Producing Tomorrow’s Producers: Asheley Hu Roe on Resilience, Determination, and Kindness
Asheley Hu Roe is an executive producer at We Are Royale, where she recently led campaigns for 'Ravensburger Lorcana' and 'Audible for Impact Winter 3'. She joined the company in 2022 and previously served as head of production. Asheley’s producer career took flight at Oscar-winning production company Dirty Robber.
She went on to establish herself as a premier strategic producer at top creative agencies in LA, amassing an impressive resume of award-winning campaigns while collaborating with some of the biggest names in entertainment and media, including Netflix, Warner Bros., NBC, Sony Music, MTV, Will Forte, Ke$ha, and Jack Black. She has also produced campaigns for leading international brands, including Nike, Simon & Schuster, Hasbro, Red Bull Records, and several NBA and NFL teams.
LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?
Asheley> Resilience, determination, and kindness – these are the cornerstones of success in production. The truth is, the industry is packed with talented individuals vying for a chance to break in. But the ones who truly make it are those who go beyond the bare minimum, putting in the extra effort and continually striving to learn and improve.
I started as a free PA with no production background and fell in love with the job. My secret? I said 'yes' to every opportunity—glamorous or not—and learned from everyone in every department. Outworking others, staying curious, and (here’s the kicker) leaving your ego at the door can help you rise through the ranks fast. Trust me, smart, determined people get noticed.
Above all else, gratitude and kindness. There is enough ego in our industry so when those who are capable who also exude a tone of kindness and appreciation - it really resonates with those around you. There’s enough ego in our industry to fill an entire soundstage. Plus, no one ever got fired for being nice!
LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?
Asheley> AI: there are so many out there, and technology is changing at rapid speed, so being familiar with the foundations and prompts of tools is ideal.
Presentation design: slides, indesign, and keynote. PPB books and being able to update a CD's presentation or create one of your own are becoming more common.
Spreadsheets: get comfortable with formulas, templates, and graphs in both Excel and Google Sheets. More and more companies are using google sheets due to its shareability.
LBB> What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?
Asheley> 1) 80% of producing is covering your own ass. It might sound funny, but there’s truth in it. A producer's role is to keep everything on track and within budget, yet there’s no universal manual for what we do. While impressive schedules and spreadsheets might not win you any awards, ensuring that everyone is aligned and that you fully grasp the expectations is absolutely critical to success.
2) Don’t be a dick. One of my favourite leaders in the industry (and former mentor), Jonath Craven, exemplifies a kind and humble spirit. He’s always generous with his connections and advice, showing me what true leadership looks like. He showed me this when I was just starting out and actually was the first person outside of my immediate circle to tell me that I would make a great producer.
Later in my career as a senior producer, I also had the honour of working for an incredible woman named Sharre Jacoby. Growing up in this industry, I often saw women in leadership roles adopt a bulldog persona, which I thought was the only way to lead. Sharre, however, broke that mould by leading with kindness, grace, and her authentic femininity.
It was eye-opening to see that assertiveness doesn’t have to mean being abrasive. If you asked anyone at the company why they loved working there, the answer would invariably be, “Because Sharre is here.” That taught me the kind of producer and leader I aspire to be.
LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?
Asheley> When it comes to broadening access to production and improving diversity and inclusion, we’re taking a hands-on approach:
- Local School Outreach: We connect with local schools for internships and tap into their alumni networks. We're not just looking at the big-name schools; we also reach out to places like Cal State Fullerton to cast a wider net.
- Diverse Freelance Networks: We’ve expanded our connections to freelance communities focused on diversity. A few of the groups we work with include:
3. Panimation
- Diverse Crews On Set: We make it a priority to have a diverse crew on set. Representation matters, and it’s important to see that reflected in our teams.
- Diversity-Focused Recruitment: We also post job openings on forums that emphasise diversity to ensure our recruitment efforts reach a broad audience.
By taking these steps, we’re hoping to make production and our industry as a whole more inclusive and accessible to everyone.
LBB> And why is it an important issue for the production community to address?
Asheley> It’s crucial for the production community to address this issue because it opens up more opportunities for those who might not get a chance otherwise. We have a responsibility to actively change the world around us instead of just sitting back and watching.
Being open to diversity isn’t enough; we need to be proactive about it. After all, echo chambers don’t do anything for creativity!
The more perspectives we bring in, the richer and more innovative our work and industry can be.
LBB> Diversity and inclusion are integral to the success of a company. Why?
Asheley> Diversity and inclusion are key to a company's success because you need a mix of different backgrounds and perspectives to keep things fresh and relevant. It’s what sets you apart as a company and, honestly, helps you grow as an individual, too.
Embracing diversity isn’t just about checking a box; it’s an opportunity to expand your thinking and approach. Without it, you risk becoming stagnant and missing out on innovative ideas. I say it again - there is no place for echo chambers in creative.
LBB> There are young people getting into production who maybe don’t see the line between professional production and the creator economy, and that may well also be the shape of things to come. What are your thoughts about that? Is there a tension between more formalised production and the ‘creator economy’ or do the two feed into each other?
