Meet your Makers: Play to Your Strengths and File Meticulously with Natalie Greaves
Nat is a senior producer at Howatson+Company, with over a decade of experience at some of Australia's most esteemed agencies, including DDB, Saatchi & Saatchi, OMD, and Leo Burnett. Her extensive portfolio spans a wide range of cross-disciplinary campaigns for clients such as McDonald’s, Westpac, Qantas, Allianz, Domain, and Volkswagen.
Beginning her career in film production as a budding pianist and DJ, Nat quickly developed a passion for both editing and sound. However, her versatility and desire to collaborate led her to the dynamic environment of agency land. Throughout her career, Nat has contributed as a proud member of Youngbloods, has participated in numerous industry charity events, and served as a judge at global award shows.
Beyond her professional achievements, Nat is an avid snowboarder, touch footballer and Sydney Swans tragic.
LBB> What first attracted you to production - and has it been an industry you’ve always worked in or did you come to it from another area?
Nat> I grew up with a camera in my face because my dad was a videographer. Every milestone, every birthday, every Holy Communion was recorded and played back to us four kids on a large projector every Sunday which in hindsight is quite weird but I’m ever so grateful. I was always the kid submitting films for school projects (with dad’s help), I’d participate in any and all drama and film activities at school and then upon watching a documentary about NIDA leading up to the HSC, I decided acting looked hard and production was the avenue for me.
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?
Nat> I started an internship at a boutique production company whilst I was at uni and albeit working for free, was convinced I’d hit the jackpot. I was introduced to actors, artists, music labels and tv networks and toured the Surry Hills agency circuit presenting our “creds” which I thought was the coolest thing ever. I wore many hats, did a lot of coffee runs and often didn’t know what I was doing but according to my email signature I was a production coordinator and that’s all that mattered. I did learn that there were many facets to production and making a reality tv show likely wasn’t on my bingo card, but the spectrum of skills I gained and people I met really set me up for life in production.
LBB> How did you learn to be a producer?
Nat> Post internship, I started as a junior producer at Leo Burnett and mistakenly thought I’d be script writing, strategy building, art directing – all the hats I wore previously. It was a minor shock to the system when Bill (shout out to Doigy) advised on day 1 that my job would in fact involve finance systems, schedules, spreadsheets and telling people where to be and when, a task I admittedly struggled with myself. But the large and very talented team of producers at Leo’s quickly took me under their wing and became mentors and close friends, guiding me through Purchase Order glory, how to navigate creatives and when to use your stern voice for unacceptable account service requests.
LBB> A good producer should be able to produce for any medium, from film to events to digital experience. Do you agree or disagree with this statement? Why/why not?
Nat> I think if push came to shove, producers’ skills are transferrable and you should be able to adapt and successfully manage any medium, however we all have our strengths (and preferences) so where there’s opportunity to either delegate or at least lean on someone more specialised for guidance, this would ultimately give the best results in my opinion. Film is my bread and butter but where there’s an event that requires content, or a digital experience that requires photography it’s always a great opportunity to expand the skillset, branch out and do something different if it suits the project and the output.
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?
Nat> I believe the process of producing can be learned but to really be successful in the role you must have a strong understanding of people, a certain level of emotional intelligence and an ability to remain calm. Without all three, you’re misreading situations, rubbing people the wrong way and/or freaking out at every schedule change (and we all know the frequency of those). I personally also try to imbed humour into the workplace wherever I can – this is my way of relieving tension in a room, keeping people relaxed and (selfishly) having a pleasant working day.
LBB> Which production project from across your career are you most proud of and why?
