Tova Dann Finds Magic in Every Shoot

“My PA days made me who I am today,” says Tova Dann, executive producer at Caviar in Los Angeles. She’s been part of the multi-award-winning production company for over 11 years, joining initially as a ‘baby producer’ hungry, determined, and eager to make the best work possible.

Having spent over a decade at Caviar – testament to its commitment to fostering growth and promoting from within – Tova believes this aspect of the company’s culture “speaks volumes”. Initially working her way up to line producer, she’s grateful to have had the opportunity to travel around the world with the company’s top directors, spending her days on set immersed in the magic of production that never dulled down.

In turn, when Tova stepped into the role of EP in 2021, she already understood how to work closely with the company’s roster of directors to protect and support their creative visions. Seeking to maintain relationships with major brands and agencies, whilst understanding their needs and acting as “a trusted advisor and supporter of the work”, today, her job still sparks the same excitement as it did on day one.

Speaking with LBB’s Abi Lightfoot, Tova discusses the most significant piece of advice she was given, why producers need an exceptional ability to multitask, and why the long-standing fundamentals of production are still the most exciting parts.

LBB> Firstly, how did you find yourself working in production? Did you follow a typical path, or was it more of an unconventional one?

Tova> Somewhat unconventional, in that the path was curvy and at some points unclear. I started as a set production assistant on TV and movies, and then had an opportunity to become a personal assistant to celebrity talent. I travelled the world and had a backstage pass, but I wasn’t satisfied. I knew I wanted to produce, but I just had no idea how to get there. Someone I respected suggested I figure out what my financial overhead was, PA’d to cover that amount, and then to spend the rest of my time producing for free. So that’s what I did. I produced short films and music videos for friends, and friends of friends. And I figured it out.

For a long time, I felt like I was cheating the system because I didn’t work my way up in the traditional way (coordinator, PM). But in retrospect, and what I share with many young people I speak with, there are many, many ways to reach your goals. Just show up, do your best work, ask a tonne of questions, hire people who know more than you, and be nice. If you're where you're meant to be, opportunities will come your way. I’m proof of that.

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

Tova> I know this may sound so ridiculous, but the biggest lesson I learned that didn't just stay with me, but had a significant impact on my work ethic, came on my very first PA job on set. John Pontrelli, the 1st AD on ‘Carnivàle’, was very strict about never sitting down. It was made clear to me that if I sat (outside of lunch), I would not be invited back. He was tough, he ran a tight set, and he relied on his PAs to assist in that. I learned a lot from him about what it takes to be a strong supporting crew member on set.

There’s always something that needs to be done, and if no one is asking you to do something, find something to do. PA'ing on that show and beyond was the hardest work I’ve ever done. And it was also so exciting. I felt like my dream came true, and there I was, hauling a pop-up across Big Sky Ranch in 100-degree heat.

Since then, I’ve grown and learned and have had so many more opportunities. But in some ways, I’ll always be that 20-something young woman, hungry and determined. My PA days made me who I am today.

LBB> You’ve been with Caviar for over 11 years. How have you grown with the company, and how has the company itself changed/evolved in tandem?

Tova> The company has undergone some changes, yes, but at its heart, it remains Michael [Sagol, EP and managing director] and Bert [Hamelinck, head of films and global managing director]. They are truly extraordinary leaders and mentors, and I’ve never felt more supported, more inspired, and more trusted in a work environment. Many of us have dedicated over a decade to Caviar, and I love to share that because it reveals so much about our company ethos. They foster growth and consistently promote from within, which speaks volumes.

Case in point, I began my career as a baby producer here. With each job I completed, I gained more trust from the EPs. Eventually, I began line producing for our top-billed directors, travelling the world with them and building relationships with agency producers, creatives, and clients. I genuinely loved being in the field. Occasionally, I would walk on set and see all the trucks lined up and the crew I cared so much for, and I would tear up. It meant a lot to me that I had made it that far. I never became jaded by it; it was magical every time. So, when Michael presented me with the EP role as my next step, I was excited, but I was also somewhat hesitant to let line producing go completely. I held on as long as I could, but eventually, it became impossible to be a line producer, be an EP, and be a new mom all at the same time.

LBB> Caviar works with major brands and agencies – what is your role in managing these relationships, and how have client needs changed over time?

Tova> The main responsibility in managing agency/client relationships is to serve as a trusted advisor and supporter of the work, and to make sure their needs are understood and their goals are achieved during the production. This means listening to what they want, building a good relationship, staying in regular contact, and adjusting as the needs change.

Today, more than ever, clients and agencies are looking for more: more content, more frame sizes and more deliverables, which calls for flexibility and a partnership that goes beyond lip service.

LBB> And what are the key components of successful agency/brand relationships that allow good work to take place and thrive? How do you advocate for great creative ideas?

Tova> Trust the director. You came to our directors for their ideas and their vision. Trust them. Hold hands. Be a good partner.

LBB> How do you work with the directors on your roster to ensure that they have room to grow and evolve as creative voices?

Tova> Every accomplished director possesses a clear vision, and the majority of the directors I get to work with have been successful in the industry considerably longer than I have. I help ensure their creative ideas are safe and supported, but more than that, I’m there to support them. They know they can depend on me to have their best interests at heart in any circumstance.

It’s also important to keep an eye on how the industry is changing and growing, and to offer suggestions when necessary – and we do – but we also know our directors are very clear on the stories they want to tell and how they want to tell them. We are here to support that beyond anything else.

LBB> What do you look for when identifying new talent? How do you know that someone is the right fit for Caviar’s roster?

Tova> If something feels fresh or different – if someone is doing something we've never seen before or just doing it well – it's hard to explain exactly why, but you just know it in your gut. We also have a good internal system for this. I work with some exceptional EPs who all have an opinion! Salim El Arja, for instance, has his finger on the pulse of fresh and new young talent. I’m always eager to see who he is watching, because it’s always exciting and unique.

LBB> What are some key personality traits and skills that will always be vital for producers to have?

Tova> Of course, an ability to multitask (in a way that can sometimes seem beyond human), passion, resilience, adaptability, and careful attention to detail. I also believe being kind and generous are vital. We’re all human, weathered and striving, each of us simply doing our best. So, for me, it’s important that years from now, when my son thinks about the career his mom had, he knows how much I loved my job, that I carved my path, that I was relentless about doing good work, and that I was genuinely a kind person.

LBB> What are some of the main challenges facing today’s production landscape, and how are you tackling them at Caviar?

Tova> It’s something we discuss almost daily.

The truth is, we don’t know where things are heading. We hope we get to do this for another 10-plus years, but the fact is, the current production landscape is making us all question the realities of that. Will giant companies prioritise craft, art, and real human beings to tell their stories, or are we all disposable?

Michael, Casey [Wooden, EP], Salim, Josh [Morse, EP], and I are unyielding about tackling all the challenges. We have to be; we’re producers.

LBB> On the other hand, what are some of the most exciting things happening in production at the moment?

Tova> One of the things I love most about production is that it’s a well-oiled machine. If you are in it, you know what that means – if not, throw us a problem and we will not only figure it out in under an hour, but we’ll have options and crew lined up to deliver stat with costs associated with said problem and alternative ways to achieve the solution. That fundamental way that production has always operated is still the most exciting part.