Meet Your Makers: Jill Shaw on Why Overcommunication Is Key

Jill has never turned down a challenge. When the odds were stacked against her, and the fate of all women rested on her shoulders, Jill rose to the occasion and beat Billy Gildea in their 5th grade arm wrestle. In many ways, Jill is still that 5th grader at heart, both in her sense of humour and her commitment to beating the odds.

When they say it can’t be done, she finds a way to make it happen. On time and under budget. A singer, a skier, a runner, and now a mom, Jill was born to be on her feet moving. Hailing from Bridgewattahh (written in her native tongue), Jill rose to power from behind the welcome desk at Hill Holliday. She quickly gained reps producing content shoots worldwide for Reebok. She came to V A G R A N T S in 2019 with an insatiable appetite to get shit done, and by god as she had done just that.

LBB> What was your first role in the production world and how did this experience influence how you think about production and how you grew your career? 

Jill> I began my career on the agency side as an assistant integrated producer at Hill Holliday, working under several senior level producers across nearly every client we had at the time. It felt like a crash course in production, being exposed to so many projects at once each presenting their own challenges. I very quickly learned that each producer has their own approach and communication style.

I took note of what the creatives and clients responded well to, and more importantly what they did not. It became crystal clear that producers must be the glue constantly thinking about what’s best for the production holistically. There is no room for personal ego. This realisation helped me to leverage my working relationships, gain trust, and take on more responsibility quickly.

LBB> How did you learn to be a producer?

Jill> After two years of agency producing TV broadcast and radio campaigns, social platforms started to boom turning the world of production on its head. Budgets were getting slashed, and everyone wanted more for less.

Brands were bringing production services in house to avoid expensive agency fees and I was curious to experience that side of things. I joined Reebok Productions where my “clients” were my peers on the various business units across different categories. It felt like peeking behind the curtain getting to witness how client requests are born out of sales necessity yet limited by marketing resources. Each team often having their own agenda, I had to creatively find a way to produce for an overarching brand voice on a much scrappier scale than I was used to.  

After four years I missed the variety of clients the agency side brought, but I wanted to remain at the centre of the action like I was at Reebok. I had produced agency side and brand side but had yet to explore an independent production company like the ones I was often hiring.

I loved the idea of being in the driver’s seat executing all the final decisions rather than being caught in the corporate game of telephone. Enter V A G R A N T S that was bringing a breadth of fresh, approachable air to the industry. I immediately jumped at the opportunity to build something with Dustin and Winston, having confidence that my experience on the other side of the table would be a valuable weapon. This trajectory has given me a well-rounded perspective making me the producer I am today. 

LBB> What’s your favourite thing about production and why?

Jill> It’s not lost on me how lucky I am to work in the industry that I do. I get to travel the world making cool things with my friends for a living. The production community is so rich in individuality yet every new crew member I encounter feels like someone I’ve known for years.

I was a theatre kid, so production just feels like the grown-up version of theatre camp. We aren’t saving any lives here, so there’s nothing that needs to be taken too seriously. That perspective keeps me motivated, because I know I wouldn’t enjoy doing anything else as much as I do producing! 

LBB> What do you think is the key to being an effective producer - and is it something that’s innate or something that can be learned?

Jill> The most successful producers know how to operate in the grey area. It requires the innate ability to read the room and take stock; when to push back on client requests to protect the lines or compromise to gain the client’s trust. Although it can be strengthened over time, I’ve found that emotional intelligence to be more of a personality trait than a learned skill. You either have it, or you don’t. 

LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?

Jill> As a new mom, I find this especially difficult but extremely important to manage. Establishing personal boundaries has never been my strong suit because I’m in the business of always making sure everyone else has what they need to thrive.

However, I’m very lucky to be supported by a team that feels more like family than co-workers and encourages a healthy work life balance. Hitting the slopes or catching a live show used to be how I spent many weekends, but nowadays quality time with my new little family helps me decompress and be reminded of what really matters. We need to normalise logging off in the evenings and weekends to do whatever we need to prevent burnout. 

LBB> Producers are problem solvers. What personally fuels your curiosity and drive?

Jill> No two projects are ever the same, so I never grow stagnant in what I do. Producers are only as good as the experience they have so I love that I’m constantly learning and becoming better with each job under my belt. 

LBB> What advice would you give to people who are interested in becoming a producer?

Jill> Stay curious, listen more than you speak, and remain solution oriented!

LBB> From your experience what are the ingredients for a successful production? 

Jill> Overcommunication with all departments makes all the difference. The more you can ensure everyone is on the same page in pre-production, the less problems will arise on set and in editorial. 

LBB> What’s the key to a successful production-client relationship?   

Jill> At the end of the day clients just want to be heard and feel like they’re a part of the team.  

It may take some extra education on the process, but that time spent up front will pay off in the long run. It’s okay to be direct, so long as you’re presenting solutions rather than a firm no. We’re all just people trying to get a job done, and it’s supposed to be fun along the way. If you befriend your clients and help them see that the more they’ll want to work with again. 

LBB> One specifically for EPs: Producers are naturally hands on - they have to be. How do you balance that in the more managerial role of an EP?

Jill> A true team player wears a lot of hats and is no stranger to multi-tasking. A big part of our ethos at V A G R A N T S is the ability to shape shift into whatever role a given project calls for. Line producing and EP'ing call for a lot of the same skills in terms of leading and problem solving, so it has felt like a natural transition to toggle between the two.