Asheley> I genuinely believe there’s room for both traditional production and the creator economy to coexist. There are countless ways to connect with an audience, and it really boils down to what you want to achieve. What’s your target market? What’s your budget? What message are you trying to convey? Instead of seeing these two as opposing forces, I think it’s more productive to approach them based on your desired outcomes. Both can be equally effective in their own ways.
Take this high-end Nike ad, for example. While you could create a low-fi version, its effectiveness, strategically, lies in understanding the targeted audience and platform for which the content will be consumed. Basically, a more theatrical screening experience merits a more polished production. Now take this TikTok content. It’s a great example of a well-known brand understanding the platform and meeting the audience on their level. While not an “official ad,” it’s just smart and clever marketing."
LBB> If you compare your role to the role of the heads of TV/heads of production/executive producers when you first joined the industry, what do you think are the most striking or interesting changes (and what surprising things have stayed the same?)
Asheley> I have mixed feelings about this. On one hand, many will say that budgets were higher, and there was more room for creative ideas and stronger storytelling—and there’s certainly some truth to that. However, that was only true for certain people.
Today, leaders like myself, an Asian American woman, are in positions that weren't as accessible before. I also see greater diversity and more protections for minority groups across the board. So while budgets may be tighter and timelines shorter, the old ways primarily benefited white males. If I had to choose, I'd celebrate where we are now.
LBB> When it comes to educating producers how does your agency like to approach this? (I know we’re always hearing about how much easier it is to educate or train oneself on tech etc, but what areas do you think producers can benefit from more directed or structured training?)
Asheley> We like to call it “Producer School” here at We Are Royale! We take a very hands-on approach to development and growth. We’re always checking in with our producer teams to find ways to improve processes and career paths.
When you join Royale, you go through an actual education and training period before you dive into any work. I’ve been at places where onboarding is practically non-existent, and it can feel like you’re walking in blind.
At Royale, we prioritise setting our producers up for success. Leadership here is all about serving those who are doing the work. This philosophy starts from the top: we flip the traditional pyramid upside down. Instead of producers serving the EPs, as an EP, I see it as my role to support the producers. This shift fosters a dynamic team environment that encourages growth and mentorship.
We also emphasise yearly reviews, where we not only discuss areas for improvement but also celebrate successes. You’d be surprised how many companies skip out on actual reviews! I find that shocking because it’s our responsibility as leaders to nurture the next generation of producers. Our goal is to help them succeed to the point where we’re lucky enough to work for them someday. Any leader who overlooks this philosophy is missing out on a rewarding relationship that benefits both the company and our collective well-being.
LBB> It seems that there’s an emphasis on speed and volume when it comes to content - but to where is the space for up and coming producers to learn about (and learn to appreciate) craft?
Asheley> Yes things move much faster than before, but that doesn’t mean there isn’t room for growth. It just means that you as an up and coming producer need to find ways to gain education and it’s just as important for your superiors to actively look for opportunities of education for you.
I know a lot of emphasis is put on the person trying to grow and I do respect that POV; however, as mentioned above, I highly recommend that leaders prioritise mentorship and growth of their teams. To actively seek out those that we see potential in and make it a priority to help them succeed.
Just because it may have been hard for us doesn’t mean that is how it should be for up and coming producers today. It’s our job to change and evolve this industry - not just play into past stereotypes and old ways of thinking. We want to be better don’t we?
LBB> On the other side of the equation, what’s the key to retaining expertise and helping people who have been working in production for decades to develop new skills?
Asheley> It’s not just about the work but how you treat them as people. First and foremost you have to remember that anyone who works for you is a human being first. A human being with real problems and real emotions. That is the first thing - respect and honour the human and lead with kindness. If you do this first then everything else falls into place.
This coupled with a dedication to help them grow will amount to a team or person that actually wants to work with you and continue their career with you. Once you stop investing in their professional or personal life then why would they want to stay?
This same POV also paves the way to help those develop new skills because you have developed a sense of trust across the board. Why wouldn’t I want to learn a new skill from a boss who I highly respect and admire. Why wouldn’t I listen to someone who I know has always had my back and has invested in my own growth?
As a leader is it OUR responsibility to grow and retain the up and coming producers that we see potential in.
LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?
Asheley> Determination, critical thinking, being proactive, humility and kindness
I think those three key traits are apparent in every producer I see potential in. Lots of us can be reactive and good on our feet, but those that get ahead of the problem and their team and foresee steps down the line are the ones that really stand out.
Determination is all centred around not giving up when things get hard and doing what you can to be better. Don’t just wait for someone to tell you the answers to every question. There are so many tools at our disposal that we can learn so much more than we ever could.
Humility and kindness - just because you are doing a good job doesn’t mean you need to develop an ego. I actively do not like working with individuals with big egos. In fact, if you think you are always the smartest person in the room then you are in the wrong room. You should surround yourself with people who are smarter than you and with that humility you will see that you have something to learn. This coupled with a kind and gracious spirit are key traits that I always look for in producers above all else.
