Scott Dodoro on the Cultural Influence of Production

Scott Dodoro had the intention of being a full-time director, but consistently found himself organising people, searching for efficiencies, and ultimately, being the glue that held projects together. Suddenly, he had found another fit, producing, and he wanted more of it. That’s when Scott opened Local Boy, a collection of talented directors set out to morph visual perspectives in the creative world.

Unlike some producers who feel most comfortable in a video village, you’ll find Scott taking care of his crew, triple checking creative, moving lines, finding the best light, and, if the job calls for it, taking director roles himself. His drive to help clients create the best work possible is what keeps Local Boy true to what it is, no matter the budget.

LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?

Scott> My advice would be to create. Create by yourself, create with your friends. Edit spec ads, create your own shorts or commercials. We learn the most by experience, so even if it's by yourself, you’ll learn a lot by creating. I was lucky to get into this business at 25, and I know it's hard to get in. So, take any job you can get, full-time or freelance, to start getting experience.

LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?

Scott> To me, a good producer is like a great football coach – someone who’s got a handle on all aspects of the game.

I’ve always believed producers should be well-rounded: able to design a pitch deck, Photoshop a comp, generate something in AI, or even cut together a quick reel if it helps sell the idea. Whatever it takes to get the vision across.

At the core, producing is about being resourceful and organised. It’s way more than just budgets and numbers; you’ve got to be scrappy. I can’t count how many times someone thought we were stuck, couldn’t find a location or the right vehicles, and I just kept digging until I found the solution. People say “no”, and that’s fine. You keep moving.

Whether it’s finding a convenient lunch spot for the crew, tracking down an affordable place to build a prop, or locating picture vehicles to be in your running footage scene, you make it happen. That’s what producers do.

LBB> What was the biggest lesson you learned when you were starting out in production – and why has that stayed with you?

Scott> Tough question. Honestly, the biggest lesson I’ve learned is that I can do this. There wasn’t some major failure that taught me a hard lesson, but early on, I realised I had what it takes. That belief builds over time, but once it clicked, everything changed. I knew I could handle the work, the pressure, the curveballs, whatever came my way.

LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?

Scott> This is a tough question, especially coming from a city like Detroit, which some say is one of the most segregated in the country.

When I film in places like California or New York, diversity tends to happen naturally, which is great. But in Detroit, it takes more intention. You have to give someone their first shot, and sometimes a second chance. I have some ideas on how the Detroit production community could come together to create more access for people who might not even know this industry is an option. There are real barriers to entry.

Even just starting out as a PA, you are expected to have a car, a phone, and be ready for 14-hour days. We have to recognise that and work to open more doors.

LBB> And why is it an important issue for the production community to address?

Scott> Production has cultural influence, and we have a responsibility to reflect fairness and equity, not just on screen, but behind the scenes too. When we make space for a diverse crew, we get more authentic stories and a stronger, more resilient industry. I believe representation matters.

There’s a kid in Detroit who could be the next great director, DoP or producer, but if they never see this path or get a shot, that potential goes unseen. Diversity isn’t just the right thing, it makes the work better.

LBB> There are young people getting into production who maybe don’t see the line between professional production and the creator economy, and that may well also be the shape of things to come. What are your thoughts about that? Is there a tension between more formalised production and the ‘creator economy’ or do the two feed into each other?

Scott> I don’t really feel tension. I get that some clients are exploring content made by solo creators – it can be quick and inexpensive. But what we do is different. It takes a team, time, and real resources to execute at a high level.

The truth is, we all grew up watching TV, movies, and commercials, so we know quality when we see it. And when something falls short, especially in a branded space, it stands out in the wrong way.

Some projects might be fine with a scrappy or user-generated approach, but others need the polish, precision, and creative lift that only a professional team can bring.

LBB> If you compare your role now to the role when you first joined the industry, what do you think are the most striking or interesting changes (and what surprising things have stayed the same?)

Scott> When I first got into the industry, producing was mostly about logistics (budgets, schedules, permits, crew). That’s still a big part of it, but now the role is much more creative and strategic. We’re involved from the pitch all the way through delivery, helping shape the project from the start.

The biggest shift has been the pace and volume, as clients want more content, faster and for more platforms. So, we’re constantly adapting, whether that’s bringing post in earlier, managing remote teams, or balancing broadcast spots with social cutdowns on the same timeline.

What hasn’t changed is the need for trust and collaboration. Production is still a people-first business. The best work happens when there’s strong teamwork, creative problem solving, and a cool head when things get stressful.

LBB> When it comes to educating producers how does your agency like to approach this?

Scott> It really comes down to experience. Not every producer has the same skill set, so depending on the project, I might lean toward one type of line producer over another. Training usually starts with smaller projects where you can prove yourself, before growing into bigger ones.

At the end of the day, it’s about building producers who are calm under pressure, good communicators, and trusted problem solvers. That’s not something you pick up from a manual – you learn it by being in the mix.

LBB> It seems that there’s an emphasis on speed and volume when it comes to content – but where is the space for up and coming producers to learn about (and learn to appreciate) craft?

Scott> You're right, the push for speed and volume can make it harder for up-and-coming producers to learn the craft, but there’s still space for it – it just takes intention. Even within fast timelines, we can carve out learning moments by inviting junior producers into the creative development, director calls, or post sessions.

Shadowing seasoned teams and seeing how decisions get made builds a real understanding. When a project with more breathing room comes along, that’s a great time to slow down and let them really see how thoughtful work gets made.

Craft isn’t just about time or budget, it’s about care and knowing where to focus attention, and we can absolutely teach that if we’re willing to make space for it.

LBB> On the other side of the equation, what’s the key to retaining expertise and helping people who have been working in production for decades to develop new skills?

Scott> That’s definitely a challenge. People who’ve been in the game for a long time bring a tonne of experience, but adapting to using new tools or workflows isn’t easy. The key is meeting people where they are, recognising that not every producer has the same strengths, and creating space for growth without making it feel like starting over.

Everyone has something to bring to the table, so it’s about evolving together, not replacing old ways with new ones for the sake of it.

LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?

Scott> A good communicator, good problem solver, and a can-do attitude are the traits that are in demand. Be easy to work with. Tech and trends will shift, but the ability to lead a team and get the job done with trust and care never goes out of style.