MOFA's Claire Perkins: What I Learned From A Man On Fire

Claire Perkins launched her career in New Zealand at Exile Films, specialising in line production for international clients. At just 22-years-old, she transitioned into producing, a role that has since taken her across the globe.

Having lived in London and now Australia, Claire boasts a diverse portfolio encompassing live action, stop frame, 2D and 3D animation, CG, and post production. Her expertise has positioned her as a creative producer, collaborating with renowned directors on a global scale. Previous positions at Unit Post and Nexus Studios London saw her experience combine technology and craft on projects for major global brands.

Claire has worked alongside renowned directors like the Oscar-nominated Smith & Foulkes and Derin Seale. Noteworthy career achievements include contributing to two projects awarded the Cannes Grand Prix: Chipotle's ‘Back to the Start’ in 2012 and the ALS ‘Project Revoice’ in 2018.

As former head of production at FINCH and currently working as executive producer at MOFA, Claire has not only mentored emerging talent but also maintained partnerships with leading directors, clients, brands, and agencies.

AWARDS:

2018 – Cannes Lion Grand Prix – ALS 'Project Revoice'
2012 - Cannes Lion Grand Prix & Grand Clio Award - Chipotle 'Back to the Start'
2011 - Cannes Lion & British Animation Awards - Coke 'The Siege' Super-bowl
2008 – Silver LIA - Gold Axis NZ - Nintendo Jam Sessions 'Instant Rockstar'

Firstly, I’ll start by saying no stunt men performers were harmed in the making of this.

One of the first music videos I produced was for an up-and-coming punk band. The concept: a guy running down the street on fire.

We had a professional stunt performer, full fireproof gear, everything by the book. And I thought very little of it as a 21-year-old standing in a cold alleyway in Auckland at 12am as everyone explained the action to me. We have like 15 seconds, and then he has to be put out.

The shoot starts, the actor bolts, flames roaring off him as we film him in super slow mo.

I’m watching the monitor, heart pounding, and everything’s going perfectly but all I could think in that moment was “F*** me I'm out of my depth”.

Since then, I’ve dotted my i’s and crossed my t’s obsessively. And I’ve learned to ask questions — always. The only outcomes I’ve regretted were the ones where I assumed.

Over time, I’ve been lucky to work with incredibly talented directors — and tightly buttoned-down producers.

I was sitting with a creative the other day when he told me about his deity — the person who guided him when he was just starting out. It got me thinking about all of mine. The people you idolise in their roles, or even aim to outdo. The ones who push you to work harder, be better, and keep yourself in check. That kind of self-inflicted competition is so healthy.

All of mine had that perfect balance of professionalism, creativity, and compassion.

From Claris Harvey — an equally young producer finding her way with remarkable elegance in Auckland — to Tracey Cooper and Isobel Conway in London, who built such strong alliances with directors and agencies that they could solve problems before they even reached their inboxes.

Tracey still carried her cheat sheet — a Bible she began as a runner and refined over time — and I still share my own version of it with my team. It’s a shorthand checklist of the simplest reminders, and, truthfully, it hasn’t changed all that much to this day.

And then, over the last 12 years in Sydney, there have been countless senior producers and directors who drive you to be overly diligent. Not wanting to miss a single hair as you try to support their vision. Or junior teams so hungry they’ve powered through six-day travel shoots on the smell of an oily rag. You find yourself downstream in the Peloton, pedalling like mad just to keep up.

So yeah — always pump your tyres. Check your lycra, the weather, and road map.

It’s not that sexy, but always wear your helmet!