Meet Your Makers: Why Dion Matthews Loves When a Complex Plan Comes Together
Dion works as Hayden5’s director of integrated production, running Hayden5’s integrated production staff, who serve as the main conduit for clients once jobs are confirmed and gather information for productions. Dion works closely with other Hayden5 production leadership and regularly finds directors and directors of photography to collaborate on production shoots. He has long-standing experience serving as an assistant director and producer, creating and advising on estimates, and communicating with clients. Dion previously worked as a producer for Gramercy Park Studios and Townhouse Studios LLP.
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?
Dion> As a kid, I loved movies and TV shows. I was one of those kids who knew it was time to turn off the TV show for bed. When I went to college, I didn't think I'd be in the film industry; I thought maybe I'd be an event planner. I was a communications major and got exposure to the general world of production, so I always had an idea that production was something that I was loosely interested in. When I came back home to NYC after college, a former classmate was working on a film and helped me get a gig as an unpaid PA and the rest is history.
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?
Dion> A few months after my first PA gig, I was working as a PA on a feature. The role of a production assistant is very underrated. Hierarchically, it is on the bottom of the totem pole, but they are also the only crew members who can probably help with every single department. They are experimenting with which aspect of production they want to pursue when starting off in the PA world, so they get a lot of exposure.
During my first feature as a PA, we were shooting in Brooklyn and part of my role was to drive the wardrobe truck to and from set each day. One day, our call time was at 5am and I was driving to set in deep Brooklyn when I saw the DP walking from the train on my way. I asked him if he wanted a ride to set and he thankfully hopped in. I wanted to help make his early call time easier, but what I didn't know is that small gesture would have a lasting impact on my career because I didn't realise that he was also a freelance DP at Ogilvy. Soon after that gig, he called me up for a PA gig at Ogilvy and that was my entrée into advertising. I ended up freelancing with the agency for a decade. That experience really taught me how important it is to be nice to everyone and always offer your help and support. Not only do you never know where it's going to lead, but it also feels good to bring a positive attitude.
LBB> How did you learn to be a producer?
Dion> I started off as the 2nd AD in indie films for nine years. As a 2nd or even 1st AD, you are essentially also an associate producer and it's essential to maintain relationships with the other departments. I learned a lot from that role. After that, I continued PA-ing and coordinating at Ogilvy. I had the opportunity to work with Barbie Painter and Joanne Golden, both amazing women who have such valuable knowledge and experience. I was lucky enough to work alongside such seasoned vets as they were and still have relationships with them today. Later on, when I had a staff role at Townhouse within Grey, I was able to work alongside and shadow Michael Sapienza, Stuart Entner and Bethanie Schwartz, and learned so many invaluable lessons from them.
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?
Dion> The first thing I produced was a very low-budget sci-fi short. It was a three-day shoot in the middle of the desert and it was a very VFX-heavy script. There were so many moving pieces, but not enough time or budget to make it happen without chaos, so I really got a glimpse into what not to do on productions. It did really help me grow as a producer, despite the challenges. I still haven't gotten paid for that job, actually.
LBB> A good producer should be able to produce for any medium, from film to events to digital experiences. Do you agree or disagree with this statement? Why/why not?
Dion> I think it really depends on the company you are working for. At Hayden5, we do produce a wide range of projects, which means our scope of work and deliverables can run the gamut.
What I really think makes a good producer is having exposure and experience in every production department. I think it's incredibly valuable to have some camera, G&E, wardrobe, etc. While I've never been hired as a gaffer or wardrobe supervisor, I've had times where I've been producing and had to set up a light or steam clothes. Having this kind of exposure as a producer really allows you to understand all of the moving pieces of a production much better, which will allow you to think quicker on your feet when you need to troubleshoot.
To be a good producer, you're only as good as your team and contacts.
We have some jobs where we cover events from a video standpoint, but for the event production itself, I find and hire individuals to help me out with those additional skills needed. I lean on them to help me produce that job and I'm able to learn a bit from their valuable experience, and over time glean more about that aspect of production. It's important to know when to raise your hand and bring in experts for areas where you're less knowledgeable or experienced. A good producer is adaptable to projects and workflows and is ever-learning.
LBB> What’s your favourite thing about production and why?
Dion> The satisfaction of seeing a complex plan fall into place. Even in the most basic production there is always some kind of complexity. I love that when I send my call sheet before production, all the pieces are in place and will be executed the next day. We work in an industry where we have the luxury of seeing the results of our work in a deliverable. I'm able to see a commercial on TV and know exactly what it took to produce that. I can see a plant in the background--that may not be very noticeable to most viewers--and know the behind-the-scenes process of sourcing, placing and lighting that plant. I know all the hard work that goes into each detail that is seen in a deliverable and I'm really proud of that.
LBB> How has production changed since you started your career?
Dion> Social media has impacted production in a huge way in recent years. Influencers now have the ability to shoot a whole campaign on their own, given the technology required. But it's still the production experts that need to advise how to fully execute a campaign, even if it's social-driven.
There is also a lot less physical paper involved with production today. Things are more digital, and while that was beginning to happen before, a lot of that got ramped up over the pandemic.
