Producing Tomorrows Producers: Why Alisha Kramer Is Always Learning from Everyone

Alisha Kramer has been in the industry for over 10 years. Getting her start in the agency world, then moving into a deep focus in live action. During that time she produced shoots for Fortune 100 companies, notable recording artists and award-winning filmmakers. 

The pandemic helped her shift her focus, and she is now a senior producer with BIEN. Working through Inclusive Motion Design, she has gotten to work with some pretty awesome clients, and even more amazing creatives on some of the most rewarding work of her career to date.

LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?

Alisha> Always be humble. Be willing to start from the bottom. I am a firm believer that if you start at the bottom you learn more and are able to do your job even better. 

LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?

Alisha> I currently work in animation, but have a deep history in live action. I would say learn about what interests you. If you don’t find the work interesting or inspiring, it can make the job more difficult.

LBB> What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?

Alisha> I’ll say it again... but staying humble. You should never assume you are the person with the most knowledge about something. Learn from everyone always.

LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?

Alisha> We are very adamant about looking at the team as a whole and figuring out what kind of voice we need. Even if someone is behind the scenes, their perspective is insanely important. Our team strives to hire folks of different genders/ethnicities/abilities/experience levels on every job.

LBB> And why is it an important issue for the production community to address?

Alisha> Some folks don’t get as many opportunities because they don’t have certain things or clients on their resumes. People that are more green, or haven’t been on bigger jobs are just as talented. Some of the people that have blown me away the most are people right out of school.

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?

Alisha> I think on some projects that tension exists. We as a studio always try to make the client understand why we made the decisions we did, and to hire people that fit the project. Sometimes you don’t win that fight, so you just have to move forward a different way than expected. There’s always the next project that will let you flex that super creative muscle more.

LBB> If you compare your role to the role of the heads of TV/heads of production/ Exec 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?)

Alisha> I think these days, some of those higher up positions (especially within studios that aren’t huge) are more flexible and open. At the start of my career I was on the agency side and it was very different. Now working for a studio, the environment is much more open to not being so rigid, and I love that.

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?)

Alisha> We ensure that we have a very structured plan for any incoming producer. Also, we ensure that another producer is the one to head up this training, as they are the ones with the most valuable experience. The best way to train someone in my mind is based on personal experiences.

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?

Alisha> For me, learning on each project has been so valuable. I could watch tutorials and take classes all day, but for me, it’s learning in the moment on projects. I am also super fortunate that the team at BIEN really fosters learning, so everyone is really good at explaining things to those that don’t understand. There is still so much I don’t know, but my team teaches me every day.

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?

Alisha> I’m going to sound like a broken record, but seriously…always be learning. The more you work, the more you will get to interact with people that have different perspectives and workflows, and that will help you think of things differently on your end. Stay curious, and learn from people directly.

LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?

Alisha> Producers need to be personable, always. If you can’t make your client laugh, then why even do this? We must also be punctual. This can refer to meetings, as well as deadlines, and response times. Also, never answer a question you aren’t sure about. Tell a client you will get back to them in 10 mins, and give them an accurate answer, instead of having that sense of urgency that requires you to answer them immediately. Your team will thank you.