What Decades in Production Taught Nina Alkan About People and Precision
Born in Amsterdam and raised in Oslo, Nina brings a uniquely international perspective to every production. After studying literature and Dutch at the University of Oslo and completing film school in Norway, she began her career as a production manager and line producer across TV and advertising, later stepping into the world of feature films, including the Norwegian production Weekend.
Nina was soon headhunted into agency life, producing at Bates International and D’Arcy in Oslo before relocating to Barcelona in 2002. There, she co-founded her own production service company, building a reputation for creative, solutions-led work with international teams.
Over the years, she’s brought her production expertise to campaigns for some of the world’s biggest brands, such as; Sony, H&M, Ford, Volvo, Citroën, SEAT, Levi’s, Carrera, Nike, VW, Mitsubishi, Unilever, McDonald’s, Adidas, and many beloved Nordic names.
In 2020, Nina joined Palma Pictures, bringing with her decades of production experience and a calm, curious approach that clients love.
A passionate believer in the power of people, good humour and clear communication, Nina thrives on the energy of our industry, with all its mad ideas and magic moments.
She speaks Norwegian, Swedish, English, French and Spanish, and can read Dutch and German. She's lived in the Netherlands, Norway, Spain and France, and when she’s not on set, you’ll find her hiking, sailing, training dogs, gardening, or nose-deep in a book.
LBB> Can you walk us through your journey in the production service industry?
Nina> I started out in production, which I’m really grateful for. It gave me a solid grounding in how producers work and how the collaboration between client, agency and production truly functions. Later, as an agency producer, I worked with production service companies abroad, which gave me valuable insight from the client’s point of view.
Eventually, I moved into production service myself by setting up my own company, no investors or partnerships, just a desire to offer the kind of service I’d always wanted to receive. My partner and I didn’t have a formal business plan; we simply believed in going all in with our clients, avoiding a cookie-cutter approach and building something more tailored and human.
We grew quickly, attracting production companies, agencies and some direct-to-brand clients. Before long, we were successfully servicing TVCs, photo shoots, and long-form projects and even got asked to service productions outside of Spain for clients who wanted to keep working with us.
After some fun and inspiring years running that business, I stepped away and joined Palma Pictures in 2020.
LBB> What are some of the most challenging productions you’ve worked on, and how did you overcome those challenges?
Nina> Not to sound like a cliché, but almost every production presents a challenge, delivering on time and on budget is a constant, no matter the size or complexity of the job. As someone once said, production is creative chaos with military precision.
One that stands out is my very first service job in Barcelona. I’d just signed the paperwork for my new company while still wrapping productions back in my agency role in Oslo. Suddenly, a production company confirmed a global TVC shoot; three days, multiple locations, and a huge talent pool needed. One of their dream locations was Tibidabo amusement park, where no one had managed to secure a filming permit in over eight years.
My Spanish wasn’t quite there yet, and I didn’t have the contacts at that point or even a crew. But by luck, the person in charge at Tibidabo spoke French, as I do. After countless phone calls and a lot of persistence, we got the green light. Thanks to recommendations from crew I’d worked with as a visiting agency producer, I pulled together an incredible team and we delivered a smooth, successful shoot. What the client didn’t see was us signing office contracts at speed and racing to get phone lines installed, a crash course in starting a company abroad in a country I’d only known as a tourist or client. That experience made me fall in love with the Spanish crew and production culture.
A more recent example was a Sensodyne campaign produced with Palma Pictures during Covid. The director was on set, but the agency and client were tuning in remotely from an office in Soho. It was a six-day shoot in the sweltering summer heat, covering both live-action and macro food shots. I really felt for the creative director, relying on me as the masked point of contact on set, through a monitor! But we made it work, and the result was beautiful.
LBB> What key qualities do you believe set your company apart from others in the industry?
Nina> We’ve been established for a long time, with a strong track record across all formats; commercials, features, TV shows, you name it. That depth of experience means we’ve built a vast network across different territories, which is a real advantage when it comes to finding creative and efficient solutions on the ground.
One thing that truly sets us apart is our team. We bring a wide mix of backgrounds, languages, and cultural knowledge, which makes a huge difference when working with international clients. And unlike many in the industry, our executive producers are based in our key markets, not just at HQ. That local presence allows us to build stronger relationships, offer faster, more tailored support, and really stay connected to what’s happening creatively and commercially in each region.
We’ve also been audited and certified as a sustainable company for over 12 years now which is something we’re genuinely proud of. It’s not just a badge, it’s part of how we work every day, and it means a lot to the clients who share that commitment to responsible production.
LBB> Can you share the most extreme example of a major issue that arose during a shoot and how your team resolved it?
Nina> There have been so many moments over the years that felt huge at the time, only to fade into funny memories after a well-earned wrap dinner. Like the time a snowstorm swept through southern Spain, or when we were shooting overnight on a ferry and the celebrity actor locked himself in his cabin while the captain, who technically had full authority in international waters, unexpectedly threw a spanner in the works. Despite having signed off on the shoot and the schedule changes, he refused to cooperate on the night. Even the marketing director of the ferry company couldn’t sway him. But thanks to a brilliant, quick-thinking production team, agency and director, we kept the momentum and made it work.
