Nancy Kagan’s Guide to Becoming an Indispensable Producer

Nancy Kagan is a seasoned executive producer with over 20 years’ experience delivering large-scale multimedia campaigns for some of the world’s most iconic brands including L’Oréal, Coca-Cola, Hyundai, Mastercard, Nike, Unilever, P&G, and Carnival Cruise Lines.

At Palma Pictures, Nancy leads US-facing projects, helping clients reimagine Spain and Portugal as premier destinations for offshore shoots. From high-end fashion campaigns to global commercials, she guides productions from pitch to wrap with a calm, solutions-first approach, ensuring creative excellence, production efficiency, and cost transparency every step of the way.

Her background spans agency, production company and consultancy roles with stints at RadicalMedia, Park Pictures, Moxie Pictures, Believe Media, and RSA, as well as creative studios like BigStar and Republic. This breadth of experience allows Nancy to speak both creative and production fluently, bridging teams, aligning visions, and building lasting partnerships.

She’s also no stranger to complex, cross-border shoots, having facilitated campaigns around the world. Her collaborative style, sharp problem-solving skills, and deep global network make her an invaluable asset to any team looking to produce exceptional work, on time, on budget, and always with style.

Speaking with LBB she chats about her teenage years making films with her friends to learning about production from watching great producers firsthand…

LBB> What first attracted you to production - and has it been an industry you’ve always worked in or did you come to it from another area?

Nancy> I’ve always been drawn to filmmaking. I interned for [producer/director] Kim Dempster’s Metro Films when I was 16, and they even offered me a full-time job but I decided to finish high school first. While I was in college, I started working in production in Miami.

Even as a teenager making films with friends, I naturally gravitated toward the logistics, planning, and problem-solving side of things. I was definitely the bossy one! Looking back, producing was clearly the right fit, it let me combine creativity with structure, and I’ve stuck with it ever since.

LBB> What was your first role in the production world and how did this experience influence how you think about production and how you grew your career?

Nancy> I got my start in Miami, working as a coordinator for a very buttoned-up local producer. We handled high profile shoots for A-list agencies and production companies from New York, LA, the UK and Europe.

It was a crash course in high-level production – not just the nuts and bolts of logistics, but also the art of client service – especially when working with teams flying in for destination shoots.

That experience was foundational. It taught me how to anticipate the needs of international clients, manage expectations across different working styles, and bridge the cultural nuances that inevitably come up when you’re coordinating across countries.

It sparked my interest in international production and gave me the tools to act as a kind of translator, not just linguistically, but culturally and professionally, between the fast-paced demands of U.S. production and the unique workflows of production service hotspots around the world. That ability to bridge worlds has shaped the way I approach every project since.

LBB> How did you learn to be a producer?

Nancy> I moved to New York and continued working my way up, from coordinator to production manager to line producer. Collaborating with incredible teams at companies like Moxie Pictures, Park Pictures, MacGuffin, and RadicalMedia.

Each step taught me something new, from budgeting and scheduling to the importance of creative problem-solving and calm communication.

I learned by doing, by watching great producers in action, and by saying yes to every opportunity that pushed me a little further.

That mix of hustle, curiosity, and mentorship really shaped the producer I’ve become.

LBB> Looking back to the beginning of your career, can you tell us about a production you were involved in where you really had to dig deep and that really helped you to grow as a producer?

Nancy> One project that really pushed me out of my comfort zone was an independent film I worked on, the only time I stepped away from the world of polished commercial production. It was low-budget, scrappy, and completely different from the structured, well-supported sets I was used to.

We shot in tough, sometimes unsafe neighbourhoods, worked with minimal crew, and had to improvise constantly, from securing last-minute locations to stretching gear and resources way past their limits. There were no trailers, no safety nets, just a lot of fast decisions and figuring things out on the fly.

That experience taught me a different kind of flexibility, how to adapt quickly, let go of rigid expectations, and still keep things moving forward. It shifted how I think about problem-solving and made me more resourceful, especially in high-pressure situations.

LBB> A good producer should be able to produce for any medium, from film to events to digital experience. Do you agree or disagree with this statement?

Nancy> I mostly agree, with some caveats. The core skills of a good producer; planning, communication, problem solving, and keeping the creative on track – these skills definitely translate across mediums. But each format also has its own language, pace and technical demands. So while a strong producer can adapt to different mediums, doing it well takes time, curiosity and respect for what makes each one unique. It’s not about assuming you can do everything out of the gate, it’s about being open to learning and knowing how to ask the right questions.

