Why You Never Finish Learning as a Producer with Katie Clarke

Katie Clarke is a seasoned producer with over 15 years of experience, known for her work on ‘Jack Whitehall: Travels with My Father’ (Netflix) and ‘Gold Rush’ (Discovery Channel). From first concept to final cut, she brings a playful, inventive touch to every project, balancing editorial ambition with production realities.

Now at NaF+ Brand Films, Katie’s produced major shoots for NEOM, Getty, and a high-stakes boxing event at Tottenham Stadium for Conor Benn vs Chris Eubank Jr. Her strong people skills and calm, resilient nature mean she thrives under pressure, always delivering creative visions on time, on budget and safely.

Katie’s passion for storytelling and travel go hand in hand. She loves meeting remarkable people and sharing their stories, all while building teams where everyone feels heard and valued. Her drive to keep pushing boundaries continues to take her career to exciting new heights.

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?

Katie> I’ve always known I wanted to work in production, though it did take me quite a while to find exactly where I fit. Growing up, my aunty was a newsreader in Bahrain, but after three years studying broadcast journalism at the University of Leeds, I realised, for a whole host of reasons, that I wasn’t quite cut out for that life.

So, I took a slight detour into the world of factual entertainment TV, and that’s where I truly found my passion. I fell in love with telling the stories of real people right here in the UK (and later abroad). And while I’ve worked in some hostile environments, I’ve not yet had to don a bulletproof vest.

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?

Katie> My first proper taste of the production world was back in 2010, working on what was a brand new Channel 4 series called ‘What The Neighbours Did’, presented by Amanda Lamb. I came on board as a work experience and was thrown right in from the start, helping to cast families keen to renovate their homes and taking them to meet locals who’d done similar projects for a bit of inspiration.

I absolutely loved being out on location, chatting to people, and taking care of the crew (without the terror of having to swing a camera). It was a brilliant way to learn the ropes. When True North then hired me as a researcher to stay on the series across the rest of my final year at university, that’s when it all clicked. I knew then that my new dream was to become a producer, telling stories, working with brilliant teams, and bringing real people’s experiences to life.

LBB> How did you learn to be a producer?

Katie> I’m not sure you ever truly finish learning to be a producer because it isn’t a straightforward, neatly defined role. Every shoot is different, and every day is a school day.

Really, the best way to learn is by working your way up through the ranks from runner upwards, and taking the time to get to know every single person on set. Over the years I’ve been lucky to have amazing friends and mentors, from fellow producers and editors to make up artists, soundies and even the occasional contributor, all of whom helped me figure out what sort of producer I wanted to be.

You end up wearing countless hats and easily clocking up 20,000 steps a day walking that bridge between production and editorial to make sure everything lands on screen, on time and on budget. No two shoots are the same, as a producer you should always be learning how to do things better than the last.

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?

Katie> I’ve worked on plenty of challenging formats over the years, but none quite like BBC One’s ‘The Apprentice’. Before I started on the series, an email went round asking if anyone on the team spoke French. Armed with nothing more than my GCSE A star in French, I decided in my infinite wisdom to say ‘me’...

On my very first day, I was paired with a producer and told we’d be running the famous ‘Discount Buying’ task. The candidates had to buy 10 items for the best possible price, scouring the Kent and Calais countryside. It was up to us to decide what those items would be and to check there were enough shops selling them in each area so the teams wouldn’t end up on a total wild goose chase.

Needless to say, phrases like ‘four-point galvanised steel foldable anchor’ and ‘scarecrow’ had never come up in my GCSE French lessons. Calling round tiny businesses in France to see if they had these things in stock quickly left me feeling completely out of my depth. I could just about ask the right questions, but understanding the answers was another story entirely, especially if they were anything more complicated than a simple ‘non’!

Still, I dug deep. I knew the candidates would be facing the exact same language barrier on camera, so I had to persevere. Armed with sheer stubbornness, Google Translate, and an incredibly supportive producer (who also didn’t speak a word of French), we managed to pull off the challenge.

The following year I was promoted to assistant producer, and then to producer the year after that. In the end I spent another five years working on the series and was responsible for every abroad shoot set up from then on. It was a bit of a trial by fire, but it absolutely made me the producer I am today.

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?

Katie> I completely agree. Two years ago, the TV industry hit a rough patch and commissions pretty much vanished overnight. I was lucky enough to be hired by NaF+, who took a chance on a girl who’d only ever worked in TV, and brought me into their brand films department, and later into worldwide services as well.

Since then, I’ve worked on my first TVC, travelled the world producing event coverage for some of the biggest brands like NEOM and The Ring Magazine, and dipped my toes into a whole range of other formats.

