Meet Your Makers: Finding Your Rhythm with Olivia Hantken
Olivia Hantken is an Australian executive producer at renowned Sydney-based film, experience and design collective Collider. Olivia graduated with honours in digital media at the University of New South Wales College of Fine Arts in 2009. During her university years, she discovered a talent for co-ordinating creative projects and leapt into a studio manager role at Collider.
In early 2012 whilst still working full time, Olivia produced the short film 'You like it, I love it' with director James Vaughan. The film went on to screen at Clermont Ferrand, Berlinale, Flickerfest, Milan, BIFF and MIFF where James was awarded Best Emerging Australian Filmmaker.
In her decade long tenure at Collider, Olivia moved from producer to EP, working on short films, music videos, installations, events, television commercials and more. She has produced extensively for their international roster of directors, on projects both locally and abroad, working with all of the top agencies in Australia/Asia. She has been a judge for the 2024 AICP awards and regularly is apart of selection committees for both Flickerfest and St Kilda Film Festival.
In her current EP role Olivia is focused on fostering the talents of Collider’s directors, as well as producing selected projects both in the commercial and dramatic sphere. She recently produced the debut feature film for Daniel Askill - Lunacy, released in April this year.
She is currently in pre production on a slate of other projects.
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?
Olivia> I started working at Dr What Video in my late teens which ignited a passion for film making. Prior to this I didn’t have many influences pushing me in that direction. My family are mostly in marketing and finance so there was certainly an allure for a future involving a creative practice.
I went on to study digital media at COFA UNSW but found myself more of a jack of all trades rather than excelling at any specific creative field. I enjoyed working with friends and bringing people together to collaborate which quickly progressed into producing content for the university and music videos.
I also love an excel spreadsheet, so the writing was on the wall.
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?
Olivia> The day after I wrapped my final year exhibition I started work at Collider. I was very green and knew nothing of the world of production/advertising. What I lacked in experience I made up for with unbridled enthusiasm. I was keen to learn and willing to do my time making coffees.
I was lucky to find myself in a company that felt like a family and gave me a lot of opportunities to grow. From day one I had exposure to a range of formats which really taught me how to adapt to any brief.
I was also producing music videos and short films on the side, which is always a sink or swim experience, but great for cutting your teeth and experimenting with less commercial ideas. One of the shorts I produced made it to Berlinale and Clermont-Ferrand, so that experience really dialled up my film making aspirations.
LBB> How did you learn to be a producer?
Olivia> I took a very traditional path in many ways. When I started at Collider I was 22 and spent 3yrs as the studio manager before moving into a full time production role, then producing, then EP. It’s been 15 years so I’m a true company man.
Not many people get that sort of linear progression these days but I value it immensely. Production is a role learnt from experience in my opinion, the greater exposure to a variety of productions, workflow, technicians and artists the greater your skill level. I’ve done every production role there is, so I understand and value the work done at each level.
I also had to fill in for various other roles in those early days, from wardrobe to data wrangler and god forbid a few cameos in front of the camera. These are great learning experiences too, putting your self in others shoes helps you to understand the pressures on those roles and how to best be a partner to your cast/crew.
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?
Olivia> My first ever music video with Collider we had a car key snap off in the lock and a brown snake loitering around set. I had to get our EP to smash the car window and we just made it out before the national park locked it’s gates for the night. Expect the unexpected? Problem solving isn’t glamorous?
Production teaches you so many lessons and they continue throughout your career. I think the biggest take aways for me along the way were about letting go of perfectionism, allowing space for things to evolve and checking back into the creative ambitions of a project throughout preproduction.
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?
Olivia> I think there are a lot of transferable skills involved in being a producer, but that doesn’t mean you can’t have a lane you love and stick with it.
There will also always be projects that speak to you personally, which could be about a medium you love or a story you want to tell. Always say yes to those, they’ll be the ones that stay with you.
LBB> What’s your favourite thing about production and why?
Olivia> Not knowing what tomorrow brings. I think you need to be a bit of an adrenalin junkie to take on a career in production. Every day is a new challenge or surprise that you need to be able to throw yourself into with enthusiasm.
I think it’s also why I’m typically drawn to short form work, my partner is an architect and I’m not sure how he spends so long on one project.
I know it’s cliché but of course also the people. It’s a strange career that usually attracts the weird and wonderful and puts you in scenarios that create deep bonds.
LBB> How has production changed since you started your career?
