Meet Your Makers: Why Production Is Like Painting with Steve Schofield

Steve Schofield, or 'Scof' to his expansive circle of friends and colleagues, is a legendary luminary in the world of advertising. His varied and extensive career spans multiple industries over several decades. Currently, he heads Schofield's Flowers, serving as the president, chief content officer, and founder. Schofield's Flowers is more than just a company; it's a rebirth of a family legacy that began as a prestigious flower shop in 1896. This flower shop was renowned for its exceptional services, catering to an elite clientele, including top celebrities, mobsters, and athletes of its era, and was even the site of Dean O’Banion’s killing by Al Capone.

Before his venture into the advertising world, Steve spent seven years as a police officer in Chicagoland area, writing comedy sketches in his squad car during his downtime. This passion for comedy prompted him to study under the renowned improv teacher, Del Close, at The Second City in Chicago. Steve's exploration of his artistic and creative talents led to his seamless transition into the world of advertising, culminating in the establishment of a successful production company. He's produced impressive campaigns for top-tier brands and orchestrated notable endeavours such as the BMW Films campaign, leveraging his unique experiences to establish Schofield's Flowers' production company.

The Schofield's Flowers of 2023 is a prominent content and experiential shop that assists brands in flourishing. It helps brands successfully accomplish their goals, optimise their opportunities, and solve their most challenging problems. This entity embodies the same level of excellence as its 1896 iteration as a flower shop, but with renewed purpose. It includes notable undertakings such as Lenovo’s global initiative, Netflix's outdoor museum for 'the Trial of the Chicago 7' in Grant Park and the creation of 70 activations for Halo Top Creamery across 15 cities.

Renowned clients like Halo Top, USAF, Lenovo, Mr. Peanut, and Netflix, alongside other brands and agencies, turn to Steve and Schofield's Flowers to tackle their most exciting endeavours. Steve’s expertise and dedication have earned him numerous accolades, including prestigious awards like the Cannes Lions and Clio Awards. A firm believer in data-driven decision-making, Steve constantly seeks knowledge and networks at industry conferences to stay ahead of the curve.

Steve Schofield is more than a leader in his field; he is a symbol of reinvention, resilience, and continuous evolution in the ever-changing world of advertising.

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?

Steve> I was previously a police officer and was involved in a police procedural.

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?

Steve> I started as a representative in Chicago and later moved to Los Angeles. I always had a desire to take control of things, which eventually led me to work as an executive producer for several companies.

LBB> How did you learn to be a producer?

Steve> I never really served as a line producer, but I understood how production should be managed and had a clear vision of how I wanted things to be. This led me to hire producers to support me while I was an executive producer.

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?

Steve> I worked closely with David Fincher and Andy Traines at Anonymous Content, on BMW films. At that time, David was preoccupied with 'Panic Room' with Jody Foster. Andy and I took the initiative, started meeting with directors, and coordinated the use of a lot of Motion Control and VFX in the campaign. We also met with Jonathan Frankenheimer and Ang Lee to discuss camera movements for this production. We kept the project moving forward despite the odds, which taught me the importance of leading clients in creating a successful campaign as a producer.

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?

Steve> I completely agree, especially in today's context. This is because a variety of elements come into play in media. When working on the new Lenovo campaign, we had to create 85 different deliverables for 85 different languages, spanning Broadcast, Network, and all Social channels.

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

Steve> Production is like painting: you start with a blank canvas and gradually add layers of colours and textures, each brushstroke representing a unique element that must shine in its own way. I adore every aspect of the production process, from the initial brainstorming and treatment discussions to casting and location scouting. Just as a painting comes together, our aim is to provide the finest opportunities to create the most striking image for our clients and the agency. A director who skilfully leads their team is always the key to achieving success on this artistic journey.

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

Steve> When I started, we delivered on tape and shot on film, with no social media involved. It was all about creating the best spot. Now, everything has become digital. The flexibility of cameras to mimic film, the ease of transferring assets, and the ability to construct digital garages for car companies have made workflows easier. However, with the rise of social media, the workload is expanding, and the budgets are dwindling, creating a discrepancy between the scope of the job and the allocated resources. The key is to hone your skills, collaborate with a competent team, and create an appealing commercial.

LBB> And what has stayed the same?

Steve> Teamwork is everything. That will never change.

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?

Steve> Fortitude in the face of challenge. I consider the experiential project 'The Trial of Chicago 7' we did for Aaron Sorkin and Netflix as a key example. We were given just 30 days to create an outdoor museum art gallery in Grant Park, Chicago, during the early stage of the covid-19 pandemic.

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

Steve> 'The Trial of Chicago 7'.

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?

Steve> With BMW Films, on the very first three days of shooting with Jonathan Frankenheimer, we had tsunamis happening in Los Angeles. We were called into Jonathan's trailer, and he looked at my director and me and said, "I'm no longer shooting outside. We're wasting time and money. I want this car chase to be filmed inside, the old school way: greenscreens, van on rollers, properly lit so we can see and hear. And I want a budget in eight hours, on my desk, first thing in the morning." We were able to pull our team together and work all night, figuring out how to properly shoot the sequence of a van door opening up with two guys with guns. Then we were required to shoot the outdoor physical location and composite them into the windows, a very costly situation - I walked up and gave them a million-dollar overage that was instantly approved.

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

Steve> My ambition is to produce an extraordinary brick and mortar for Schofield's Flowers, featuring an old school flower shop front and a coffee shop at the back.

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?

Steve> To unwind, I enjoy smoking a good cigar and riding my motorcycle, letting the wind carry away my worries.

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

Steve> I'm always seeking the next best opportunity to create a stunning commercial that best represents a brand. From the curiosity side, I often feel like a firefighter, constantly putting out fires or getting the train back on track, as not everything goes as smoothly as expected. On the drive side, it's about pushing forward with your team and the director to create a successful campaign or production.

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

Steve> I recommend internships at design companies and ad agencies to gain a well-rounded understanding of what a full 360 production entails.

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

Steve> Teamwork is vital. You need a great set designer, costume designer, everything. You need a great director with a vision for reaching the client's expectation, and a team that can work as an ensemble toward that singular goal, brining what each member brings to the table in an environment that optimises their talent.

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

Steve> Each client is different. Some know exactly what they want and then you tailor the production to it, and some have a vision you help them enhance, so it's really about getting a clear picture of the vision, of their dream campaign, and making it come true. 

LBB> One specifically for EPs: Producers are naturally hands on - they have to be. How do you balance that in the more managerial role of an EP?

Steve> An exceptional producer possesses a calm disposition, and even in the most arduous of conditions, they are able to maintain a strong sense of composure. While it's natural to experience some worry, it's important not to let that spread. Having faith in oneself is crucial, as it allows for conveying a sense of calmness. Being aware of one's capabilities and problem-solving skills is essential, even when faced with fast-paced challenges. In moments of uncertainty, viewing nerves as excitement can help maintain the necessary positive attitude to see things through. Radiating calmness has a positive impact on the entire team. Creating an environment where people feel safe and secure enables them to utilise their talents to the fullest extent.

Check out more from Schofield's Flowers here.