Nat> For me, the pride historically stems from those really difficult projects that have infinite rounds of amends and late nights of pre production stress, but conversely, my most recent project for Qantas Olympics and Paralympics was probably the proudest I’ve felt. Ironically, I was the most relaxed I’ve felt during a project, which I put down to working with a team of people that you wholeheartedly trust and vice versa. Being filmed all over the country with non-actors (with very specific availability), it was a logistical tetris that required meticulous planning to pull off. Not only did the shoot go well, but the response to the films was so overwhelming, not just from my grandparents who emailed me “well done, looks nice” but the Paralympic community, the industry as a whole and the athletes themselves thanking us for telling a part of their story. It’s corny but when you feel like you’ve actually made a difference, it’s hard not to spark some pride.
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Nat> Last year’s major excitement stemmed from the culmination of three of my favourite things in a brief – comedy, real estate and international travel. So when I was asked to produce a series of comedy films for Domain in Canada featuring Rose Byrne and her hubby Bobby Cannavale, naturally I was waiting for the catch. Challenges were aplenty like covid contingencies, SAG union rules, contract amends at 3am in a hotel room a few hours before the shoot, un-processed visas, and learning how to delicately tell a well-known comedy writer that your creatives don’t like their ideas. But the results were fantastic and I still have the lasting memory of Richard Shaw shaking Rose Byrne’s hand like a dead fish and then accidentally walking off together still hand-in-hand.
LBB> Producers always have the best stories. What’s the hairiest / most insane situation you’ve found yourself in and how did you work your way out of it?
Nat> A few years ago we were filming a car commercial at night in a very remote town in the middle of winter and we hit the point of 4 hours overtime due to some unforeseen events. I had a minivan full of agitated clients, stressed suits and very cold (whiney) creatives and I did what any producer at 2am does best and that was to start singing. A small amount of tension was relieved but ultimately nothing had been solved. So I did the next best thing I had in my skillset – communicate. Over-communicate. Get the information, relay the information, let everyone know the next steps so there’s a means to an end. It sounds obvious, but by having a plan in place everyone was able to relax a little, and by debriefing the next morning we ensured that night 2 wouldn’t have the same issues. At the end of the day, keeping dialogue going, people informed and the spirits as high as possible is always the best way out.
LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?
Nat> The notes section of my phone is where all the info lives. I tactically empty my brain of ideas, plans, schedules, details, thoughts and reminders into said lists so that I don’t go insane. In fact my brain is often quite empty and available for new info because of the dedication to these lists. Relaxing for me comes in the form of activities (my recent ADHD diagnosis explains so much) – playing touch footy for the Womens’ Rabbitohs, snowboarding, staring lovingly into my dog’s eyes, and if I’m really bored some Beethoven on my grand piano.
LBB> Producers are problem solvers. What personally fuels your curiosity and drive?
Nat> I love to be in the loop and have my finger firmly on the pulse so I actually do something quite controversial for a busy producer with ADHD - I read all of my emails, every last word is read and no hyperlink is left untouched, in fear of missing something crucial. In between malware sales and conference invites are also hidden gems from unknown directors, boutique sound studios and freelance DOPs. Some producers are of the mindset that it’s easier to stick to what you know but I love finding inspiration in unexpected ways, discovering the undiscovered and knowing that I could be facilitating that inspiration for the next brief. I don’t have a lot of professional fear and I’m very open to pushing the boundaries so I love that Howatson+Company are all about that too.
LBB> From your experience, what are the ingredients for a successful production?
Nat> Along with everything I’ve mentioned like trust, detail, humour and a viable timeline, I feel like the elephant in the room is that music and sound are still so under-utilised and late to the party as such a core production ingredient. We often have these chaotic schedules and wacky ideas resulting in beautiful images and hilarious content and we aren’t thinking about what it is that’s really drawing on the audience’s emotions in a piece of moving content – in my humble opinion the music and sound. At the end of the day, we’re in the business of sales. But what is a sale without first having an emotional response? Needless to say, I love the sound process and hope we start to think about it earlier and celebrate it as one of the main ingredients in a successful production.
LBB> What advice would you give to people who are interested in becoming a producer?
Nat> Attention to detail is important but attention to people is more important. Ask questions, don’t assume anything.
Make an effort to remember peoples’ names. Play to your strengths. File meticulously.
