How Cherie O’Connor Cuts the Creative Gem Just Right
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Canadian production company FRANK Content is a proud supporter of Little Black Book as its partner for the Canadian market.
As the VP of production and content at No Fixed Address (NFA), Cherie O’Connor has spent the past year and a half creating bold, creative and memorable content for the viewing pleasure of the Canadian market. But, her portfolio runs far deeper than that. With stints at the likes of TAXI, Zulu Alpha Kilo and Sid Lee, to name a few, she’s bolstered production departments across the Canadian scene with her ability to chart a path toward great creative - honing her technique in the process.
To chat about her journey, what she’s looking for at NFA, and the importance of finding the excitement in the discomfort that comes with change, Cherie sat down with LBB’s Josh Neufeldt.
LBB> How did you get started in advertising, and what made the production aspect the right sphere for you?
Cherie> Not to age myself, but I literally answered an ad in a newspaper the day after my commencement from OCAD [University]. This particular Toronto-based agency was looking for a receptionist, and I thought it would be the perfect opportunity for an emerging artist to start paying off some hefty student loans while still being connected to the arts community. I showed up for my first interview, and luckily, the office manager was a woman I had worked with at my previous part time retail gig. I got the job and less than a year later, I was their first in-house editor and animator - the rest is history.
LBB> Presently, you’re working as the VP of production and content for No Fixed Address. What inspired your decision to join? And what are you hoping to accomplish?
Cherie> At this stage in my career, the bolder the opportunity, the better. So, I leapt at the chance to work with Will Dempster (executive vice president, head of production North America) at a true independent shop helmed by co-founders Dave Lafond and Serge Rancourt. And to have another chance to work with CCOs Alexis Bronstorph and Kelsey Horne - it felt like kismet. I’ve always been deeply inspired by Alexis and Kelsey’s strong creative leadership. We’re still world-building - in mind and in practice - so I’m really excited about what we have in the works and about what is coming next for NFA.
LBB> And how would you describe your style as a producer?
Cherie> My style is rooted in creative stewardship. As someone with an arts background, I feel deeply connected to the creative process and the evolution of an idea; there is no better feeling than being able to breathe life into something that was conjured in a brainstorming session and has only existed on a page. My former artistic practice was in mixed media, film and video art (very scrappy and DIY) and that energy and experience still lives with me today. I think that my former art student’s instincts pretty much influence all of my choices today.
LBB> In practice, what does this look like? When getting started on a project, what are the first steps, and how do you work alongside the team at NFA to achieve the best results?
Cherie> First, I get the creatives together to really hone in on the vision. Can they walk me through every aspect of the idea, script, and the desired outcome? That involves a lot of listening, and asking the right questions. I need to be fully immersed in the world that they’ve created before the project made it to me. I want to know angles, contours, and colours. I get pretty granular in the beginning, but once I’m in that headspace, I can chart a path forward and feel like I know where to push and where to pull back so that the creative gem is cut just right.
LBB> It’s said that a good producer should be able to produce for any medium, from film to events to digital. Do you agree or disagree with this statement?
Cherie> I absolutely agree with that, based on my own experience. My production training has given me a scaffolding of underlying skills that transfer well from one medium to another. That works for me, and I like the challenge of adapting. That said, producers have varied (and sometimes very specific) expertise, and sometimes it’s more valuable to play to those strengths. But, I appreciate a willingness to learn, and I think it’s important to try to push ourselves out of our comfort zone to uncover new skills, especially in an ever-evolving technological and media landscape.
LBB> What have been some of the most significant projects that you've worked on in your career? And why?
Cherie> Earlier this year, I produced a highly technical shoot for CREA, led by the amazing director Pep Bosch. This was a challenging and highly ambitious undertaking. We shot at nine locations over the course of two days, and our third day was in a studio that consisted of 10 custom-built sets. The concept centred around a family of giants trying to find the perfect home. We wanted this to look as real as possible, so we shot everything practically and in camera. We accomplished this a few different ways: by casting really, really tall performers, but also by building set pieces that were much smaller in size, in order to exaggerate their appearance and add comedy to the performances.
The final spot, ‘Together, We’ll Make Home Happen’, was dazzling, heartfelt and funny. It was an incredible experience; from the casting of our performers to the pre-production planning, to the fine craftsmanship of the prop master, and, of course, the witty and charming direction. It’s the kind of spot that you learn so much from and know you will continue to draw from in the future.
LBB> What are some of the most important lessons you’ve learned in your industry journey? And how do they impact the work you do today?
Cherie> I think true openness is the most important lesson I’ve learned on my journey; that we all have a different lens that we look through. To me, as a producer, the most satisfying creative challenge is figuring out how to collectively focus our diverse efforts and perspectives. The aim is to bring the work into focus in a way that all members of the project feel good about. Remembering that lesson has been humbling and grounding.
LBB> And if you were to give any advice to your past self, what would it be, and why?
Cherie> Get in there and mix it up! Don’t be afraid to weigh in and ask tons of questions. A unique and owned perspective almost always opens a new portal into the work, and can help find that sometimes elusive solution.
LBB> With all this in mind, wWhat’s the most exciting thing about working as a producer, right now? And since starting, how have you kept things fresh and exciting for yourself?
Cherie> Technology and innovation, for sure. I know that our industry has faced its fair share of challenges in the recent past, and what we’re seeing today is no different. But, I’m excited by the discomfort that comes with change. Personally, I can’t wait to start incorporating new technologies into my practice as a producer. For me, it’s about how I can work smarter, and which tools I can reach for quickly and effectively.
LBB> What helps you destress after a long day at work?
Cherie> We have a 200-year-old log cabin out in the woods, and I spend a lot of time there. I remove myself from all of my devices, let go of all the tasks competing for mental space, and focus on my surroundings - on the river and the wildlife. I’ve turned into an avid gardener, and love witnessing the results of tending to the flora; it’s another way of being connected to something that I can help steward. It’s been such a rewarding experience, and a nice complement to the highly cerebral experience of advertising production.
