Producing Tomorrow's Producers: Doug Stivers on The Skills That Will Always Be In Demand
Doug Stivers is an award winning executive producer/head of production with extensive experience overseeing the creative development, planning, production, and delivery across multiple mediums, including broadcast TV, streaming, social, digital, radio, print and experiential for some of the worlds largest brands including Facebook, Samsung, The Coca-Cola Company, HBO, Playstation, Anheuser-Busch, Unilever, Nestle, Mondelez, Target and FedEx.
After starting as a copywriter, he found his way to production and he has been an agency producer at a number of agencies including, Cutwater, Publicis, R/GA, BBH, Mother, TBWA/Chiat/Day, JWT, Huge, and BBDO. He worked on the client side at Meta (Facebook and Instagram), The Coca-Cola Company, Starwood Hotels and NBC Universal.
Work he has produced has won awards at the Cannes Lions, AICE, AICP, The One Show, D&AD, Clios, Webby’s and The FWA and has been covered in media publications including Esquire Magazine, DigiDay, Creativity Magazine, Communication Arts, Contagious, Ad Age, Ad Week, The New York Times, The Wall Street Journal, The Los Angeles Times, The Washington Post and Mashable.
LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?
Doug> There is no common path to becoming a producer. People from all sorts of backgrounds become producers. Many study film, literature, art, or design. Many do not.
That said, producing is simpler than you might think. Production, at its very core, is the business and operations of creativity. Being a part of your school band, a theatre performance, or a community art show is production.
I think aspiring producers should seek out ways to expose themselves to the world of production, perhaps in the simplest ways possible.
In your community, look for ways to get involved in your local theatre or perhaps a local film festival. If art or design is your thing, look at local community arts organisations. The point is to find out if you have a passion for creativity and, in particular, orchestrating a creative production—whatever that may be.
As you progress into college, if college is something you're interested in (not a requirement at all), look at film study, writing, and drama. All are great preparation for building a foundation to become a great producer.
Our business is ultimately about storytelling, so learn and study the construct of a good story. Whether that story is a documentary, love story, comedy, thriller, or anything in between, find the essence of what makes the story pervasive and compelling. And figure out how to tap into those same emotions to move people to act. That is the essence of advertising.
When you're ready, as you build your skills, seek out internships at agencies, production companies, photo studios, music companies, or the like to further hone your abilities and immerse yourself in the creative process.
That's what I look for in aspiring producers who are looking to break into the business: passion and a point of view.
Ultimately, beyond this foundation, it is our job as production leaders to teach aspiring producers the craft and skills they need to thrive in this business. Great leaders make good people great. That is our responsibility.
LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?
Doug> The skills that made a strong producer 20 years ago are still the same now. I will touch on those foundational skills later. One analogy I like is that a producer is the conductor of the creative orchestra. You likely cannot play any of the instruments in the orchestra very well, but you understand how they work, what they can do, and what their limitations are. That should be the foundation for how you approach a problem.
I think there are a few emerging areas that are currently capturing my attention:
- Generative AI: It is deeply affecting how ideas are developed and the speed at which an idea becomes reality. AI represents a democratisation of content creation, which is both exciting and daunting at the same time. And that's okay. AI will change how we work and the speed with which we get there. That's pretty exciting.
- Virtual Production: We are less tied to physical locations than we have ever been. Gaming and Marvel movies have changed how and where we produce. More freedom means fewer constraints on creativity and ideas.
- The Creator Economy: The next great commercial or film could be created with just an idea, a phone, and a laptop. Follow and watch creators you find interesting, as they will be the directors, photographers, DPs, editors, and artists of tomorrow.
LBB> What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?
Doug> When I was at BBDO, under Brian DiLorenzo and Niklas Lindström, the ethos of production, particularly around "never-been-done" ideas, was one of Yes.
Clearly, what we wound up producing was not always exactly as it was concepted. But that does not matter. What matters more is that it created an ethos of problem-solving at the core of production.
It also ensured that, as producers, we were constantly students of the craft, with curiosity at our core.
LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?
Doug> This is a very important topic for me. I personally mentor students at William Paterson University in NJ in their multimedia production department. WPU is unique in that a majority of its students are first-generation college students and persons of colour. I have learned so much from my mentorship of these students, and it's been one of my most rewarding experiences.
Given that, one of the most important aspects of diversity for me is socio-economic diversity and opportunity. When I was on the production side, I built a roster of creators based on that model. And that is something we are doing at Cutwater as well.
Our production department looks more like what you would expect at a small production company. We are lean and agile. I operate as the EP/HOP, and I have a business affairs and production manager partner. That core team is complemented by a network of staff and freelance producers, editors, motion designers, creators, and DPs/shooters all over the country and the world.
That geographic flexibility has allowed us to build a team with diversity at its core. So we are able to spin up our own productions in a very agile manner, at the speed of culture.
