Thea Slevin on Nurturing and Championing Talent

Thea Slevin is executive producer at Not Just Any where she helps to build and grow their roster of live action and CG directors and artists.

With over 25 years' experience working in both production companies and advertising agencies, including the likes of Mother, Dare, T&P, Ogilvy, Lowe Howard-Spink for powerhouse brands such as Ford, Unilever, Samsung, Tesco, Sprite, Sony and Lexus.

Thea prides herself on nurturing talent and coming up with creative solutions to fit any brief.

LBB> Tell us a little about yourself and your journey towards your current role as executive producer of Not Just Any.

Thea> I’ve been lucky enough to have had a long career, but I will try and keep this brief.

I started out in advertising as a PA in account handling, at what was then one of the most creative advertising agencies in London – WCRS. I spent the next year trying to move over into the creative or TV department, which led me to hop on a plane to Sydney to work at DDB where I was then PA to the ECD.

That early exposure made me realise how much I loved the energy of creative environments and the magic of being able to bring ideas to life. When I came back to London, I worked as a production assistant and then as a producer at various agencies including Lowe Howard-Spink, Mother, Dare, St Luke’s, T&P and Ogilvy.

Over the years, I’ve been lucky to work on some amazing projects with incredibly talented people. But what’s always driven me is a love of creativity – finding great ideas and figuring out how to make them happen.

One of the things I care most about is nurturing directors and finding interesting and exciting opportunities for them. I love helping them to shape their vision, push boundaries, and grow their careers. Whether it’s someone just starting out or a more established voice looking to do something different, I get a real sense of purpose from supporting that journey.

That’s really what led me to Not Just Any.

As executive producer, I get to do what I love every day – champion great work, collaborate with brilliant people, and hopefully create space for directors to do their best, most exciting work.

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

Thea> Be curious, be proactive, and ask as many questions as you need to. The best way to learn is by doing – whether that’s helping out on a shoot, shadowing a producer, or just making things with your friends. Every experience builds your confidence and understanding of how things actually get made.

Plus, most importantly don’t forget to have fun. That has always been my motto and it has stood me in good stead.

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

Thea> I learned early that you can gain a lot of valuable knowledge from the small quick turnaround jobs and although the budgets on these projects can be challenging, it’s a great way to accelerate and grow as a producer.

I have always endeavoured to be kind and fair to everyone that I have worked with and that goes a long way. I’ve made some very good friends, care about the industry, and I even met my husband on set! So getting into advertising has definitely paid off.

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

Thea> At Not Just Any, we make a conscious effort to source talent from beyond the usual circles, partnering with organisations and initiatives that connect us with underrepresented directors, crew, and creatives. We want to make sure people who haven’t traditionally had access to this industry are being seen, heard, and properly supported.

I’m really passionate about helping new talent grow, and one way I’ve been able to contribute is by serving as a judge for the Shiny Awards, which spotlight emerging directors from diverse backgrounds. It’s an amazing platform for fresh voices and it’s very exciting to see the wealth of undiscovered talent out there.

LBB> If you compare your role to the role of the heads of TV and executive producers when you first joined the industry, what do you think are the most striking or interesting changes?

Thea> The role has consistently been a creative one – good heads of TV and executive producers have always worked closely with creatives to bring ideas to life. A perfect team of likeminded and creative individuals. In the best way possible. But what’s really shifted is the scope of the role.

These days, there’s just so much more to manage and at a much faster pace. No longer just 1 x 60” TVC and possibly a radio commercial, thrown in for good measure, there’s now a whole ecosystem and roadmap of deliverables. It’s therefore imperative to be a great communicator, adept at plate-spinning and able to pivot at a moment’s notice.

LBB> With a heightened emphasis on speed and volume within the industry is there space for up and coming producers to learn about the craft of production too?

Thea> There is indeed a lot less time for reflection or mentoring. But I still believe there is still space to learn the craft. It just requires a bit more thought and time from both emerging producers and the people guiding them.

The fundamentals of good production haven’t changed and still hold true today i.e. clear communication, smart problem-solving, creative thinking under pressure, and creating strong and respectful relationships.

As I have said before, the real skills are still learned on the job. At Not Just Any, we very much share our combined knowledge and encourage everyone to bring their own ideas and opinions to the table. The craft will suffer if we don’t invest in developing the next generation of producers, so let’s keep investing.

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

Thea> Despite the ever-evolving changes to the industry with emerging platforms, technologies, and new ways of consuming content, producers are still the glue that holds everything together. The core traits and skills of a great producer pretty much remain the same.

At the heart of it, producers have to be creative, inquisitive, resourceful, calm under pressure, and hugely collaborative. I know I keep coming back to this, but I also think truth and honesty are key skills.

Above all, the best advertising producers are curious and proactive learners – who are willing (and able) to embrace new emerging tools, platforms, and cultural shifts.

LBB> As a mother and an executive producer, you're constantly navigating two worlds that demand your full attention and passion. What are some of the biggest challenges you've faced in balancing the creative intensity of your production role with the emotional and logistical responsibilities of home life? What moments have made it all feel most worthwhile?

Thea> Wow. Where to begin? I am the proud stepmother to a 15-year-old boy, and mother to 9 and 12-year-old girls. As you can imagine, this makes for a pretty busy household.

Balancing my life at home with being an executive producer is rewarding and challenging, probably in equal measures.

As we all know, production can be unpredictable and all-consuming, but the rewards are immeasurable and working with such great people makes it all worth it!

I’ve become adept at switching gears to school runs, housework (low on my priority list) and running the kids to various sport clubs and attending the odd parents’ evening. I have learnt not to be so hard on myself and occasionally allow myself a quick trip into our local vintage shop (see picture of a rather jazzy trouser suit).

I think my kids are secretly proud of how I manage to multi-task as it ends up benefitting them and their social diary! I occasionally pop into the odd vintage shop, when I can – see picture! I suppose I must be doing something right as they all have a real love of creativity, although perhaps that’s down to my production designer husband.

Finally, when life couldn’t be busier, I thought it would be a good idea to get a puppy, Bob. I don’t know what came over me?!