Meet Your Makers: Charlie Taylor's Unconventional Route into Production

Charlie Taylor is a producer at Scoundrel, with almost a decade of experience writing and producing commercials for esteemed brands like Samsung, McDonalds, NRMA, and Commbank.

After starting her career as a creative in some of London’s top agencies like iris Worldwide, Ogilvy’s BlueHive and Adam&EveDDB, she soon moved to Sydney, like every sun loving Brit, and tried her hand writing scripts and punchy headlines for Aussies. Alongside navigating the social norms of a new city, she volunteered as an Award School tutor encouraging the next gen of creatives to do the opposite.

After a few years at Innocean and The Monkeys (now Droga5), her career took a swift sidestep when she decided to take the plunge production side.

Season two of Charlie’s career started with a short phone call and a leap of faith from the guys at Scoundrel. Fast forward a few years and she’s already working with celebrated global directors and producing award winning work.

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?

Charlie> I always knew I wanted to do something behind the camera. I studied photography for a year at university then transitioned onto their creative advertising course. Once I started working as a creative in agencies and going on set, I felt like I’d landed in the right place.

But after six years, I realised I’d rather be on set than in the office, and I idolised the producers over my peers. I think from the beginning I just wanted to make stuff, and being in production gives you the immediacy to do that, rather than just conceptualising it.

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?

Charlie> I came to production a little later than most and I knew I would initially have to take a couple of steps backwards to make bigger steps later. I was just brushing 30 and feeling pretty confident in myself, but nothing can prepare you for your first day as a runner on set. It was a huge lesson in what really happens behind the scenes and taught me how to multitask whilst staying calm under pressure. 

LBB> How did you learn to be a producer?

Charlie> The guys at Scoundrel have a real ‘sink or swim’ style of teaching, which is why I believe I’ve been able to grow so quickly. Even though you’re thrown in head first, they’re incredibly supportive and have never let me sink too deep!

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?

Charlie> The hardest jobs, and the ones where I think you grow the most, are those with smaller budgets. Less money means less resources, so you have to wear multiple hats. Pairing that with a newbie producer = a mountain of anxiety and existential dread. It was tough but I came out the other side feeling more accomplished, albeit exhausted. Also, that campaign ended up winning several shiny statues which made it all the more worth it.

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?

Charlie> I think all producers have a natural talent for planning and organisation, so I have no doubt a film producer could organise an event and visa-versa... just look at some of my producer friends' wedding spreadsheets! However, I do believe each medium comes with its own challenging nuances and if you’re not familiar with the language, it could prove tricky. But I’m sure we’d pick it up quickly! 

LBB> What’s your favourite thing about production and why?

Charlie> The people. The crew. There’s nothing better than listening to a bunch of experts talking passionately about their profession. I love it when problems are solved by a group of people just hashing it out and throwing ideas around. It’s sort of what my career was like back in the creative department, but now It’s just a bit less whimsical. 

LBB> How has production changed since you started your career?

Charlie> I started production when we were still in and out of lockdown, so I can say for sure there’s a bit less paperwork nowadays! Something else I’ve noticed change very quickly is the use of AI imagery in treatments. It’s like everything changed overnight and now you can create exactly what you need to explain your idea. We recently had a very specific object that needed to be zeroed in a script which we would have never found online, so we turned to AI to help us create it and it worked perfectly.

LBB> And what has stayed the same?

Charlie> Diverse representation in agencies was a big topic of conversation when I started out in London. I’d really like to see that taken more seriously over here. Scoundrel recently produced a couple of jobs where the client requested we hire First Nations people across departments. It shone a bright light how underrepresented that community is in our industry. I recently produced a job where 50% of the crew were women, rare! The project manager and I shared a little victorious fist bump.

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?

Charlie> Communication is key. That’s something myself and the others at Scoundrel repeat constantly. I think being a good producer can be learned, however it’s much easier if you’re already someone who’s organised and structured, and it helps if you already like making to do lists. I find you can tell when someone has those skills naturally versus those who’ve learnt.

LBB> Which production project from across your career are you most proud of and why?

Charlie> Scoundrel has a projects arm and I’ve produced a few activations and installations throughout the years. Making 'Sweet Ben' with James Dive for Samsung has been a highlight. It wasn’t a huge production challenge but the sculpture was just so enormous and fluffy it was such a memorable moment when it was finally put together. It’s rare you get to see people’s reactions to the work so it was extra special to see the public interacting with it. 

LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?

Charlie> Production is wild on a normal day, but sometimes it’s like no other job you can imagine. You become temporary experts on weirdly specific things. I recently worked on a job where we were shooting a private jet and I discovered a whole new world that I previously would have never encountered. For a few weeks, I was an arborist specialist, a motorbike know-it-all, even a cow expert. A colleague recently went white water rafting for a job’s research! Every job is different and exciting in its own way. 

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?

Charlie> I once arrived on set to find our nurse tying a tourniquet around someone’s arm! The guy (not someone from our crew) had been stung by a scorpion fish whilst out swimming. It was pretty serious; we had to call an ambulance. Only in Australia! 

LBB> What are your personal ambitions or aspirations as a producer?

Charlie> Ah there are so many! When I was a creative, I loved sharing my experience and knowledge with the younger generation coming through. I’d like to do the same production side. I’m also a huge advocate for changing your career, whatever age or stage of life, so I’d love to tie that in somehow.

And lastly, a lifelong dream of mine is to work on set for a big feature/series. I’m a bit of a fantasy fan, so anything Marvel, GOT, LOTR related would be a bonus! 

LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?

Charlie> When you’re in the thick of a job, I find it really hard to switch off. When I’m between jobs, I exercise most days which makes me feel ten times better, but when I’m on a job, those good habits go out the window. My goal for the new year is to try and find a better balance. I’ve signed up for a triathlon so hopefully that pushes me to keep exercise a priority, even through the busy periods.

LBB> Producers are problem solvers. What personally fuels your curiosity and drive?

Charlie> I’m always amazed at how certain shots are done. When I’m reading a script, I often wonder, “how the hell are we going to do that.” That’s what excites me most, working with the director and crew to figure out those trickier scenarios. 

LBB> What advice would you give to people who are interested in becoming a producer?

Charlie> Kindness and resilience. It’s sounds like something plucked from a Disney movie, but it’s true. Production can be hard, and overwhelming, and when you’re getting pulled by a million things in a million directions keeping yourself grounded is important.

And always always be kind, over everything else.

People like to work with kind and respectful people, and you’ll find your job is much easier if you’re empathetic and understanding.

LBB> From your experience what are the ingredients for a successful production?

Charlie> Pre-pro can be intense so I’m sometimes surprised when we get on set and everything runs smoothly. A calm and happy set is a sign of good planning, and it means you have the capacity to deal with tricky situations if they arise and not be overwhelmed by anything unexpected.

LBB> What’s the key to a successful production-client relationship?

Charlie> Trust. When a relationship is based on it the work only gets better. Ideally everyone trusts each other to do the job where their expertise lies, and we all agree that we’re motivated by the same goal: to do the best work possible. When you feel that trust, it motivates you to not let people down.