LBB> What’s your favourite thing about production and why?

Nancy> What I love most about production is the precision. There’s something deeply satisfying about making sure every detail is accounted for, from the first conversation to the final delivery. It’s not just about logistics, it’s about making sure nothing falls through the cracks, that every piece is exactly where it needs to be so the creative can shine.

I also really enjoy the challenge of the bidding phase, it's like solving a puzzle before the pieces are even on the table. You have to anticipate what a shoot will need before it’s fully formed, think five steps ahead, and build a structure that can flex when things inevitably shift. It’s a mix of strategy, experience and instinct, and I love that part of the process. At the end of the day, great production should feel invisible; everything just works. And I take a lot of pride in creating the kind of support that makes that possible.

Honestly, production is one of the few jobs where being detail-obsessed, mildly paranoid, and freakishly prepared actually works in your favour, and I’m very at home in that space.

LBB> How has production changed since you started your career?

Nancy> One major shift I’ve seen is the growing role of production service work and offshore partnerships. More shoots are happening abroad, and navigating those relationships has become a key part of being a producer today. It’s not just about cost, it's about understanding how to collaborate across different production cultures, time zones, and working styles, while still delivering to the high standards expected by US clients.

That global expansion has made production more complex in some ways, but also more interesting. It’s reinforced how important it is to be clear and flexible, and to work with trusted teams, wherever they may be based.

The tools and pace have changed, but the fundamentals haven’t; it’s still about smart planning, clear communication and getting the job done well.

LBB> What do you think is the key to being an effective producer - and is it something that’s innate or something that can be learned?

Nancy> I believe being an effective producer is a mix of both innate qualities and learned skills. On the innate side, the best producers have a natural ability to stay calm under pressure, to be detail-oriented without losing the bigger picture, and to instinctively step into the role of the person who everyone turns to when things go a little off course. That sense of grounded leadership and accountability can’t be taught; it’s something that comes from within.

That said, a huge part of producing is also learned, especially when it comes to managing expectations, navigating the dynamics between creative, production, and client teams, and knowing how to guide a project forward and keep on track, even when circumstances change. Experience teaches you how to anticipate problems before they happen, and how to communicate honestly but strategically when they do.

In client services, there’s also a third layer: cultural working styles. For example, the pace and responsiveness expected by American clients, often shaped by tight timelines and high-volume outputs, may not be the norm for service companies overseas. The most successful production partners are the ones who recognise this and adapt their rhythm to meet client expectations, without sacrificing their internal efficiencies or quality of output.

That balance between cultural awareness and adaptability is something producers learn over time, and it can make or break a working relationship.

LBB> In terms of recent work, which projects have been particularly exciting or presented particularly interesting production challenges?

Nancy> One of the most exciting aspects of my work recently has been leading client projects across Spain and Portugal, two incredibly versatile locations that can convincingly double for a wide range of international settings.

I really enjoy a brief that calls for something like ‘Americana’ or a mix of five distinct locations; India, Egypt, Thailand, LA, and collaborating with local teams to bring it to life. It’s surprisingly seamless to capture many distinctly global looks, with the right locations, which Spain has in spades.

A big part of making that possible is challenging client preconceptions, especially with US clients who often assume that a place like Mallorca is a premium-only destination. The reality is we’re extremely competitive, even alongside more traditionally cost-effective markets like South Africa or Eastern Europe.

Our Palma base includes a 50,000 sq ft headquarters with in-house equipment, vehicles, and a 10,000 sq ft sound stage, which allows us to bring full-scale production value to projects while staying lean and efficient.

It’s always rewarding to show clients that they can not only meet but exceed their creative ambitions, all while staying well within budget.

LBB> Producers always have the best stories. What’s the hairiest / most insane situation you’ve found yourself in and how did you work your way out of it?

Nancy> On my one and only indie film project, we were shooting at a pay-by-the-hour motel on the outskirts of New York City. (I'm pretty sure it has since closed down).

Mid-shoot, something… happened. Let’s just say it involved the motel’s regular clientele and a scene that would be more at home in a true-crime doc than a production schedule. The crew and talent froze and looked around at each other looking for signals to run. And for a moment, it felt like the entire day was about to spiral.

