How Shelby Spigelman Solves the Jigsaw Puzzle of Each Production
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The director of broadcast production at Rethink, Shelby Spigelman has spent her career creating groundbreaking work for the likes of Tim Hortons to Habitat For Humanity, across multiple agencies including JWT and BBDO. Ever eager to take on new challenges, she’s always striving towards producing the next piece of work that’s close to her heart, while also nurturing and supporting the broadcast production team as best she can.
To chat about her journey, important lessons learned, and why she loves the industry, Shelby sat down for a talk with LBB’s Josh Neufeldt.
LBB> How did you get started in advertising? Tell us your story!
Shelby> As I was wrapping up my business arts degree, I applied for an internship at Enterprise Creative Selling (back then, a division of J. Walter Thompson). Completely green to the industry, I felt like I needed hands-on experience if I was to venture into advertising. An internship in accounts seemed like a perfect spring job, and it turned into a dream position! I was able to sit in on brainstorming sessions for the naming of Tim Horton’s ‘Donut of the Month’, build client BCRs, and help plan Thursday Drink Carts. It was this six-week accounts internship that convinced me that advertising was the right industry for me, and the perfect foundation to propel me into the next phase of my career… broadcast production.
LBB> What made broadcast production so appealing? And since starting, what’s changed, and what do you do to keep things fresh?
Shelby> I had been working on the account side for two years when Donna Heffernan (then, the head of broadcast production at JWT) asked me to join her team. I will always be grateful to her for seeing something in me and giving me that opportunity.
So much has changed in production since I started. Director reels come within minutes via a link (gone are the days of waiting at reception for your DVDs to be delivered). The wasteful, colour-printed pre-pro binders are no more (thankfully), and shooting on film is now a novelty and an aesthetic choice. Our entire industry has gone digital, and lately, it’s not always apparent if something was captured net-new or a byproduct of AI. I guess I should ask ChatGPT what the future holds.
What do I do to keep things fresh? I’ve taken three sabbaticals (AKA three separate maternity leaves). Time away from the industry always reminds me how much I love it and appreciate the craft. Each return presents me with an opportunity to re-immerse myself and take in all that has evolved.
LBB> Presently, you’re working as director of broadcast production at Rethink. What inspired your decision to join? And what are you hoping to accomplish?
Shelby> I was blown away by the work Rethink (a mighty independent agency) was doing for Molson with its ‘Beer Fridge Campaign’. That same year, on the Croisette in Cannes, I introduced myself to one of the CDs of the campaign, Mike Dubrick (now Rethink’s current CCO). A few months later, Laura Rioux, Rethink’s head of production, emailed me to chat about joining the Toronto office. It was bashert (‘meant-to-be’).
At the time, Rethink was pushing clients to really think outside of the ‘TV box’. I wanted to be a part of it, and was eager to take on new challenges.
Since joining Rethink, the business and agency have continued to evolve and grow. Our clients trust us and have so much respect for the work we deliver. We have won new business, opened up a New York office, and have won a tonne of awards.
LBB> Specifically, what is it about broadcast production that you find appealing? And what made working agency-side the most appealing option?
Shelby> I love that every campaign, every commercial, and every production is a massive jigsaw puzzle to be solved. Each producer might approach it differently, but at the end of the day, we producers bring the work to life in the most dynamic way possible, on budget and on time. (And, when my own kids see how dedicated I am to production, they complain a lot less about pre-roll ads on YouTube!)
LBB> How would you describe your style as a producer? And what factors have influenced it?
Shelby> I make things happen, and I’m a team player. As much as I miss being on the ground producing cutting-edge work, I love nurturing and supporting the broadcast production team. As a director, I like to lead with empathy toward others while managing and pushing my team to strive for excellence. I definitely couldn’t do it without Laura’s leadership, and my right hand, Nadya MacNeil (associate director of broadcast). We make a solid team.
LBB> Tell us a bit more about your creative process! When getting started on a project, what are the first steps, and how do you work alongside the team at Rethink to achieve the best results?
Shelby> Firstly, get inside the creatives’ heads! Before we talk about details or nuances, I always ask the team to share their dreams for how they see the project coming to life. I make it clear that my job is to help them bring it to life, and it’s a real collaboration. Building that trust from the beginning is vital to the success of the campaign.
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?
Shelby> Great question! When clients started to prioritise digital, producers started calling themselves integrated because it seemed like the right thing to do. However, if you ask me, we can’t be good at everything. While I do think it’s important for a producer in my position to have knowledge of all facets of production (including digital, print, and experiential), there’s a reason digital producers exist. They know the intricacies of building microsites and the technology behind AI.
At Rethink, we pride ourselves on our integrated department. We collaborate all day long to ensure we are always resourcing the most appropriate producer(s) for the job. A producer should never feel threatened or concerned if they’re not producing across all mediums. Being an expert in your craft is an accolade in and of itself.
LBB> What have been some of the most significant projects that you've worked on in your career? And why?
Shelby> I’ve worked on a lot of notable projects throughout my career for some amazing clients and some big-time celebrities (Tim Hortons’ ‘Tims Run’ with Sidney Crosby and Nathan MacKinnon, Motrin US’ ‘Make It Happen’ with Jennie Garth, ReStore/Habitat For Humanity’s ‘Alan Thicke Wants You To Get in His Bed’ with the late Alan Thicke), and travelled to unbelievable places that I likely wouldn’t have seen.
As much as some of these jobs felt significant and pushed me beyond my comfort zone, I’m excited to continue to be a part of trailblazing projects and strive towards producing something that’s truly close to my heart.
LBB> What were some of the most important lessons you’ve learned in your industry journey? And how do they impact the work you do today?
Shelby> Respect the creative process. Sometimes it can be frustrating, but the journey to air is worth every step.
Also, be kind. Make real, genuine friendships with your suppliers. Thank them (and, mean it) for going the extra mile. It’s a partnership. As much as they want to do business with you, you need them way more. You’ll need them at the 11th hour when a rush job comes in and you need it turned around overnight. Production can feel intense at times, but staying true to yourself will get you very far.
LBB> If you were to give any advice to your past self, what would it be, and why?
Shelby> Never fear your creative directors! As producers, we bring a lot to the table and CDs value us, trust us and want to hear our opinions.
When I began my career in production, I was intimidated by my first creative director, Martin Shewchuk (former ECD of JWT). However, his approach turned me into a thick-skinned, quick-thinking, no-bullshit producer. A long-standing relationship of mutual respect and collaboration ensued.
LBB> What’s the most exciting thing about working as a producer, right now?
Shelby> At Rethink, we have a concept called ‘Change Proposals’. We are encouraged to develop big ideas outside of client briefs. As producers, we can use those opportunities to be change makers, to inspire and to better the world around us.
To this end, each of us is inspired by our own experiences and ancestors to tell stories that can cause change. Growing up with my maternal grandparents who survived the Holocaust, I have always been taught to help others beat adversity with strength and to fight oppression. Change Proposals are a chance to do breakthrough work for causes I’m passionate about, and a chance to do the best work of my career. Stay tuned!
LBB> Finally, what helps you destress after a long day at work?
Shelby> Working at Rethink allows for the balance that is so important in all of our lives – no evening emails, no ‘Meeting Mondays’, and our latest edition of the annual ‘Independent’s Week’ lets me disconnect and spend time with my husband and our three amazing kids. At the end of the day, there’s nothing that helps me de-stress more than cuddles with the kids and a glass of wine.
As our global CCO, Aaron Starkman says, ‘It’s Only Fucking Advertising’. I love our industry and love all that comes with it!