There was the time lightning struck an 18K HMI in the middle of Barcelona, or when a crew van clipped a tunnel wall right before a planned explosion. We’ve had to transport top-secret semi-trailers across the country without raising eyebrows, and once tracked down someone in the middle of nowhere who could unlock a car that only responded to a specialist electronic card.
Every single one of those challenges got resolved, often in unexpected and rather satisfying ways. That’s the thing about a great production crew: their value shines when the stakes are high. Stay calm, get creative, and never be afraid to think outside the box.
LBB> What strategies do you employ to maintain calm during high-pressure situations?
Nina> Maybe it’s my Scandinavian nature, but I’ve always believed in the power of gallows humour to lighten the mood. Finding something to laugh about, even in a tense moment, can really clear your head and give you a fresh perspective or burst of energy. Sometimes, just stepping away for five minutes, walking to the catering table, or moving your body a little can be enough to reset if you’re on set.
It might also come from my experience training dogs. When they get mentally stuck, they either shut down or act out, and often, a small distraction is all it takes to help them refocus or calm down. I think the same applies to us humans.
One thing I genuinely recommend? Taking a moment to walk barefoot on a patch of grass or earth, even if it’s just for a minute. Maybe we should all kick off our shoes on the next shoot and take a moment. A five-minute break can go a long way in this industry, we all deserve it.
LBB> How do you approach location scouting, and what factors are most important to you in this process?
Nina> Understanding what the client wants to achieve is absolutely key. I always make sure the location scout is fully briefed, not just on the creative vision, but on practical and budget considerations too. Clear communication is everything. Never assume, always ask questions.
One of my earliest experiences as a production manager taught me that the hard way. I was working with a director who made shooting boards out of cardboard as part of his process. We were planning a car commercial, and he needed a road with a very specific curve from the camera’s point of view. During prep, a gust of wind blew the cardboard road across the room. A helpful PA put it back, but not in the right position. I didn’t realise and passed that incorrect angle on to the foreign scout. It meant extra scout days and a valuable lesson I’ve carried with me ever since: always double-check the details!
LBB> Are there any principles you always go back to manage budget constraints without compromising on production quality?
Nina> I like to start conversations early, well before all the details are locked in. In my experience, getting aligned during the bidding stage is essential. Even if everything isn’t confirmed, it’s important to match expectations with reality from the outset. Creatives often appreciate knowing early on if something might not be feasible, so they have time to adjust or rewrite without last-minute pressure.
Once in production, it’s all about anticipating needs and keeping communication open with the client at every stage. At the same time, I always look at what we can adapt on our side, without ever compromising the delivery or timelines.
LBB> What’s most important to ensure you’re working well with local crews and talent?
Nina> Be clear from the start, share all the background on the job and the client’s expectations. Then listen. Crew often have great suggestions and the right questions, and it’s important to create space for that dialogue.
My role is to support the client on the ground, acting as a bridge between the brief and the feedback or input coming from our team. Cultural references are often a big help when briefing, and that’s something we’re strong on, we’re a truly international company, with a mix of nationalities and perspectives that really enrich the process.
LBB> How do you foster strong relationships with clients to encourage repeat partnerships?
Nina> It’s all about trust, like any relationship. I put myself in my client’s shoes and listen first to understand. My goal is to make them look good in front of their clients. They’re under just as much pressure as we are, so if I can show I’m a true partner, committed to a great shoot and to making them shine, they come back.
LBB> There are of course fundamentals that remain, but all industries are changing rapidly these days. How do you see the production service industry evolving in the next five years?
Nina> Many people are worried about AI and the idea that production might no longer require travel. Personally, and here at Palma Pictures, we are embracing it and find it exciting, it can support parts of the workflow and open up new ways to approach service. That said, I don’t believe real, organic footage or on-location production will disappear completely.
Service companies need to evolve, and we already are. We're collaborating with clients and creatives in more varied ways than ever before. One example is Trivago, a repeat client we've produced for several times a year. Relationships like this allow us to understand long-term strategies and fine-tune how we work together.
It also gives us the chance to bring in freelance directors from our international network to shoot in Spain and Portugal. For me, production service is about facilitation, knowledge, and connection and our position here lets us connect clients and creatives in new and exciting ways. I’m all for that.
LBB> If you could give one piece of advice to clients looking for production services, what would it be?
Nina> My advice would be to pay close attention to how the brief is received, what questions are asked, and how the initial bid is presented. It quickly becomes clear if it’s a 'one size fits all' approach. If the numbers seem too low and the right questions aren’t being asked, I’d be cautious, surprises often follow.
Budgets are tighter these days, but creativity is still thriving and production still costs. That’s why having a service partner who shows real interest and insight is key. Someone who asks the right questions early on can help shape realistic solutions and bring all the details together smoothly, without losing quality on-screen.