We also still create content in more traditional ways, and we aim to have diverse representation in our production and post-production teams, both above and below the line.
LBB> And why is it an important issue for the production community to address?
Doug> Because ultimately, diversity makes the work better.
Production is a team sport, and I want a team with a diverse set of voices, experiences, opinions, and ideas.
Ultimately, diversity delivers work that is more unique. More compelling. More ground-breaking. More everything.
LBB> There are young people getting into production who maybe don’t see the line between professional production and the creator economy, and that may well also be the shape of things to come. What are your thoughts about that? Is there a tension between more formalised production and the ‘creator economy’ or do the two feed into each other?
Doug> I don't think there is tension. I think you bring the right solution to the problem at hand. Sometimes, a content challenge is best solved with an influencer engagement. Sometimes we work with someone on our creator roster. Sometimes, a small, agile production company with documentary roots is best. And yes, big-budget tentpole productions are very much a core of what we do.
It is our job to look at the work and assemble a team that will deliver it with craft and quality, given the budget and time constraints.
LBB> If you compare your role to the role of the heads of TV/heads of production/executive producers when you first joined the industry, what do you think are the most striking or interesting changes (and what surprising things have stayed the same?)
Doug> Integration: I think 15 years ago, there were print producers, film producers, digital producers, etc. Now, the expectation is that everyone is integrated. There used to be multiple groups within production departments with different heads. Today, producers need to have a broader scope of skills and the ability to execute in multiple mediums. As a result, heads of production must have a base understanding of all these types of media and platforms.
In-house production/post-production capabilities are also inherent and needed in modern-day agencies. There is no right model for all, but given that these capabilities are now part of an agency's DNA, there is a need for heads of production (HOPs) to have strong entrepreneurial and business management acumen.
Having spent time on the production side, a big part of your role as EP is fostering opportunities for your artists beyond just the commercial, including documentary, film festivals, episodic TV, features, and more. I think a modern HOP who has taken on the responsibility of building an in-house department owes it to their artists to grow their skills and passions in all directions.
Technology is everything. We all know about the promise of AI, but I think technology, as a broader term, is more accurate given its pervasiveness. Clients are demanding speed, agility, and efficiency in how we deliver content, so having your finger on the pulse of innovation and how it can create production and post-production efficiencies is paramount.
How is the same? Our mission is still to deliver amazing work that balances innovation and craft with building brand equity and driving results for our clients.
The "how" has evolved, but the "why" remains the same.
LBB> When it comes to educating producers how does your agency like to approach this? (I know we’re always hearing about how much easier it is to educate or train oneself on tech etc, but what areas do you think producers can benefit from more directed or structured training?)
Doug> Cutwater’s model is different. As HOP/EP, I am hands-on with every project. I have built the process from the ground up, with standard workflows, documentation, and a knowledge database of resources. As a result, it provides a curriculum for producers to learn and thrive. I am a teacher, a mentor, and a coach to the entire production department.
I also actively produce a significant number of projects at the agency. This allows me to constantly learn and continue to grow and evolve our process based on real-time feedback from my team.
This is not possible at all agencies, but our model makes it possible, and I think it delivers superior results.
LBB> It seems that there’s an emphasis on speed and volume when it comes to content - but to where is the space for up and coming producers to learn about (and learn to appreciate) craft?
Doug> I think you can do both. We emphasise the right solution for the right problem. Speed and volume should not compromise craft.
LBB> On the other side of the equation, what’s the key to retaining expertise and helping people who have been working in production for decades to develop new skills?
Doug> Never stop producing. Find projects to get your hands on at the agency. For me, production is not just a job; it's a calling. Whether it's home renovations, my garden, a Saturday meal, a vacation, or a charity event, I try to continually learn and produce new things. A few years ago, I produced a small music festival in my local area. Never stop learning.
This Rick Rubin quote tends to resonate with me: "Creativity is something you are, not only something you do. It's a way of moving through the world, every minute, every day.".
LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?
Doug>
- Curiosity: Every project is different. You will constantly be learning. You have to have an innate love of the new and the will and desire to learn.
- Be Fearless: You will fail. Things will not go right. The mark of a great producer is one who recovers from it.
- Taste: This can sound a bit conceited, but it really means having a point of view. Have an opinion, and don't be afraid to express it.
- Empathy: You will constantly be balancing creative demands, client needs, and strategic requirements. This requires an empathetic view and understanding of where everyone is coming from.
- Self-Awareness: Know your strengths and weaknesses. Be true to them and surround yourself with people who complement your skills.
- Resilience: This is not a 9-to-5 job; you are routinely traveling, working with partners across the globe, and it can be very demanding. It's amazing and fun but challenging at the same time. The endurance to push through the difficulties will allow you to thrive when you are on the other side of them.
- Attention to Detail: Be prepared. Sweat the details. The smallest things matter. Things you might think are inconsequential actually elevate the work from good to great.
