Meet Your Makers: Being a Sponge on Set at All Times with Kem Ekundayo
Kem Ekundayo's love for escapism with both music and film has led to 10 years in the media industry.
After purchasing a Canon600D with her student loan back in 2011 and teaching herself how to edit, she hasn’t looked back. She naturally over the years found herself moving from filming & editing into production.
Fast forward to 2024, Kem has now production managed and produced for talent such as KSI, Stormzy, Burna Boy, Craig David, Popcaan, Ghetts, Mabel, Chip, Kojey Radical, Loyle Carner, Anne-Marie. In addition to talent, brands such as PLT, Ciroc, Gilette and Clarks. All with incredibly talented directors such as Meji Alabi, Carly Cussen, Matthew Walker, Troy Roscoe, Parris Stewart, Daps, Charlie Sarsfield, Millicent Davis and the legendary late great Luke Biggins.
Kem joined Playmaker in the summer of 2022, with creative director Carly Cussen at the helm, now with a wealth of experience, she’s excited for this next stage in her journey!
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?
Kem> Books, games, music and films were my favourite things to sink into growing up so from a young age I knew I wanted to contribute in some way to the story-telling and entertainment world. The first wave that rippled for me was actually from leaning into my love of gaming and animation. I ended up choosing to study Visual Effects & Media Cultures at the University of Hertfordshire.
In my second year I wanted to broaden my horizons and became intrigued by filming, so on a whim I purchased a Canon600D (with my student loan!) then went on to teach myself how to edit on Premiere Pro. I had a bit of luck finding myself in a ‘right place right time’ sweet spot filming my University club nights, capturing the likes of Wizkid, Skepta, Davido back in 2012/ 13 - some may tell you Hertfordshire was renowned for having an illustrious night life…
So up until the point of graduation my skill sets actually sat at a few points of a video project's life cycle.
Upon graduation, I decided to continue exploring filming/editing and running on set. I had many part time jobs alongside this - retail work, bar work. It was definitely a period of grafting. I then gained a place on an internship at a great TV company Arrow Media. I worked as an office runner where I got to work closely with production on a few occasions, so would say that was the next significant step toward production.
When I did settle into production, I was attracted by its core components that allow someone to sit across a project from both a creative vantage point and efficiency vantage point, with the aim being to marry the two together as harmoniously as possible.
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?
Kem> I came into production via the traditional entry route of first running on set and then chronologically working my way up to production assisting, then production managing.
This experience definitely set a solid foundation for me. As my role evolved that foundation always allowed me to maintain a holistic view of all the cogs turning within a production and the importance of each one, as well as set etiquette. It also taught me to respect the hierarchy on set and really understand those relationships to then foster a healthy dynamic on set.
LBB> How did you learn to be a producer?
Kem> Overall - being a sponge on set at all times and having great mentors around me. When I began as a runner, I was still figuring out what I wanted to do (seeing that I still had my hands in a couple pots at the time - filming, editing) so I was open-minded. By being attentive at the same time as I advanced in earnest towards being a producer, the key ingredients were there. I am currently a few years into producing so am constantly working on sharpening my skills.
Along the way as my interest grew I would also research elements of my favourite shows/ music promos, which provided good insights into the makings of!
LBB> 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?
Kem> The axiom - ‘never work with children or animals’ came to a head for me recently, whilst working with children! We were due to be working in a real live school with real children on a project and in fairness, the reason the shoot fell into hot water was not related to the children themselves at all. The children were amazing and super excited for our shoot, but for reasons out of our control we had to reschedule the shoot - not one, not two…but three times. Letting the children down each time was honestly heartbreaking.
Aside from this emotional tug, budget wise and re-scheduling wise myself and my co-producer really did have to dig deep to see this project through. It certainly reminded me of one of the essential qualities of a Producer: to always be in a state of readiness so that you can react swiftly and calmly in the face of tough circumstances.
In the end our last day shooting was the most heartwarming final visit to the school - and we actually went on to win a Drum Award for the project!
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?
Kem> I both agree and disagree - I do see skill crossover and even from a budget perspective can see the huge benefits of say a producer working in-house covering all bases. Alternatively I think this statement could present a reductive view of what it means to be a producer as I respect that there are also specialists. The specialist producers are disciplined in a particular format and recognise that there are nuances. Therefore for me, being considered a good producer is not solely dependent on how many different mediums you can produce.
Overall, acknowledging that to have the know-how to produce a variety of formats can only ever be a good thing and a way to keep growing!
LBB> What’s your favourite thing about production and why?
Kem> If you’re involved from ideation stage, being able to see what starts as an idea grow into a real tangible creation is hugely fulfilling and rewarding.
In the same vein, by being involved from the production stage, there is a magic found in weaving all the threads of a project together- uniting the brief that you are supplied with, with a team of creatives and specialists that you believe will best bring the vision to life.
LBB> How has production changed since you started your career?
Kem> I am pleased to see that there is a push towards healthier working habits and an overall push for improvement of well-being within the industry/ on set. Covid particularly forcefully provided a sobering backdrop for many in the industry to reflect against in regards to work- life balance.
I know APA in the last few years have made big pushes in discussing best practices in regards to working hours/ rules of engagement on weekends etc
Also….AI. It’s here and it’s integration is growing.
LBB> And what has stayed the same?
Kem> CALLSHEETS. Can we get rid of them, does anybody read them??
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?
Kem> First and foremost nurturing and respecting your relationships.
Then whilst on a production, Listening, listening and more listening with balancing creativity, the vision and financing overarching that.
