to work on projects from start to finish rather than join the process for just a small segment of it.

Above: Kieran O'Malley - AMV BBDO, Kate Shelley - Droga5, Georga-Rae Ash - Hogarth, Joshua Harrison - On

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

Molly Haviland - 4creative: The 2025 JD Christmas ad, The Family Portrait. Using a classic garage tune and championing working class people and culture- love it!

Bea Icke - Publicis London: There were so many brilliant pieces of work that came out last year that were funny, moving, educational, and entertaining that’s it’s hard to just pick one! Two of my favourites would have to be Lucy Forbes’ Never Just a Period or the National Lottery A Christmas Love Story.

When you learn to trust yourself and it pays off, that's a great feeling!

Kate Maggiore Hardy- Mother London: There are two that come to mind, ORIGINAL UNITED x Adidas by Director Tom Day. The script, music and touch of Barry Keoghan –chef’s kiss and pure magic. The spot offers nostalgia and authenticity, elements I think the ad world has missed for a wee while.

Sara Gill - Leo Burnett: I think Visit OSLO Is it even a city? is amazing. To me, it’s the perfect combination of humour, relatability and risk-taking. It's also beautifully shot. I would love to have seen how the initial idea was pitched to client and the process by which they were convinced to take such a big risk. A trip to Norway wouldn’t be too bad either.

Above: Molly Haviland - 4creative, Bea Icke - Publicis London, Kate Maggiore Hardy - Mother London, Sara Gill - Leo Burnett. 

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

Tom Parker - Neverland: The time pressures put upon production. It’s difficult to find a creative solution to a tricky problem when every hour feels so precious, and we should be mindful of the knock-on effect tight deadlines can have on mental health for all involved.

Hannah Shelley - House 337: I think most producers would agree that decreasing budgets have been a huge issue in recent years. Sticking to a tight budget while still delivering a high-quality final product can be challenging. There’s often a need to make tough decisions, whether it’s cutting back on certain aspects of production or finding more affordable solutions without sacrificing the integrity of the project.

There is such a balancing act between production realities, stakeholder feedback, and keeping the idea alive.

Ella Myerscough-McClymont - Havas London: Every production is different to the last, so you really have to trust your gut and learn on every job without putting too much pressure on yourself to have the answer to every question.

Charlene Louise Maningding - Uncommon Creative Studio: Protecting the integrity of the idea. There is such a balancing act between production realities, stakeholder feedback, and keeping the idea alive. There is a limit to how much you can change aspects of the project, whether it’s the script or the budget, without the idea being diluted, and the work suffering. 

We all want to make great work, and hard conversations will need to be had; this is where collaboration is so important.

Above: Tom Parker - Neverland, Hannah Shelley - House 337, Ella Myerscough-McClymont - Havas London, Charlene Louise Maningding - Uncommon Creative Studio.

And the most rewarding?

Holly Nomafo - Joint: Seeing the work that you've made with such a strong and supportive team, out there in the world! It's like ,’woah, we made this happen, and it looks wicked!’ Also, when you learn to trust yourself and it pays off, that's a great feeling! And of course, happy clients!

While AI will undoubtedly change the way we work, I believe creativity cannot derive solely from a machine. The human elements – emotion, intuition, and originality – remain irreplaceable. 

Bertie Murch - Accenture Song: I really enjoy being part of the whole production process. From starting off with an idea on paper to sitting in an edit suite and seeing everything you've worked on over the last few months come together. Plus, working with all these creative, talented people makes everything more enjoyable.

Catarina van Leuven - adam&eveDDB: The most rewarding part of the job is the pro-bono work for charities. It’s the projects that have a real impact in the world and that start conversations about important topics that are usually overlooked. These are the projects that can truly change people’s lives and remind us that our job can really matter.

There's something electric about being in a room full of passionate, creative people, all driven by the same goal.

Kristina Evetts - New Commercial Arts: It’s rewarding to be part of creating something that will be seen by everyone. Knowing that the work has moved beyond just an idea or concept – it’s now something real.

India Smith - Grey London: There's something electric about being in a room full of passionate, creative people, all driven by the same goal. One of my standout memories was watching the live orchestral recording for a Nokia spot we were working on. Watching the music come to life in real-time, knowing it was perfectly syncing with the vision we'd all worked so hard to bring to life was unforgettable. It was one of those moments that made everything feel perfectly aligned and it reaffirmed why I love this industry.  

Above: Holly Nomafo - Joint, Bertie Murch - Accenture Song, Catarina van Leuven - adam&eveDDB, Kristina Evetts - New Commercial Arts, India Smith - Grey London

What do you think the main challenges will be in your role – or for the industry in general - over the next few years?

Jazz Casey - Craft Worldwide: When considering the future challenges in our industry, many immediately focus on how AI might impact jobs. While AI will undoubtedly change the way we work, I believe creativity cannot derive solely from a machine. The human elements – emotion, intuition, and originality – remain irreplaceable. The challenge will lie in finding ways to integrate AI as a tool to enhance, rather than replace, human creativity.

Mickalah Aldridge - Saatchi and Saatchi: One of the main challenges I believe the industry will face is capturing and maintaining people’s attention, especially with consumers having shorter attention spans due to the rise of social media. The industry will have to continue to master the art of storytelling in a shorter time frame, all while continuing to stay true and authentic to their brands.

 We have seen years where the work has been very samey, which is a shame, as there are people with strange and brilliant ways of approaching creativity...and yet their exposure is minimal. 

Tina Mwazange - BBH: The difficulty the industry has with embracing the unusual in art. We have seen years where the work has been very samey, which is a shame, as there are people with strange and brilliant ways of approaching creativity...and yet their exposure is minimal. Big shame, especially when you try and push for difference and it falls on an industry seemingly more interested in awards and clout.  

Elivia Crawley - DEPT: The progression of social media. Clients want to adapt lo-fi style social-first content in favour of briefing more stylised, polished content, but with lower budgets. Also, AI being seen as a solution by clients for tighter deadlines/lower budgets, while it compromises personal touch and authenticity. AI can also cause legal issues when working with talent and has environmental implications to consider.