Seen and noted

This week, we've put a series of questions to a few TV producers around the globe trying to get inside their heads.
Amongst them ... Rod James, long time Head of TV, M&C Saatchi Sydney.




How do you choose directors? What’s the usual process?

RJ: The most important thing is picking a director and production company producer you can trust to deliver, and with that their track record (ie their reel) is obviously very important. Often I work with directors on a repeat basis, and I see this as no different to using the builder you trust. If they did a great job on your last house why wouldnt you consider them for a new campaign? That’s why Phil Meatchem was chosen to direct our fantastic new brand tvc for Optus. Having shot many great commercials for us I knew Phil would deliver on Optus and he did a superb job along with Animal Logic's wonderful post work. That said its also great to meet and work with the new breed of directors. In just the last year we've shot with Cherub's Sam Lang and Nash Edgerton, POD's David White, Revolver's Jess Bluck, Silverscreen's Michael Wong and Elevator's Bruce Allan. All of these were first timers for us and all did a really great job. I also believe the production house and their producers are very important. Companies I regard highly such as Film Graphics and Revolver are run by fantastic EP's Michael Cook and Michael Ritchie who have an agency background and understand what's needed without the bullshit.


Is there enough time in the day to watch all of the incoming reels?

RJ: The nature of a producers job and the usually crazy work load means that its physically impossible to watch a constant stack of reels every week. I'd love to sit and watch them all day but unfortunately the never ending hospital queue at my door has to come first. I know from speaking regularly to colleagues like Ali at Saatchi's and Brendan at Burnett's that they feel exactly the same given our hours. It may not happen overnight but I do see all the reels sooner or later and I find the experienced production house producers or ones who have worked both sides of the fence understand this. Ultimately if there's great talent out there they wont miss being noticed. Well designed websites are also a smart way to go now as they can be viewed anywhere instantly.


The producer is always the last to leave the looooong post sessions. True or false?

RJ:As I type this I'm sitting at Beamo’s late on a Thursday night recording a track for a pitch that has just been briefed and in between this I’ve got to edit a stealamatic, shoot and edit a casting, and get two other commercials complete, approved and out to air all by tomorrow afternoon. It’s just another normal week!

Caffeine management. Any tips?

RJ: For reasons that nobody ever gets I've never drunk coffee in my life so I wouldn’t know the difference between Bar Colluzo's finest and a jar of instant. The fact is I simply don't like the taste of it so I stick to my water bottle.


Who are the main culprits for blowing out the budgets?

RJ: More often that not these days it's clients suffering from way too many levels of approvals. It's frustrating when the client who's really the one to approve the work hasn't been to any of the meetings or comes in at the 11th hour.


Does agency producing set you up for a career in the diplomatic corps?

RJ: A good producer is a bit like a good footy coach and team psychologist rolled into one, so I guess it would.


What makes your work successful?

RJ: Using great suppliers and hiring great talent certainly helps. We are blessed with very talented production companies (and great freelance crews), post production companies, editors, musicians, casting directors and more in this market. It's all about relationships. The bottom line is that like every head of tv I can't possibly use every supplier so I have built relationships over time that I know I can trust. For example I've been working closely with Rick Schweikert at FSM for a long time and he and his excellent team have never failed to deliver for me. I'm also blessed with a great team of girls in my tv dept who I've hopefully taught how to be great producers whilst retaining a sense of humility and humour. I try to never lose sight of the fact that whilst we care like hell about the work we're just making ads at the end of the day.


What do you say to suits knocking on your door who suddenly need to have a commercial with an impossible budget on air by Sunday?

RJ: Tremendous


Is it true that Ben Welsh's first name is actually Francis?

RJ: Yep it's true and he loves it when the girls call him Franny.


What are you listening to at the moment?

RJ: Foo Fighters "In Your Honour" as loud as possible.