As a producer your duty is to guide a project from inception to delivery and to do this listening to every idea, note, tweak, concern is absolutely essential - an absolute obsession for attention to detail.
Critical thinking then works in tandem so that you can effectively steer. Here communication, organisation and problem solving are fundamental. Lastly, being proactive rather than only reactive.
I do believe these are skills that can be learned however it always helps to feel a natural inclination towards any of these working styles and practices. Any firm footing in those areas from the get go will always end up being appreciated.
LBB> Which production project from across your career are you most proud of and why?
Kem> I would refer back to the project that I mentioned required me to dig deep! It was for the Production Company ‘Playmaker Films’ where I work. The creative strategist Royston Reeves and director & creative director Carly Cussen created something wonderful and humorous with a shoot for a Clarks Back to School campaign. The entire team and crew really put their all into the project and I was super proud of everyone. It was definitely a cherry on top of the cake to also win an award for it!
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Kem> It was super exciting working on a Music Promo last year, again with director Carly Cussen. It was for artists Chip ft. Krept, Frisco and K-Trap, a track called ‘Tekky.’ What I loved about this video and one of the reasons why I love working with Carly, is that she is the queen of achieving her objectives ‘in camera’ - (coming from me who loves a bit of animation/ VFX!)
In this video Carly wanted to pay homage to the nostalgia of being an MC, capturing the essence of just an artist and one mic. The sprinkle of something special came in the form of a distorted visual effect that Carly wanted to create - but all IN CAMERA.
We had one of the most exciting and technically challenging shoots, shooting on a MOCO (Bolt X), with the camera set at varying shutter speeds, FPS’s AND the track playing at various playback speeds. This allowed Carly to create a vivid fresh effect and I really respected and enjoyed her dedication to creating it in camera at a time when many would have only attempted in post.
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?
Kem> Without giving too much away, I was once on a shoot in a Grade 2 listed building in central London. Long story short outside of productions control…. it began to flood whilst we were on set. It was tricky to usher the talent out of the building as they were actually quite busy trying to live stream the horror unfold directly on Instagram…. I’ll conclude by saying we were all safe thank goodness, and we even managed to get back into the building a week or so later to finish filming. Phew
LBB> What are your personal ambitions or aspirations as a producer?
Kem> Currently I am diving head first into the sustainability of Production. I am proud that at Playmaker Films we are all AD GREEN trained and are passionate about reducing elements of production that leave a negative impact on the environment.
Myself and the team at Playmaker are also dedicated to encouraging social mobility. Crew, particularly at the beginning of their careers, sometimes just need an opportunity and breaking into the production world can be tough as there is still a layer of nepotism in the industry in my opinion. Representation & diversity are also paramount. I have seen the industry grow in the right direction here but I still believe we have a long way to go.
LBB> As a producer your brain must have a never-ending "to do" list. How do you switch off? What do you do to relax?
Kem> I certainly do have a never-ending to do list. To unwind I love a good TV fix - preferably a good old psychological thriller, British police drama or reality show!
Outside of that it’s important to stay connected to friends and family and I’ve also just started back in the gym after a hiatus. Just - as of last week.
LBB> Producers are problem solvers. What personally fuels your curiosity and drive?
Kem> Inspiration definitely fuels my curiosity - whether it’s a new technology, new technique, creative project, programme, exhibition etc
I am still definitely in love with the creative world of storytelling and now as a producer I am also committed to fulfilling the visions of creatives, strategists and directors to the best of my abilities whenever I take on a project. I draw from knowledge I’ve come across along my journey, people and the world around me to problem solve.
LBB> What advice would you give to people who are interested in becoming a producer?
Kem> Building relationships is the crux of the role so I would lean into opportunities to network and consistently water that garden.
At the beginning I would definitely recommend the entry route of being a runner first, to really gauge the building blocks of a production and work alongside all the departments on a shoot. You should be able to stick quite closely to the production team here which gives prime opportunities to ask questions and build a relationship. There are some great platforms supporting runner gigs now such as ‘Justrunners.uk.’
Additionally, reaching out to production companies and asking to shadow the production team would be worthwhile, to gain more insight even further upstream in the development/ pre-prod of a project.
LBB> From your experience what are the ingredients for a successful production?
Kem> Teamwork and a shared vision. If there is stability here the core elements of running a production should click into place with more ease - allocation of budget, resource, time etc
Ingredients is a great word to use when giving consideration to teamwork - in the same way that all ingredients have their own qualities and specific characteristics that determine how they sit alongside other ingredients to elevate a dish, is the same way to approach connecting people on a project. Moving as a collective towards the same end goal should always be the back-bone.
As a producer pre planning is also key - in my opinion the lion’s share of hard work should be complete in the Pre Production phase, so that by the time shoot days come around you have the mental capacity to be present and therefore comfortably re-active to any unforeseen scenarios that arise.
It’s important to understand the domino effect of how one aspect of a shoot falling out of whack can quickly become chaotic - so it’s imperative to always stay ahead of the curve.
On set, we’re under no illusion that it can often feel like a pressure cooker, only having to peek just beneath the surface. The stakes are high - substantial budgets having been allocated to the project, weeks/ months/ years of prep, there are set schedules, tight deadlines - so in light of all of these parameters it’s important to be able to humanise the creative space on set especially if things don’t go exactly as clock work which can often be the case. Less ego, more compassion. In the thick of things the success of project can come down to all departments banding together discussing innovative and resourceful ways to get things done.
LBB> What’s the key to a successful production-client relationship?
Kem> Leaning into the dynamic of working in a partnership from start and then staying consistent with communication and transparency!
