Content that Connects: Brett Alexander on Why Production Is the Vanguard of Change

Any piece of content for a brand means little if it never connects with its target audience - a statement to ponder in this interview series from Comcast Technology Solutions and Little Black Book. 

Over the course of this series, we’ll be speaking to some of advertising’s most respected production leaders to delve into how emerging themes in production, such as data-fuelled production, more lo-fi shooting technology, remote filming, and evolving feelings towards the value of production all feed into creating content that matters to customers and works for brands. 

Today, we speak with the man who oversees everything The Martin Agency produces, from content to digital to entertainment. Brett Alexander, now SVP, managing director and head of production, has spent nearly 17 years at the company, and in that time, has led production for brands such as Oreo, Kraft, Walmart and more. His many high-profile projects have won awards including One Show Gold, D&AD Pencils and even a Cannes Lion Grand Prix for GEICO's ‘Unskippable’ campaign. 

Speaking with LBB’s Ben Conway, he discusses how the best producers pull from their complete, authentic lives beyond advertising and film school, why volumetric and virtual production will be a revolutionary force, and the power of letting an idea shine, not the latest trend.

LBB> You head up production at The Martin Agency - what does the network’s integrated production offering look like today? How has it evolved during your 16 years there?  

Brett> Haha, evolved is an understatement! When I first started, Martin was a very traditional shop. Broadcast and print were king and queen. Now, I’d say there is no king or queen - we produce traditional things for sure, but also digital experiences, activations, pop songs and episodic animated shorts. We’ve published books, regularly make apparel… you name it. If Martin can dream it, our production group is bringing it to life.   

LBB> How are you seeing new technology and processes improve how production connects with its audience? What are some standout examples?

Brett> I think this needs to be answered with an eye on the future instead of today, especially given the current usability of tech that will have the biggest impact on what we do. Areas like virtual and volumetric production, AI, algorithmic editing, Unreal Engine, cloud to camera, etc., are all incredibly promising and will become integral parts of the production process in the next couple years. 

Some of those things are further along than others (for instance, we’re regularly doing virtual production for some of our clients), and much of the tech is aimed toward process efficiencies and cost solutions versus outward-to-audience benefit.  However, I do think volumetric and virtual production will revolutionise one-to-one relationships between brands and consumers.

Both will allow real-time personalisation on a scale we’ve never seen, and will usher in truly personal and targeted marketing. By the way, I’m not forgetting about AI, but that’s a huge rabbit hole that would take way more words than would fit here. 

LBB> In our fluid media environment - with new formats, trends and tech every day - how would you communicate the value of production to a brand?

Brett> Production has always been the vanguard of change. The one constant throughout is the producer themselves. Great producers have curiosity, candour, fire, heart and tenacity. That’s the value of production. It doesn’t come in the tech or format being produced; it comes in the ability producers have to wrangle the change and use it for good. To be ahead of it, to guide, consult and advise. To execute flawlessly, and to always remain calm in the storm. 

LBB> What is an example of a project that required your production department to solve a particularly tricky/interesting problem? How did the team step up to find and execute the solution? 

Brett> There are tons of occasions where our producers solve interesting problems. For instance, our production team created a bespoke new program/system to make display assets scalable and way more efficient for one of our retail-driven clients. This cut an incredible amount of waste and work out of the typical way of doing things. 

Another case would be using some fairly new and experimental tech to create a pitch piece that would normally take three to four weeks, minimum, to execute… We did it in four days, which, by the way, also gave us valuable learning to apply toward regular client work.

LBB> What’s the key to crafting content that really connects with people?

Brett> It starts conceptually. The idea must be based on human truth. It needs to be relatable on a personal/individual level. In my opinion, the execution of that idea should be true to that relatability. Don’t overproduce it. Don’t kill an ant with a sledgehammer. Let the idea shine - not the latest trend. Don’t use tech or flashiness to make up for a lack of concept.  

LBB> We talk about ‘the craft’ a lot in this industry - but how can production elevate a campaign’s idea/creative? And which areas of production should agencies, production companies and brands be investing in to offer the best-crafted output going forward in 2023?

Brett> It’s not enough for a producer to ‘just make it happen’. Creative producers have a responsibility to not only make, but be sure craft is paramount. Yes, it’s all the typical things; the right director, editor, music, VFX house, dev partner, etc., but it’s also internalising the creative idea and becoming a trusted part of the greater creative team. So, you have an intimate stake in its success and aren’t just an appendage. A producer needs to care about the end craft as least as much as the art director and copywriter or it will fall short of its potential. 

LBB> What’s a moment on a production that will stick with you forever? 

Brett> When I was executive producing GEICO for Martin, we were constantly pushing production boundaries, but more in the traditional sense involving sets, design, storytelling, etc. In terms of current work, I’d have to say using Unreal Engine in the creation of an animated short. The project was an agency investment, so timing and budget were tight. Unreal Engine allowed us to make creative decisions quickly and drastically cut render times. It was my first real exposure to Unreal and the potential it offers. Now, it’s standard in our VFX/animation conversations. 

LBB> To what extent can data be leveraged to improve production and the impact of the content? How does The Martin Agency use data in this way?

Brett> I believe data surrounding diversity and inclusion holds the most promise to impact content. For Martin, using available data in the DEI space has resulted in more authentic and relatable content. We think and produce more broadly at every touchpoint in the process. From brief writing through content finishing, data has allowed us to truly understand consumers and produce for inclusion, pushing us to be more intentional in who we choose to work with. 

LBB> If the perfect CV lands on your desk for a producer, what does it have on it and why?

Brett> I’m much more of a ‘have a chat’ person, haha. With that said, I come from a diverse background in terms of the type of work I’ve done, where I’ve done it, and so on. I love to see experience in more than just agency production. Did you work at a recording studio? Were you a PA or worked on the feature/episodic side? Have you post produced, written code, been a bartender? 

The best producers pull from their complete, authentic life - both personal and professional - not just advertising. It’s great you went to film school, but so did everyone else. What sets you apart?