Production Line: Trevor Paperny on the Art of Understanding a Process
A creator, The Many's Trevor Paperny is equally proficient as a producer, director and creative.
With a mountain climbing and adventuristic background, he gravitates towards action and motor sports. He concepted, shot and produced eBay’s long-form auto content Between Two Rides and Modathon which have both won been nominated this year for One Show, Shortys, Webbys, Addys, and AICP awards. He also produced and directed a cinematic documentary on sprint cars for Monster’s NOS Energy drink (available on Amazon Prime and aired on CBS), and was awarded for his Life by the Horns Snapchat film on bull riding.
Trevor’s industry-celebrated ‘Please Don’t Buy Mixwell’ award winning spot which he produced and directed, illustrates his deft touch translates seamlessly from adrenaline, to humour and emotion.
LBB> What lasting impact has the experience of the pandemic had on how you and your agency think about and approach production?
Trevor> COVID and the pandemic pushed us into virtual production. This technology was around, but the pandemic pushed producers to think about cost efficiencies.
We're bidding on a job right now, where, what used to require two days to shoot four to five locations, we’re able to shoot these different locations on an LED wall, on a single location on a stage, and move faster and more efficiently.
LBB> Aside from COVID-19, what have been the most disruptive forces to hit agency production in the past few years?
Trevor> The shaky economy has definitely pushed budgets into a smaller place. As a result, production teams have had to learn how to be more efficient and scrappy in terms of their resources and planning. It is just a new world that we have to adapt to, the larger broadcast production budgets are seem to have been shrinking with more emphasis on social and branded content.
LBB> A good producer should be able to produce for any medium, from film to events to digital, do you agree or disagree with the statement? Why or why not?
Trevor> I absolutely agree. What makes a good producer is really the art of understanding a process, working with people, and being able to not only negotiate with vendors but also to hold good relationships with these vendors. You have to get what you need and make sure people still like you! And I think if you come to a project with those skills, regardless of the medium, the skillsets of vendors are interchangeable, but how we manage and oversee those processes is always the same. My experience has been very much that—from feature-length documentaries to brand and content pieces on YouTube to traditional 30s, 15s, and TikTok. Our producers at The Many Studios are able to react to all briefs.
LBB> What's your own pathway to production? When you started out? What sort of work were you producing? And what lessons have stayed with you in that time?
Trevor> I started out as a PA, grabbing snacks and doing coffee runs. From there I got into more of the studio and agency realm and worked as an intern. I remember one day Christian Jacobsen, the CEO of The Many, saw me replacing the paper in a printer. There was a printer in the hallway, and it was always empty and beeping. No one would take the time to replace the paper. I would always make sure that there was paper in that damn printer. Christian said to me, “Trevor, as long as you keep putting paper in these printers, you’re gonna make it.” I was always looking for where I could be helpful and how I could go the extra mile and I think I’ve applied that mentality into the process of production. What can I do? Where can I help? What more can I do? This has always led me to get results.
LBB> If you compare your role to the role of the heads of TV heads of production, when you first joined the industry, what do you think are the most striking or interesting changes? And what surprising things have stayed the time?
Trevor> Producers are expected to do more now. They need to be generalists. But I feel like the craft and the process of production has stayed very similar.
The things that really have changed are the mediums: social, AR and VR, immersive media, virtual production, these are all things that didn’t exist when I was first in the industry.
LBB> When working with a new partner, or collaborator, how do you go about establishing trust?
Trevor> For me, it’s just about getting on the phone, making a personal connection, building some type of rapport before you get into a project. I love making people laugh, and that usually breaks the ice a little bit.
When I’m working with new partners and collaborators, I make sure they know that trust and loyalty are things that I really take to heart. Most of the people I work with know that if it goes well on one project, we’re definitely going to work together again.
Also, it’s a small industry, with word of mouth, and difficult partners don’t last long.
LBB> How important is it to you that there is diversity across all partners on a production? Do you have any measures to promote diversity when it comes to production?
Trevor> Extremely important. We have diversity built into The Many within all our departments. I love to give everybody a fair shot. When we’re crewing up for a shoot or production we’re on, diversity is something we put first. When hiring, and for entry-level positions, like production assistants, we work with organizations like Streetlights. Streetlights’ mission is to assist talented and motivated young-adult minorities who are interested in the entertainment industry, many economically and socially disadvantaged, to achieve long-term economic stability and career success.
Clients also request it. If we are presenting three different director treatments, clients often ask that each director be diverse in their own right. I think it’s awesome, because it challenges producers to really think about who they’re hiring and not just hire their buddy that they grew up with next door.
LBB> Speaking of casting, what is your approach to this side of production? How do you work with directors to ensure a fair and fruitful process?
Trevor> Most of our clients have a mandate for the exact talent they want featured. I think much of that push also comes from the directors we hire.
LBB> When it comes to educating producers, how does your agency like to approach this? And then they say, 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 a more directed or structured training?
Trevor> I definitely feel like getting producers into the studio is key to educating them. I would literally study and observe every move of the first producer I was assisting for—examine how she handles herself on calls, watch how she establishes relationships with people and vendors, and note how she uses her interpersonal skills. I feel like a huge part of educating is getting that hands-on experience. I didn’t have a structured education in the biz.
Usually, I’ll put a newer producer on a project that also has the support of a senior producer. It’s important to just get in and do it. They should be asking questions whenever possible, building a network of pros and asking them questions and constantly write down any questions that come up as they are moving forward.
LBB> Should production have a seat in the C suite?
Trevor> I think the production department as a whole is undervalued. If there is a CCO at the table, then why shouldn’t a production lead be there? I feel like the two really do go hand in hand. One doesn’t work without the other.
LBB> What's the key to creating lots of stuff at speed without sacrificing production values? Is that even possible?
Trevor> This is my bread and butter, baby. This is what we’re about. It’s possible with the latest tech, good relationships, and a touch of grit. It is just about getting the team together you work with day in day out, and putting on the gas when you need to. That where the the trust and rapport comes in, because people know you as a producer are going to push on a timeline when you need to but everyone always gets taken care of in the end.
The current environment has really pushed us to move faster and cheaper and really look at our budgets. We used to be called Mistress. We were born during a recession in 2008. We thrive in climates like this, figuring out how to get things done most effectively and just streamlining the process overall. So, it is absolutely possible, and we do it every day.
LBB> Traditionally, it's the part that comes at the end of the agency process. But it seems in many cases, production is a valuable voice to have right at the top. What are your thoughts and experiences?
Trevor> At The Many, producers are involved from the beginning. Many times, the creative teams view us almost as creative partners. We can push and challenge things, provide options and watchouts, and we are heard. I think our model is super helpful when trying to crack a brief.
LBB> What's the most exciting thing about working in production right now?
Trevor> All the new technology. One of our department goals is to work with AI on all of our projects, and to document that experience. We’re educating ourselves and reaching out to vendors who are working with new technology already and learning more about their process so that we can stay a step ahead and make sure that when it comes time for a brief, we’re right there in the room sharing our knowledge of how some of this new tech might be useful.
LBB> What advice would you give to an aspiring agency producer?
Trevor> Replace the paper in a beeping printer; don’t just walk by it! See where you can be helpful, ask questions, and go above and beyond. My experience has always been that if I put service and selflessness first, good will always comes.
