The Producers: A cultural collective
With the recent addition of Wayne Blair, celebrated director of The Sapphires along with directors, Olivia Altavilla, Aimée-Lee Xu Hsien and Amber Mealing, The Producers are reaffirming its reputation as a boutique production house who that prides itself on doing things differently.
That story started ten years ago when producer duo Tanya Spencer and Noelle Jones set out to create a production company that was genuinely diverse and championed a collective approach to creating great work. The vision was based on a place that felt more like family (in a good way) with everyone contributing in a supportive and inclusive environment that did away with the hierarchies and silos of the traditional production company.
Director Mitch Kennedy (pictured above), who was there from the very start puts it like this: “When I met Tanya and Noelle it was clear they had such a strong vision for what a production company should be – totally open and collaborative. They wanted the directors to work together like a creative collective, sharing ideas with one another, championing each other’s successes and always trying to make better work.”
At the heart of this approach was finding the right people. From the beginning they curated a roster of interesting, diverse creative voices who could bring something fresh to the table and had a passion for working with this more open, collaborative vision. Victoria Conners joined the team as EP and co-owner, after they opened their Melbourne office, and they became more ambitious in the scale and scope of work they were bidding on.
As the team grew they remained true to that passion for creating great work through collaboration, always looking for a fresh angle or a new thought that best serves the idea. Older directors helped younger directors. Everyone was supported. This wasn’t just empty talk either. Spencer, Jones and Conners along with new EP Aborah Buick are all super experienced hands-on producers who would do whatever it takes to make great work.
Says Kennedy: “I’ve seen Tanya negotiate with Dingo hunters in the middle of the outback. Noelle let me completely destroy an entire level of an empty office, before restoring it overnight. And Victoria didn’t blink when I said we needed to transport a $20 million racing car to the oil covered Newport Railway Yard for a 5am call. Their unwavering support is what makes this company feel like family.”
Their mantra has always been “how can we make this happen?” Conners puts it this way: “We love it when our directors push us creatively because it helps to find a better way to do things.”
Says director Amber Mealing: “I’ve never felt this supported – there are constant networking and creative events, constant communication.”
Perhaps Jones puts it best when she says: ‘We don’t want to grow too big as we feel it’s important to stay connected to our directors.’
That commitment to the idea, to collaboration and to thinking differently has seen them create some outstanding work.
Maybe a company owned and run by women with a very diverse and eclectic roster of talent, from established feature film directors through to young disruptors, keen to make an impact is worth a deeper look?