I still remember stepping onto set in Madrid for my very first TVC. I was a bit overwhelmed at first. The client village was far fancier than anything I’d ever seen in my 10 years of production... But after thirty minutes, and once I’d popped a set of comms on, I settled right in. It ended up being absolutely brilliant and something I will never forget.

Of course, there are some differences. You’ve got APA rates versus BECTU rates, slightly different jargon, budgets and timeline expectations (particularly in the edit), but at the end of the day the heart, soul and energy are exactly the same. Every producer wants to see the best content captured, the crew well looked after, and the client. Whether that’s a channel commissioner or a brand agency, leaving happy.

If anything, I think we should see even more cross pollination of production teams and crews, across different mediums. It keeps things fresh, brings in new perspectives, and makes our industry all the more diverse and exciting.

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

Katie> There’s honestly nothing I love more about production than that first day on set. Months (or sometimes just frantic weeks or days) of planning finally come together, and there’s nothing left to do but get out there and just do it.

The call time is usually extortionately early, but the team’s fresh, buzzing and excited. We’ve got a plan, we know exactly what we need to achieve, and there’s this brilliant sense of purpose. It’s that electric moment when all the ideas and spreadsheets turn into real people, real places, real stories and real shots. That’s the bit that always makes my heart race and reminds me why I fell in love with this job in the first place.

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

Katie> The biggest shift has been in the way we all consume content. People want things that feel more raw, real and immediate, and you can see that reflected in what clients and commissioners are asking for. Alongside that, budgets are getting smaller and timelines are tighter, but I actually think that is pushing us to be more inventive. I hope that companies see it as a real opportunity to diversify, by opening doors to new talent and fresh voices who can bring different ways of thinking and working to the table.

Production itself has become so much more dynamic and versatile. Thanks to all the new ways of thinking but also the new technology available to us. We can create stunning, high-quality content much faster than we ever could before. You don’t always need huge crews or long post schedules to achieve something brilliant anymore. It means we can be more agile, adapt quickly, and stay ahead of what each project demands.

It has also made all of us more multi-skilled. These days you are expected to understand editorial, keep up with the latest tech, and have a strong sense of social, so you end up bringing so much more to the table. I love how collaborative it’s all become, with smaller teams who care deeply about the final piece from start to finish.

So yes, production has changed a lot, but I honestly think it’s kept it exciting, open and full of possibility.

LBB> And what has stayed the same?

Katie> Ahh, the passion. Even in these tougher, more uncertain times, the people who work in our industry are always so passionate about what they do. That’s never changed. Everyone’s willing to muck in, help each other out, share ideas, contacts and all those brilliant little cheat codes that make getting the best out of a shoot possible.

I’m in countless amazing (and absolutely massive) WhatsApp groups full of industry folk, and the amount of support, advice and sheer generosity people show every single day is honestly heart-warming. It reminds you that no matter how much the landscape shifts, at its core this is still an industry full of people who love what they do and want to see each other succeed.

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?

Katie> I do think there are some innate traits that are really necessary to be a great producer. You’ve got to be bold, you’ve got to be personable, and you’ve got to know exactly when to listen. Of course, anyone can learn how to build a budget and you can memorise all the best kit hire companies, but without the ability to build genuine relationships and set fair, respectful boundaries, you won’t stand a chance. That part can’t really be taught.

It’s the emotional intelligence side of things that’s often overlooked. Being able to read people and situations, knowing how to keep a team motivated, when to push and when to pull back, that’s the magic bit that makes a truly effective producer. And while experience will definitely sharpen those instincts, I think at its core, it’s something that lives in your bones.

LBB> Which production project from across your career are you most proud of and why?

Katie> I’m genuinely proud of every project I’ve worked on. No matter how big or small, each one has added another little tool or trick to my producer's Swiss army knife.

But one that will always stand out is ‘Jack Whitehall: Travels with my Father’, the fifth and final series where we travelled across the UK. We filmed it right at the tail end of Covid-19, so there were still plenty of restrictions in place, with daily testing and social distancing to navigate. But there was something so special about bringing that series back home and shining a light on some of Britain’s best hidden gems after such a dark, isolating time.

We met some of the kindest, most generous, fascinating contributors all across the UK. And Jack, Michael, Hilary and their whole team brought so much warmth and joy to set every single day. It was a genuine privilege to help tell those stories and see the laughter it brought, both on set and later on screen.

LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?

Katie> This is such a good question. I was lucky enough to be part of the production team at NaF+ filming event content at Tottenham Stadium for the Conor Benn vs Chris Eubank Jr fight. It was a huge moment for British boxing and honestly a real career highlight for me.