Olivia> Technology in general has been the greatest change that has affected me. I’m generally an embracer and was always apart of the digital era, but the accelerated pace we’re now experiencing brings both good and bad changes.
Less admin and less waste are two aspects I wholeheartedly embrace. However there are aspects putting a lot of pressure on things being faster and cheaper which can be a dangerous force disrupting creativity.
One really positive change I’ve seen is the shift in perspectives around flexibility and mental health. It’s a very stressful industry to work in at times and having these conversations open up is fantastic. I’m also about to have my second child and couldn’t imagine staying in the industry without a supportive company behind me allowing the flexibility needed in these early years of parenthood.
LBB> And what has stayed the same?
Olivia> The reliance on a good network and creative partners. Having friends in the industry who can help you troubleshoot in an instant, who support each other and generally make the work enjoyable and worthwhile.
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?
Olivia> Both, I think you need an innate drive and passion to armour you through the battles, but also the learned communication and logistical skills.
I’m naturally a forgetful person so being organised is just one of the many learned skills I've had to embrace.
LBB> Which production project from across your career are you most proud of and why?
Olivia> I don’t think I’ll ever have just one. As I produce less I also tend to holistically feel proud of the work produced by each director and the company from a wider perspective. Especially the projects for good such as 'The First Digital Nation for Tuvalu' and the 'Plastic Forecast for Minderoo'.
My first feature 'Lunacy', directed by Daniel Askill, was a very special experience. It was shot deep in the Daintree Rainforest with a wonderful cast and crew and we all came away slightly altered. It’s a magically part of the world, albeit home to most of Australians most dangerous creatures (there was a 30 page section of my call sheet just for them).
One of my first commercials was for the Cancer Council NSW, called I Touch Myself. It used Chrissy Amphlett's classic anthem to encourage women to do regular self checking. There were mostly women on set, including a lot of the best female singers in the country and I remember at one point everyone sharing stories and tears.
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?
Olivia> My friends and family get a lot of random phone calls. If you cast your net wide enough, someone’s cousin help you.
I left a key prop at home once (3hrs drive from location) and I only remembered the night before. I called a dear friend who broke into my house, collected it and drove through the night so it could be on set the next day without anyone knowing.
The director mentioned to me that he thought he saw our mutual friend in town that day and I told him it must have been a doppelganger lol. I owe you Kurt!
Lesson from that one was it's never the mistakes that matter but how you hide them.
LBB> What are your personal ambitions or aspirations as a producer?
Olivia> I am enjoying the variety in my work at the moment, and having baby number 2 is my current big project! That said in the next few years I’d love to refocus on long form which is a growing arm of the business.
I also fly the sustainability flag at Collider so continuing to move us into a greener future is also a great ambition of mine.
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?
Olivia> I used to burn the candle and sit in many a cinema as my preferred switch off. The child friendly version looks a little different, time at the beach, in the garden, eating great food and trying to introduce my 2yr old to films I also love, lots of Ghibli.
LBB> Producers are problem solvers. What personally fuels your curiosity and drive?
Olivia> I do love a brief which has scale and complexity to it. Those initial few days working with a director on how to bring a script to life (Without blowing the budget) are always fun.
On a broader level I love passionate people and forming connections. So meeting with new clients, directors and collaborators and helping them bring a vision to life is genuinely one of my biggest drives.
LBB> What advice would you give to people who are interested in becoming a producer?
Olivia> "You can’t film excuses” is one of my favourite sayings and doubles as some good advice.
Get out there. Get your hands dirt. Get on set. Try every role. Meet real people rather than read my rantings (jks). I’m always up for a coffee or email with anyone looking to get into the biz and so are many other producers. Reach out and say hi and see where it takes you.
LBB> From your experience what are the ingredients for a successful production?
Olivia> A great script.
Beyond that good communication between talented and passionate people who are working towards the same goal.
Being well-resourced of course also helps.
LBB> What’s the key to a successful production-client relationship?
Olivia> Genuine partnership and good listening skills. Allowing people to be heard and feel a part of the process is always a key factor in my books. I also like to make sure I have a solution (or 3) to a problem before taking it to a client.
LBB> Producers are naturally hands on - they have to be. How do you balance that in the more managerial role of an EP?
Olivia> It’s a dance. Some weeks I’m fully immersed in a project I’m producing and others I’m focused on bidding, marketing and director relationships. I enjoy the mix but as I have more responsibilities to young children at home I’m finding myself keen to step back from producing and focus on the EP side of my role.
