Meet Your Makers: The Spirit of Collaboration with Kirstin Vanskiver
Kirstin VanSkiver is the head of production and partner at SLMBR PRTY, a NYC based production company. After working for years as a photographer Kirstin turned her attention to producing branded content and commercials for top clients and agencies such as Facebook, Audible, Netflix, Dior, Macy’s, Gap, and Estee Lauder.
Her passion for working with real subjects and stories has led her to produce work alongside Frontline, the PBS Emmy Award winning documentary series, the ALS Association, 'Girls Who Code', and the American Lung Association. In 2017 she co-founded SLMBR PRTY as a networking group for women filmmakers in New York.
SLMBR PRTY has since evolved into a full service production company working with clients and partners including McDonald’s, 72&Sunny, Spotify, Google, Disney, and Droga5.
LBB> What first attracted you to production - and has it been an industry you’ve always worked on or did you come to it from another area?
Kirstin> I first came to production through photography. I had been working as a photographer in NYC, producing all of my own shoots early on. I did everything from creative direction to wardrobe styling to booking my crew. This experience gave me a foundational understanding of what it takes to execute a vision.
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?
Kirstin> My route into producing was completely untraditional. An opportunity came up for me to shoot some BTS for a Netflix-sponsored event for 'Stranger Things'. My husband was one of the DPs on the project and heard they needed a producer. I had been producing all of my own photography shoots and offered to take on the role. I hired the entire crew and ran the whole thing through my loan-out company.
I made plenty of mistakes, but it was basically like production boot camp. I figured out everything from location permits to workers comp. I walked away from that experience loving the collaborative nature of working on a film set and was totally hooked.
After that experience, I adopted the attitude of “I might not know how to do this right now, but I will by the end of it.” And it's served me in my career ever since.
LBB> How did you learn to be a producer?
Kirstin> Trial by fire. Fake it til you make it. My motto in my early producing days was to say yes to everyone who would give me a job.
I collected experiences and learnings from every single project. I had a bit of a backward trajectory. I started off in a line-producing role and worked for Buffalo Wild Wings, Dior, and Frontline PBS. Then, I decided to take on some production managing/coordinating roles to gain experience with those tasks.
I worked for a reality TV show, a branded content company, and bigger commercial projects. I also had some very generous producers show me the ropes when it came to budgeting and bidding, which quickly became my favorite part of producing.
LBB> Looking back to the beginning of your career, can you tell us about a production you were involved in where you really had to dig deep and that really helped you to grow as a producer?
Kirstin> One of the hardest and most rewarding jobs I ever had as a producer was for B&H, an iconic photo/video store in Manhattan. It was direct to client with a very ambitious creative and a modest budget. We had to shoot two overnights, using all of their employees, for a one-er shot. It was a daunting prospect.
At one point, I even had to jump in as an extra in the store, pretending to shop. The AD basically told me I was the worst actor he’d ever seen. He wasn’t wrong. The spot turned out great; all the employees were so charming on camera, and it raked up 65 million views on YouTube.
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?
Kirstin> I think the heart of that idea is true. Your skills as a producer can carry over to anything, but narrowing your area of expertise is ultimately more beneficial. I once took a job as a post-producer for an indie film and quickly realised I just didn’t have the heart for post-production in the same way I did for live-action producing. It’s great to try everything and expand your skill set, but I think there’s even more value in honing your focus in one area where you can truly excel.
LBB> What’s your favourite thing about production and why?
Kirstin> The people, the energy on set, and the collaborative nature of production. It takes many, many people to make it happen, and it’s the best feeling when you see it all come together.
LBB> How has production changed since you started your career?
Kirstin> This may seem obvious, but social media has drastically changed the production landscape. There’s a much bigger need for more assets than ever before. We’re creating content that people are scrolling through on their phones, so it's imperative to think through that when we’re approaching certain scripts.
LBB> And what has stayed the same?
Kirstin> I think the people and spirit of collaboration have stayed the same. And that’s what we try to foster the most in our productions and work at SLMBR PRTY: a sense of community. We’re all in this together, and we all appreciate each other’s roles in the process.
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?
Kirstin> I’d have to say it's both. I think you have to possess a natural inclination to want to figure things out and solve problems, but it's definitely a skill that can be fostered.
LBB> Which production project from across your career are you most proud of and why?
Kirstin> I’m extremely proud of the McDonald’s work we’ve done at SLMBR PRTY with director Victoria Rivera, specifically 'Los Viejitos'. We helped cast and find a group of real older friends that have been coming to a particular McDonald's for their breakfast every morning for years.
It was a campaign with a lot of heart and was built out of these real stories, which I think are my personal favourite to produce and be a part of. And Victoria brought her distinct POV to the format and really crafted the piece to be authentic and brimming with personality.
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Kirstin> We recently did a job for Toyota with our new director duo signing, nutmeg, which I have to say was one of the most fun experiences I’ve ever had. We brought a fantastic crew together in Park City, Utah, and we had two days off-roading with Toyota trucks around the mountains. nutmeg, Andres Obeirne and Loucas Silas, brought so much energy and enthusiasm to the project that it felt electric.
We were all buzzing the entire time, from our amazing agency partners to our talent and drone team. I was super proud of that production because it had been a professional goal to produce work for truck brands, and it was one of those jobs where the people and the creative were really of top quality.
LBB> What are your personal ambitions or aspirations as a producer?
Kirstin> My biggest goal is to always push myself outside of my comfort zone. We recently pitched on a project that required some creative thinking on locations for mountain resorts, and I spent a number of days researching locations and crew; I even had my brother, who works on a mountain, send me footage from the top so I could get an idea of what we would be seeing. There was no precedent I could turn to, so I had to use what resources I had, and that's the exciting challenge that I hope to always cultivate.
LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?
Kirstin> I’m a big believer in taking a step back or step away from a project for brief moments, especially when it feels like you’re starting to burn out. I will occasionally remind myself that I’m too close to the issue or problem and need to walk away to clear my head before diving in again. It's amazing what a clear mind can do to solve problems that previously felt unsolvable. A quick walk or five minutes outside away from screens usually does the trick.
LBB> Producers are problem solvers. What personally fuels your curiosity and drive?
Kirstin> I absolutely love putting the numbers together while bidding. Each job is a unique challenge with different needs, obstacles, and budgets, and the bidding process is where everything starts to come into focus. It all feels like a puzzle, and I have a process for solving it. If it were the same every time, then it would become mundane, and that's something that I love about this industry—you’re never doing the same thing twice.
LBB> What advice would you give to people who are interested in becoming a producer?
Kirstin> Dive right in. Most producers I know have found a unique way into their role. In my eyes, there’s no right or wrong way to do it. You could work your way up the production ladder over a period of years and gain experience through different roles, or you could forge your own path and run things on your own, working up to bigger and bigger jobs. I think the point is to keep saying yes to whatever comes your way and embrace each job as a learning opportunity.
LBB> From your experience what are the ingredients for a successful production?
Kirstin> The right people. It's really what it all boils down to. If you bring on the right crew for the job, you’ll be successful every time.
LBB> What’s the key to a successful production-client relationship?
Kirstin> Listening! What are their needs? What are their concerns? How can you best solve their problems?
