Freelance Producer

Full name/age/job title:

Jess Gormley, 29, Freelance Producer.

Please give us an overview of your average day.

I work in three different places every week, so my average day is hard to define and my role at each company is very varied – which is exactly why I like it. I’m a Producer at Streetwise Opera (a charity that uses music to help people who have experienced homelessness), Rankin Film Productions (the film wing of Rankin Photography) and then for my own production company Wittering Productions, which I run with a director called Joanna Coates.

I generally spend a high proportion of my time on emails and on the phone, as I’m usually one of the main points of contact for every project I work on. My days are therefore always busy, moving from an office to various meetings in Soho or looking at venues for productions. I find I have to be able to switch focus from budgets and schedules, to dealing with random and unexpected events that are often emerging. Fortunately my evenings are then spent on “research”; ie seeing lots of exciting theatre, film and dance events.

What is the most common misconception about your job?

I think people often imagine producers as the “money people” locked away in an office, far away from the creative process, when actually they are often at the heart of it, driving it forward and helping to shape a production.

What is the hardest thing about your role?

Producers have to be massive multi-taskers, on top of every element of a project. It’s not as easy as delegating to the right people in your team; instead you have to teach yourself about every facet involved – getting up to speed on all complex technology, financing, legal [issues] etc, and keeping an eye on every finite detail within each category. It gives you an encyclopedic knowledge on things you never expected to have an interest in or need for, but as you are often the one taking ultimate responsibility, it’s important to have.

When did you decide what you wanted to do with your life and how did you set out to achieve it?

I changed my A level choices about 10 times. I wanted to be a doctor, an actress, a graphic designer, a curator and I hated the idea of having to specialise in one thing and give up my interest in everything else. I don’t think I set out to be a producer, though now I’m doing it, it seems to be the obvious fit for someone who likes to be involved in many things. I’ve always really loved bringing people together and seeing what happens.

I started working as an art curator, but found that I really like people and their stories and felt much more inspired by performance. I’ve always been quite a hard worker and I don’t think you could do this job if you’re not, as it requires a lot of self-motivation. Throughout school and university I was always pushing to organise projects, work with other artists and generally get involved. I think starting with that sort of attitude and seeing where it takes you is a good way about it.

What can you do to get a head start?

Along with the above, seeing work that inspires and excites you will give you the right energy to pursue your goals. I remember seeing [the play] The Elephant Vanishes by Complicite when I was at university and thinking that there couldn’t be anything better than being part of their company. I pestered their offices with my CV and a year later managed to get a job with them as a researcher, and there began a whole new course in my career. It seems to take one right move and then often things seem to pick up momentum, but it’s just getting that first entrance into a place that ignites you.

Could you describe the creative element to your job?

On most of the projects I’ve been involved in, I’ve always worked very closely with the director. If one of the main goals of a producer is to facilitate the creative vision of a director, then you need to be right in it from the very beginning, so that there’s a mutual trust and an open dialogue between you both. I would imagine it would be very hard to do a good job if you didn’t feel creatively part of a production, as that’s where you get your impetus to search for financing and to market it the other end.

When I worked as a trainee producer for Artangel on their feature film The Arbor, I spent months with the director, Clio Barnard, researching and developing the production on the estate on which it was based. That time was vital further down the line when my head was deeper into the details of production.

What’s the one thing you wish you had known at the start of your career that you know now?

Don’t be afraid to ask questions. Being a producer is a massive learning curve as you are constantly being introduced to new situations and new technical vocabularies. I think you can still sound authoritative by asking the right questions and getting to the heart of a problem, so that you can move it forward. People respect those who seem to be engaged and active, even if it occasionally means admitting ignorance on something.  

Which organisations/websites/resources do you think would be useful for people entering your industry?

Arts Council, Guardian Jobs, Mandy.com, Production Base, Tate and National Theatre. I also did some temp work via Judy Fisher Agency, which introduced me to the Southbank Centre and the Royal Festival Hall. I would also go onto the website of every company whose work you admire and write to them.

Streetwise Opera’s Fables – A Film Opera is at Vault festival, The Old Vic Tunnels, London on Thursday 9 February at 7.30pm. Vault is run by a group of IdeasTap members and Coming Up alumni. Book tickets.

Would you like to be featured in Job of the Week? If you work in the creative industries and would love to share your advice, expertise and experience with IdeasTap members, drop us a line at ideasmag@ideastap.com.

 Image by Miranda Cavanagh.