Meet Your Makers: Bringing Ideas to Life in the Most Creative Way with Laura Thomas
Laura Thomas is global head of production at hybrid production company and artist management agency, Jelly.
With a degree in design and early work experience as a photographer, Laura has a broad knowledge of the creative industries, as well as a passion for craft and handmade creations.
Laura’s interest in animation began after producing and directing a personal stop-motion film, leading to a diverse career in children’s television, commercials, and print production, both on the agency and production side.
A now Grammy-nomination producer, Laura’s career spans both London and Auckland, and includes collaborations with world-renowned brands such as Nike, Kellogg’s, Coca Cola, Unilever, Adidas, and Virgin.
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?
Laura> I initially became interested in animation after doing a bit of stop motion animation a while ago, in my university years. I have always loved the craft element of that. I am always making things myself - like crafting and felting - and wanted to pursue a career in a creative field, which led me into the world of animation.
Before animation, I had a few other jobs, including a photographer in a family portrait studio – I would shoot the ‘Elegance Package’ which was essentially women with too much makeup on, in feather boas
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?
Laura> My first role was a production assistant on Cartoon Network’s Kids series ‘The Cramp Twins’. I was lucky enough to work with some great producers and it really helped me gain the confidence and knowledge to quickly move into the role of production manager and then producer. I also think that once you know the basics of producing, you can apply this to most forms of production, so I have been able to work across a wide range of industries in my career in London and overseas, including series, commercials, experiential, print production and live shoots.
LBB> How did you learn to be a producer?
Laura> I learnt from other producers on the job and a bit of common sense, mixed with my quite logical brain!
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?
Laura> When I moved to Auckland for a year, it was quite early on in my career as a producer, so I not only had to find my feet in a new country, but also in my new role and blag it a little bit. But I think that the only way you really learn is by being thrown in at the deep end and just going for it and finding things out along the way.
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?
Laura> I agree. As mentioned earlier, I think once you know the basics of how to run a job, you can apply this to all mediums. But you also need to have the right social skills as well and be thick skinned enough to be the person in the middle, continuously aiming to keep both parties happy at all costs – the directors and the clients.
LBB> What’s your favourite thing about production and why?
Laura> Always working on something different – we are lucky enough to have a range of really talented artists and directors at Jelly, whose work attracts the most creative and interesting briefs, so each week or month is always different with a variety of new projects to work on.
LBB> How has production changed since you started your career?
Laura> I think production is always changing in terms of the briefs we get in, the evolving trends in style that come and go and the latest ‘in-demand’ look for animated films. Thankfully, the way we work has also changed – from having a machine room server to a cloud based one and improved technology for file sharing, meaning we have greater flexibility not only in our own work set up, but also the opportunity to work with a variety of talent around the world.
LBB> And what has stayed the same?
Laura> The challenges will always remain the same – the occasional struggle to work within tight deadlines and tight budgets, but over the years you learn how to navigate these challenges a little better each time!
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?
Laura> Patience, logic and a strategic brain. Common sense, good social and relationship skills, a good eye for detail, and interest in creative production.
Some can be learned over time, but I think producers are probably born with a lot of these key sensibilities.
LBB> Which production project from across your career are you most proud of and why?
Laura> The most recent one that comes to mind is the music video I produced for The Beatles ‘I’m Only Sleeping’, as it’s currently up for a Grammy nomination!
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Laura> A stop motion commercial for Yakult – this one involved a lot of moving parts and the way that it was set up was quite a technical challenge. We had rigged up a big rotating wheel, to move with each animated frame, which in turn was linked up to the lights that would go from depicting a day to night scene. We had a lot of miniature villages to model on a tight budget, and on one of the shoot days the motion control rig blew up, so there were a lot of challenges.
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?
Laura> It’s not the most exciting, but I was at a shoot for a music video in a forest in the middle of the night, which involved some puppets. The police turned up and - as we didn’t have a permit - we thought we would get told to move on. But we did a little puppet show for them and they were very impressed and let us stay.
LBB> What are your personal ambitions or aspirations as a producer?
Laura> As global head of production at Jelly, my current aspirations are: growing and developing the departments across UK, US and Europe, to create a wider scope of offerings across live action and venturing into the world of animated TV series again.
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?
Laura> Getting my hands dirty in the garden.
LBB> What advice would you give to people who are interested in becoming a producer?
Laura> Try to learn as much as possible about the techniques, the software, the technicalities of a production, as when you have to explain why something can’t be done, or what the best course of action is, it helps to really understand what you are talking about instead of just passing on information.
LBB> From your experience what are the ingredients for a successful production?
Laura> An interesting brief, clients who are flexible and happy to hear the director’s ideas and their take on the project, enough money, a director who is happy to go the extra mile and who will willingly cooperate with the producer.
LBB> What’s the key to a successful production-client relationship?
Laura> Always try to see things from the client’s point of view, try to never give a flat NO if something can’t be done, offer up alternative solutions instead. Always give them a choice. Be as friendly and approachable as you can. Be confident and remember that you are the expert in this field and can help them bring their idea to life in the most creative way.
LBB> Producers are naturally hands on - they have to be. How do you balance that in the more managerial role of an HoP?
Laura> Luckily, I have a very capable production team at Jelly, so I know that I can trust the producers to do their best without always breathing down their necks. I know that no one likes to be checked on constantly, so I make sure that I am always available for them whenever needed. I also live my life by lists and write everything down, have colour codes in my calendar, priority lists, long term lists, etc – sounds dull, but makes life a lot easier!