Part of that event, and my personal stand-out moment was wrangling two of the biggest internet sensations, KSI and IShowSpeed, along with a tiny crew (and a massive security team) through the chaos of Piccadilly Circus. We were there to launch the ‘Fatal Fury’ game in a live showdown that blurred the lines between gaming, sport and full-blown cultural spectacle. It was absolutely heart-stopping in the best possible way.

We turned around content from both events in under 24 hours, capturing all that amazing energy and getting it out into the world. The result? Billions of global impressions and standout engagement across platforms, which I am still buzzing about months later.

Big shout out to our brilliant clients at BigTime Creative Shop and Ring Magazine for trusting us to bring it all to life. Couldn’t have asked for better partners to dive into that madness with.

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?

Katie> Oh gosh, there are definitely a few stories that I’ll be taking to my grave to protect my crews… and hopefully they’ll do the same for me.

As a task and challenge producer, I always made sure I road-tested everything before I’d ever dream of asking a contributor to do it. Which means I’ve found myself in plenty of hairy and downright ridiculous situations over the years.

One that really stands out was on Ed Stafford’s ‘Jungle Dads’ for Channel 4, where we took a group of dads and their kids deep into the Belize jungle to bond. Safe to say, doing the Deadman’s Drop into a 300-foot sink hole, scrambling up a waterfall on ropes, or being carted off to hospital for a suspected leishmaniasis bite (yes, that’s the flesh-eating parasite kind) are all pretty high on the list.

But honestly, I put my life in the hands of the incredible Secret Compass safety team, and thanks to them we all got in and out of that jungle in one piece. Just with a few extra scars and stories to tell at the pub.

LBB> What are your personal ambitions or aspirations as a producer?

Katie> Well, I’m currently expecting my first child, who’s due in the next few weeks, so right now my biggest hope is that once he’s safely in the world, I’ll be able to find a bit of balance that lets me keep growing as a producer. It’s not always the easiest industry to navigate, and I’d be lying if I said I wasn’t nervous about how much harder it might be as a mother. But I’m lucky to have an amazing professional and personal support network around me, so wish me luck.

Looking a bit further ahead, my ultimate dream is to produce a scripted series or feature. I’ve got so many incredibly talented friends who are writers. One in particular is Yemi Oyefuwa (seriously, look her up). Nothing in this world would give me more pride and joy than working alongside her to bring one of her original stories to life. That would be the absolute dream… and hopefully just the start.

LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?

Katie> This is a tough one, especially as I like to be available pretty much 24/7 for my clients and crews, who are often out on shoots across all sorts of time zones. But honestly, there’s nothing quite like a good glass of wine and a bit of fantasy fiction to help switch my brain off for a while.

I also try to volunteer whenever I can, helping look after retired racehorses at my local museum. You really can’t think about much else when you’re standing next to a big, strong, slightly unpredictable horse. And there’s something about shovelling horse poo that truly helps ground a girl….

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

Katie> I think at the end of the day it’s people. I’ve always been endlessly curious about people — what makes them tick, what their stories are, how they see the world. From meeting the men and women who make Quality Street during my time on ‘Inside the Factory’ for BBC One, to chatting with gold miners out in the Yukon wilderness for Discovery Channel’s ‘Gold Rush’, every single person is so multifaceted and brings something unique to the table. You just have to figure out what that is.

That’s what really keeps me going, even when the hours are mad and the to-do list feels never-ending. I love the puzzle of working out how to bring someone’s idea or experience to life in a way that feels true, entertaining and a little bit magical. And honestly, there’s something about the chaos of it all that I secretly thrive on.

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

Katie> Be bold, be kind and always be the calmest person in the room. Build genuine relationships because this industry is tiny and your reputation will follow you everywhere. Learn to listen properly, you’re not always the smartest person in the room even if you are the most experienced. Also, don’t be afraid to start small or get your hands dirty. Some of the best lessons come from lugging kit around or making a last-minute coffee run. It all adds up to making you the sort of producer people trust and want by their side.

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

Katie> Clear communication, realistic planning, and a team that actually likes each other (or at the very least respects each other). You need a solid plan but also enough flexibility to roll with the inevitable curveballs. Make sure everyone knows what success looks like, from the crew to the client, so you’re all pulling in the same direction. And feed people well… honestly, a few chocolate frogs (you know the ones) and a cold drink can save a shoot.

LBB> What’s the key to a successful production-client relationship?

Katie> Trust and transparency. Your client needs to feel like they’re in safe hands, that you’re listening to them and that you’ve got their best interests at heart. Keep them in the loop, don’t sugar-coat problems, and always come with solutions. And remember, they’re under pressure too, so a bit of empathy and humour goes a long way. Ultimately, it’s about proving that you care just as much about the end result as they do.