LBB> And what has stayed the same?
Dion> Overall, the start-to-finish process has never changed. You get the scope and budget, consult your team, secure your crew, gear and locations, and execute the job. Little intricate things about the process have changed, but the overall structure has remained intact.
In the recent scripted series ‘The Offer’ on the making of The Godfather, I was able to get a glimpse into a (fictionalised but based on fact) version of what production was like in the 70s. A lot of the equipment and jargon, even 50 years later, has stayed the same.
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?
Dion> I do think it can be learned. It's about organisation and critical thinking. It's also about experience, since producers are ever-learning. You're always learning from all past jobs, not only what goes right, but--more importantly--what goes wrong.
LBB> Which production project from across your career are you most proud of and why?
Dion> I was really proud of the Crown Act that Hayden5 produced. We worked with a company called Phenomenal, a female-driven media brand and creative agency dedicated to underrepresented communities. The project was a true partnership and everyone worked extra hard on it because we were all so truly invested in the project and its cause. I really leaned on my internal team to make it the best project possible. For myself, as a black person in America, the Crown Act also holds personal significance, and being involved in this project was a really proud moment for me. In high school, I had cornrows and really knew what it took to create and maintain that hairstyle. I cut them off before I went to college because I knew I wouldn't have the resources in Indiana to maintain them. Giving more thought and talking more about black hairstyles is important to me, so it was really special to be involved in this project.
Another project that stands out is producing the documentary Booker's Place on race relations in Mississippi in 1965. It was both a challenging and rewarding experience to work on this project. As a native New Yorker, it was the first and only time that I saw what the deep south is like and what that experience is like for black people. We were in a town where there literally were train tracks that separated the parts of town where the upper-class white people and really poor black people lived. It was a very powerful experience for me.
One other project that was memorable for me was the Nickelodeon series ‘Alien Dawn.’ It was a nine-month project and we got to shoot in a lot of cool locations. The content was overall really fun to produce.
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Dion> Without naming names, we have one or two clients that come to us frequently with work--which is of course, great! However, they are usually pretty complex productions that come with a lot of quick turnarounds and last-minute requests. For a production that really needs a week and a half, we may get three to four days, but we're always able to execute them with the talented team at Hayden5 and the freelancers that we put in place for each project.
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?
Dion> Before I came to Hayden5, I was a producer at Townhouse and we were working on a two-day shoot in Long Island. There was some last-minute confusion in regards to union status and we were quickly greeted by a very enthusiastic union rep, which ultimately caused about half of our crew to have to walk off set (though they did not want to). Suddenly, we had creatives scrambling to sub in for the art department, all while making things appear as 'business as usual' to the clients in video village. There was a lot of running around those two days, but ultimately we made our day with half our crew and the clients had no idea there was any union issue going on at all.
Another time, when I was producing ‘Alien Dawn,’ we were capturing footage in Brooklyn one day and had to suspend for several hours for an investigation into a shooting down the street.
One other memorable moment came from the time I was working as an AD on ‘Chopped.’ In the middle of one chef's round, he cut his finger deep enough that he had to be taken to the ER. This called for an accident report, which meant that I ended up making it on camera to get the chef to sign the form while he finished his round. My friends thought it was pretty cool when they saw me on an episode of ‘Chopped.’
LBB> What are your personal ambitions or aspirations as a producer?
Dion> I want to be the best partner and co-collaborator that I can be. When people see my name on a call sheet, I want them to feel reassured that they are in good hands.
LBB> As a producer, your brain must have a neverending ‘to-do’ list. How do you switch off? What do you do to relax?
Dion> I watch a lot of sports in my downtime. I find ways to relax after a long shoot day, but since both my wife and I are pretty type A, lists are still a part of our every day. From making grocery lists to preparing for our first child, I'm always tapping into my organisational skills as a producer.
LBB> Producers are problem solvers. What personally fuels your curiosity and drive?
Dion> Hayden5 is a small but very well-growing company. What drives me is making sure that I am helping to create a good name for Hayden5 and build awareness of the work ethic and talent of our team. If one of us fails, we all fail. My drive is to limit those experiences.
LBB> What advice would you give to people who are interested in becoming a producer?
Dion> Shadow as many people as you can. Any producers that you have worked with, try to pick their brains. Ask for a half hour of their time, grab lunch or hop on a zoom. Always ask questions--and don't forget to write down the answers. Try to get your fingers in every production department. You may not get hired in every department, but when you're on set as a PA, offer help wherever you can. What makes a good producer is having a deep understanding of what it takes from each department for a successful production.
LBB> From your experience what are the ingredients for a successful production?
Dion> Attention to detail and cleverness with the budget.
LBB> What’s the key to a successful production-client relationship?
Dion> It's really simple. Make sure you diligently maintain client communications and continue to give them confidence that you'll never leave them hanging and that you have everything handled. Even if you're not able to tackle an issue at the moment, always make sure that you quickly and clearly communicate that you understand the issue and that you are going to handle it. Respond to emails in a timely manner and give realistic and clear deadlines. It's also really important to be professional and avoid saying no, instead approach it from a ‘yes, but’ or ‘yes, and’ mentality.
