Producing Tomorrow’s Producers: “Every Impression Counts and No Job Is Too Small” with Cia Mellegers
Cia Mellegers, a Toronto-based senior producer at The Deli, boasts nearly a decade of experience in the advertising industry, specialising in commercial film and experiential production.
She is also an accomplished filmmaker, having written and directed two short films, and previously worked in the art world, founding a DIY art gallery and event space. With a firm belief in the power of communication and collaboration, she thrives on new challenges and is always seeking opportunities for growth.
LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?
Cia> Get yourself on set, even if it’s working as a PA or volunteering to shadow someone for a few days– even if you have a background in film or content, you need to understand how a commercial set operates and what everyone’s role is.
Be humble, and remember that every impression counts and no job is too small– when you’re starting out you probably will have to take out the garbage, and that’s just as important a job as any.
LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?
Cia> New tech and XM– there are far fewer producers who know how to execute experiential and AR projects, and everyone is trying to figure out how AI is going to affect the industry.
Sign up to some newsletters to keep up on what’s happening in tech as well as film, live events, and advertising, and mess around with some new AI software to see how it can help you in your workflow. Don’t be afraid to try new things or step outside of your comfort zone, as you never know where it might lead you.
LBB> What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?
Cia> That’s tough – I learned a lot of hard lessons starting out! I think early on I learned that humility is a strong asset– this is such a tough job, there’s always more to learn, you’re always going to make mistakes (learn from them), and being an asshole doesn’t solve anything.
LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?
Cia> In 2020 there was a bit of a reckoning in our industry because it was (and still is) predominantly white and male. And people would say “well, there’s just not enough of X demographic out there at a skilled level.” So how do we solve it? Those of us in senior roles have to take on the responsibility of helping to develop those skills.
In 2020 we started a mentorship program where we brought BIPOC aspiring producers and directors on to jobs for an honorary rate, so that they could shadow and learn from a professional.
It’s not the easiest thing to integrate into a production, and there’s way more demand than we can handle, but I hope it’s been a good experience for those that have participated– one of our on-staff producers came from that program.
My door is always open to juniors who want to chat about getting started, and if any crew member asks to bring a junior on set to learn, we oblige.
LBB> And why is it an important issue for the production community to address?
Cia> It’s so important to have a diverse set of voices and perspectives, and for younger folks just starting out to be able to see themselves in those senior roles. We want our productions to be inclusive and safe for everyone, and for our sets to reflect the diverse population of Toronto.
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?
Cia> To me they feel quite separate – the process for making commercials is pretty established, and agencies and brands have an expectation of the kind of service and quality that they’re investing in – it takes the full production machine to deliver that.
Of course you can have nimble, lean production for some content, but the process and final product is different. And it can be difficult to translate the skills and workflow required for both mediums, which is why people tend to specialise in one or the other.
There’s certainly room for both styles of work out there, but I think it’s important for everyone (production, agencies, clients) to understand the difference.
LBB> If you compare your role to the role of 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?)
Cia> Well the pandemic changed a lot– we used to spend a lot more time in the production office. I never imagined I’d be doing so many video calls from my car! I don’t know that the role has changed so much, but the tools we use to work have – that’s why I think it’s important to keep up on new software and tools that can help make our workflows more efficient.
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?)
Cia> I actually created a pretty comprehensive document myself on how commercial production works and what the producer’s role is – just because I have so many juniors asking me how to get started, and I was tired of repeating myself! And the process is different than what someone coming from say, short films may be used to.
But the reality is, knowing the steps of how to do the job is really just a small piece of it – a massive component is people skills and managing personalities – the director, the crew, the agency, the client. I really think there’s a huge value in being included in meetings and on emails, because you only learn by observing senior staff and following their example.
And of course we always start juniors on small productions and they work their way up– the benefit is that on small productions, you usually have to do about five different people’s jobs. So you tend to sink or swim.
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?
Cia> I didn’t go to film school, but like most people in production, I got into this because I love film, so working with creative people like directors, DPs, production designers, is one of the best parts of my job. But in my opinion, the most successful people in those roles understand that what we do is for the client, not to indulge their own egos.
So go see great films, take a class, make a short, have deep conversations with your colleagues about craft – and those skills and sensibilities will inform your work, but at the end of the day we have a job to do, and if that’s make a bunch of 9:16 TikTok ads, that’s ok.
LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?
Cia> I think it’s important for everyone (in any role) to consider education as essential to their career longevity. Technology and culture move way too fast now to say “I’ve done it this way for 20 years and I don’t want to change.”
I have the privilege of working in-house where we value education and attend courses, conferences, etc., but most people in this industry are freelancers, so you have to take time to educate yourself.
There’s value in understanding older ways of doing things and keeping up with the new. It’s important to stay curious, open-minded, and don’t write anyone off just because they’re young or old– they probably still know something you don’t.