This is where the producer mindset took over: stay calm, don’t fuel the chaos, and keep everyone focused. By redirecting the crew’s energy and projecting a sense of control, we got things back on track and somehow finished the shoot without missing a beat.

LBB> As a producer your brain must have a never-ending ‘to-do’ list. How do you switch off?

Nancy> As a producer, my brain is pretty much always running a mile a minute, there’s a constant ‘to-do’ list ticking over in the background. Switching off doesn’t come easily, but I’ve learned how important it is to recharge, especially between shoots.

Travel plays a big part in how I relax. I’m lucky that work often takes me to some incredible places, and I always try to carve out small moments of stillness while I’m there.

In Mallorca, a perfect down day might start with lunch at Patiki Beach in Sóller, followed by a slow wander through Valldemossa, and ending with a sunset cocktail on the terrace at the Belmond La Residencia in Deià – it doesn’t get much better. I also love a spa visit or dinner at the stunning Cap Rocat Hotel.

On the mainland, Madrid’s Sala de Despiece is one of my go-tos. The way they approach food there is totally unexpected, unique and experiential.

In Portugal, I’m drawn to the slower pace of Lisbon’s Bairro Alto, especially when staying at the beautifully designed Lumiares Hotel. I love going there for shoots. Something about the city reminds me of San Francisco, where I'm from, but with better weather and a more laid-back energy.

I also love heading further south to Comporta, where time really seems to slow down – great food, wild beaches and no pressure to do anything at all.

But sometimes, relaxing doesn’t mean going anywhere. It might just be me in the garden, weeding or tending to plants, letting the physical act of gardening quiet my mind. Or it’s putting on my favourite playlist; Spanish, Italian, and French covers of ‘60s songs, and letting it instantly change the energy in the room.

LBB> Producers are problem solvers. What personally fuels your curiosity and drive?

Nancy> I’m wired to find clarity and efficiency in the middle of moving parts, it’s just how my brain works. I really enjoy figuring out how to make things run smoother, faster, better, without compromising the creative. There’s something satisfying about taking something complex and making it feel simple and seamless. And honestly, there’s a part of me that’s always chasing that sense of ‘this could be even better’, which keeps me constantly curious and engaged.

Also a healthy dose of anxiety.

LBB> Producers are naturally hands on – they have to be. How do you balance that in the more managerial role of an EP?

Nancy> It’s definitely more of an art than a science.

As an EP, you have to trust your team while still being close enough to support and guide when needed. A lot of it comes down to the working dynamic between the EP and the line producer, if that relationship has good chemistry and clear communication then it becomes easier to step back from the day-to-day without losing visibility.

LBB> What advice would you give to people who are interested in becoming a producer?

Nancy> Being a producer means being a jack of all trades, and that’s not a shortcoming, it’s a superpower. The best producers I know are endlessly curious and adaptable. You have to be ready to wrap your head around anything, from understanding the nuances of synchronised swimming to learning the ins and outs of a brand new camera format. The industry is evolving constantly, and so must we.

A mentor once told me, “Every project is a chance to learn something new.” That mindset really shaped how I approach my work. It’s not about asking, ‘What’s the minimum I need to know to get through this?’. It’s about diving in, fully understanding the landscape, and being open to discovery.

To anyone looking to become a producer: be endlessly curious, stay humble, and never assume you already know everything you need. Be well-rounded, understand the full range of formats, platforms and creative possibilities. Your ability to adapt and connect the dots across disciplines is what will make you indispensable.

LBB> From your experience what are the ingredients for a successful production?

Nancy> For me, the real ingredients of a successful production go far beyond logistics – it’s about people, mindset and energy. You can have all the technical talent in the world but if the team isn’t aligned, energy gets drained in the wrong places. As a producer, it’s vital to keep everyone on track, making sure we don’t lose sight of where our collective focus, energy, and experience need to go.

This is often where one producer can really stand out from another – it’s not just about scheduling or problem solving, it’s about creating the conditions for great work.

That means fostering a culture of transparency and openness. You can’t be afraid of honest conversations, even if they’re uncomfortable or risk ‘upsetting the apple cart’. In fact, those conversations are often what prevent bigger issues down the line.

When the team is aligned not just on the goal, but on the values of trust and openness, the whole production benefits. That’s when you get flow, creativity, and momentum – and that’s when great work happens.