For Robert Crenson “The Action Is The Juice”
Robert Crenson is an executive producer at Supernice.tv based in Los Angeles, California.
Specialising in commercials, branded content, and short-form narrative, Rob has spent the past decade building his experience and skillset on film sets first in Canada and now internationally, with experience producing in the US, Mexico, and Europe.
Over the years, Rob has developed an ethos that leans into collaborative team structures and solution-oriented problem solving. His perseverance with new challenges and striving to achieve high-quality visual storytelling with every project allows Rob to bring a robust and authentic approach to shaping all creative and production endeavours.
Clients include: Google, Ford, AT&T, Corona Extra, adidas, ESPN, Chevrolet, Subaru, Toyota, VRBO, Oakley, DHL, Garmin, Volvo, SITKA, Dick’s Sporting Goods, Gore-Tex, FOX Racing, Athletic Brewing, MEC, Rockstar Energy, Honda Powersports, IKON Pass and many more.
LBB> What first attracted you to production – and has it been an industry you’ve always worked on or did you come to it from another area?
Robert> For me, the action has always been and will forever be the juice. The moments on set where everything is coming together with a group of uniquely talented people, whilst feeling the pressure of time and expectations from various stakeholders. It’s a feeling you can’t get from a desk job. That initial line “action is the juice” is something I’ve been saying for a while and it obviously comes from a great classic action film, ‘Heat’ (1993). The scene embodies my love for filmmaking and taking on the next project or job.
What first attracted me to making moving images for a living was the storytelling aspect, along with the problem solving. The idea that you are often making something out of nothing and in order to stand out, you have to approach it in a way that hasn’t been done before. As glamorous as filmmaking and production seem, it’s not an easy task if you really want to stand out.
I originally came from the marketing world, working for companies such as Redbull in my early career after college. I realised at the time that being on the corporate side was boring for me. I wanted to be more hands-on with the creative and productions. This also was inherently influenced by previous freestyle skiing career, which was very adrenaline- and achievement-driven. There are a lot of creative parallels with my early days of making ski films to the commercial and narrative films I produce today.
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?
Robert> When I was pursuing a professional ski career, I was an on-camera talent. Even though I wasn’t acting, I did learn how to perform and understand the needs of someone on-camera. At the same time, I learn how to produce my own shoots and films. Working with a sponsor i.e. a client to understand their needs and then work with cinematographers and editors to put together all of the parts.
I didn’t go to film school, nor did I really have some junior roles in the production industry. After I retired from my skiing career, I began to work in marketing as a content strategist, and slowly realised I had more of a hands-on skill set such as a producer.
From there, I just started producing small commercial shoots for friends in the industry along with clients that I got introduced to during my days working in marketing. I have always been a producer, it's in my DNA.
LBB> How did you learn to be a producer?
Robert> Self-taught, through trial and error. No better way than just putting yourself out there, and learning from your mistakes.
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?
Robert> I produced a Subaru Rally commercial that took a lot of strategic crew assembly to ensure each person on the crew was the right fit. As a producer, you often need to make judgment decisions strictly based on merit or a quick gut check. On that production, that helped a lot.
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? Why/why not?
Robert> I completely agree with this. As a producer, I love being tested with new filming environments, tools, or ideas. From large studio set builds within a control set environment, all the way to run-and-gun style crews shooting a live unpredictable environment or event. Some call for tactile long-term planning, and some call for simply being able to think quickly on your feet when facing challenges. The same goals with tools. A good producer can understand the differences and needs of a film production that requires shooting on film stock, versus one that has multi units and cameras working at the same time. I like to say I have one of the most well rounded track records when it comes to shooting environments and camera tools.
LBB> What’s your favourite thing about production and why?
Robert> The uncertainty, the variety, and the experiences.
LBB> How has production changed since you started your career?
Robert> I think the biggest difference I’ve noticed over the past seven years, is the pace and the competition. A lot of commercial shoots are now being turned around from concept to delivery within four to six weeks. I find something changed after 2020/21 where due to remote work and more effective communication, the timelines for projects have picked up.
The same goes for competition, it’s never been stronger. The amount of talented people entering the space blows me away, and as a producer that is both a blessing and a curse. Every other week I discover a new talented director or DOP I haven’t worked with, but at the same time, there are a lot of production companies and EPs who are striving to win work from a select number of quality clients. The best quality work will always shine, the cream always rises to the top.
LBB> And what has stayed the same?
Robert> The storytelling and creative aspect. Although there is innovation happening every couple years or so, the underlying principles of the motives are still there for all roles within filmmaking.
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?
Robert> Communication, organisation, creativity, perseverance, and empathy. Some aspects of that list can be taught, but most of it is innate.
LBB> Which production project from across your career are you most proud of and why?
Robert> I recently EP’d a Triumph Motorcycles project in partnership with ALTO Visuals. The project was a global campaign for the brand and the launch of their new sport motorcycle line. The creative was calling for a new location where the brand had not shot, and required to be in Europe due to logistical reasons. I bid out three different countries and regions including, Croatia, Romania, and Poland. We landed in Southern Poland. It was a seven day multi-unit shoot which included teams from the US, UK, and locally within Poland. Our speciality camera team was trained under Filmotechnic and some of the sharpest skilled camera car crew I had worked with. Shooting motorcycles at high rates of speed, in a country that predominantly doesn’t speak English over the course of seven days came with its challenges. With persistence and cool calm collective problem solving, we worked through it and the project turned out great.
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?
Robert> On day one of the motorcycle shoot in Poland, our photographer almost got arrested by the head of our police traffic control for pushing the limits on shooting style. On day two we lost a location completely due to unforeseen factors and had to pivot the night before to be able to shoot something the next day. Lastly, on day four one riding talent crashed his motorcycle into a ditch on a mountain road going 80 km/h. He ended up being okay, but it was a very lucky outcome. Those were just some of the challenges, among others. Nerves of steel, consistent communication, and accountability – that’s how they were overcome.
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Robert> I directed and EP’d a project through my new US production company Supernice.tv with all-star NBA athlete Aaron Gordon. Due to Aaron’s training and game schedule, we had a total of four hours to shoot and deliver a full stack of motion and stills assets. Four hours to ensure everything the client is expecting is pressure for sure. I was incredibly proud of our DOP Mason Prendergast who held it down through the prep and shoot to ensure we captured exactly what the client was looking for. Same goes for our editor Nick Dean who carried us in post-pro. The vibe throughout the shoot day was all-time and really embodied the style of production and level of creative I am looking to produce through Supernice.
LBB> What are your personal ambitions or aspirations as a producer?
Robert> To produce timeless films that spark emotion and relatability with a global audience, regardless if that’s commercial, documentary, or narrative work. Supernice.tv is the commercial service vehicle for the next 10 years. As I emerge as a commercial producer, it will lay the foundation to transition into narrative films and documentary work when the time is right.
LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?
Robert> Having the phone on airplane mode and the email on auto-response by choice. I generally give myself two moments to breathe throughout the year. One is in August with a good book on a quaint patio in the Greek Cyclades in August. The second is on a motorcycle or a surfboard on a remote beach somewhere in Southern Baja, Mexico. Other than that, it’s all gas, no brakes throughout the year.
LBB> What advice would you give to people who are interested in becoming a producer?
Robert> Start small, mistakes are your friend, grow your network constantly, and hold steady.
LBB> From your experience what are the ingredients for a successful production?
Robert> Time, people, resources. Time is the most valuable, the more of it you have, the better your ability to turn every stone over before making a decision. People are the second most valuable ingredient, as if you have the right people involved in the project, that’s how the magic is made. Lastly, it’s obvious resources are essential but not necessarily mandatory. I’ve seen amazing outcomes without a lot of budget or tools. I’ve also seen the opposite. The execution is what determines the outcome.
LBB> What’s the key to a successful production-client relationship?
Robert> Relating to them. The word relationship entails the word relate. You have to relate to your clients. Understand where they are coming from, and where they want to go.
LBB> Producers are naturally hands on – they have to be. How do you balance that in the more managerial role of an EP?
Robert> It’s a great question, and one that many producers and EPs must be able to achieve. It’s a fine line of being less hands-on as an EP, whilst ensuring the production is run smoothly. It comes with experience, and is something that I am now leaning into as the EP at Supernice.tv.
Time will tell!
