Meet Your Makers: Cody Ryder on Clear Communication and Having an Open Mind
Cody Ryder is executive producer for commercials and co-head of film and television at Park Pictures. Cody has produced impactful storytelling within both the film and commercial spaces. She has worked with clients such as Coca-Cola, Old Navy, Verizon, McDonald’s, Chevy, Reebok, Instagram, and Kia; and artists like LCD Soundsystem, Haim, Brandi Carlisle, and Questlove. Her feature film work includes The Art of Self Defense, Other People, Cop Car, and most recently, Savanah Leaf’s debut film Earth Mama, with A24 and Film4.
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?
Cody> I was that one kid who always wanted to turn my school assignments into a ‘video project.’ Even when I was briefly working for an ad agency, I was convincing them to pay me to shoot documentaries as brand research. I took any excuse to go film something!
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?
Cody> My first production job was as a PA in reality TV as soon as I moved to LA. I scratched up a minivan and drove rude Z-list celebrities around. I cleaned out smelly coolers. People would shove me into costumes and make me smoke in the background of a scene. As hard and bad as that job was, I loved being on set and how demanding and random it always was. I never knew what I was showing up to deal with, which was exhilarating. It was the opposite of the ad job where I sat at my desk playing Minesweeper because they didn't have enough work for me to do.
LBB> How did you learn to be a producer?
Cody> A lot of failures, messing up, faking it. I was thrown right into producing from being a PA and had to learn from the team under me. Producing is a learn-by-doing job where you don't often have anyone to observe. Once I shifted to producing, there was never another producer on set for me to watch how they did it, so I had to figure it out on my own. I spent a lot of time trying to figure out if I was doing it the "right" way, but I think every producer has their own style, and there are truly no perfect productions.
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?
Cody> Well, in theory, you "should" be able to produce anything, but it doesn't mean you have to or want to. Could I plan and execute an amazing wedding? No doubt. Do I want to? Absolutely not! I think you produce best when you're passionate about what you're making. But I don't believe there are the barriers I once thought existed between the different types of producing. I always thought features were out of reach until I made one. If you can do it, you can do all of it.
LBB> What's your favourite thing about production, and why?
Cody> No two days are the same. And you never stop learning. I could do this until I'm old and grey, and I won't see the same set twice and will still be googling "can elephants pee on cue?" or something equally bizarre.
LBB> How has production changed since you started your career?
Cody> This is going to really date me, but… the internet dramatically changed production. I started when LA411 was a book and GPS was the Thomas Guide. Everything that has made production faster and more convenient has made the demands triple to match.
LBB> And what has stayed the same?
Cody> I feel that since the dawn of production, it has always been a puzzle, and there has probably never been enough time or money. The scale of that changed, but the job itself has always been about pulling off the impossible to some degree.
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?
Cody> There's definitely a personality type that makes an effective producer, but I'd never say that you can't learn it. You have to be bossy but also okay with having a boss, creative but ego-less, a caretaker, high energy yet (appear) relaxed, detail-oriented but still able to see the forest for the trees. I think I popped out of the Midwest with some of these qualities and then learned the rest along the way.
LBB> Which production project from across your career are you most proud of, and why?
Cody> You can't pick your favourite child! I recently showed my kid all the trailers for the movies I've made so far, and she was so excited that she gets to watch them someday (especially the ones rated R). We are just finishing Savanah Leaf's film ‘Earth Mama,’ and I can't wait to share that one with the world this year, starting off at Sundance! It's got an extraordinary cast, and she's a brilliant filmmaker from which you'll see a lot more. The whole team at Park Pictures, Academy Films, A24 and Film4 worked so hard to support Savanah in telling this important story and I’m proud to be a part of that.
It sounds obvious, but I just want to share anything I make. I did one project years ago that was a beautiful short film series commissioned by an advertiser that they decided not to use. I found that so heartbreaking - any film getting shelved, never to be seen, is really about the worst thing you can do to a filmmaker. If someone offered me a ton of money to make a film no one would ever see, I'd pass (probably — maybe not, so you can go ahead and offer…).
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Cody> As the world was shutting down in 2020, we shot this incredible short film called "We Cry Together" with Kendrick Lamar and Taylour Paige. Jake Schreier and Dave Free were directing it with Kendrick, and it was such a special piece, but we were all unsure whether we could shoot and wondering if it would be the last thing we'd get to make for a while. Looming pandemic aside, it had all the more typical production challenges of being a long, single-take, live-recorded piece with extremely detailed choreography and camera work. It felt amazing to witness artists and crew at all levels performing at the peak of their capabilities in unison like that.
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?
Cody> NDAs have ruined all the fun of telling these stories. I can say that in moments of extreme tension, it helps to keep your optimism and sense of humour intact. When I think of the really bad situations I've found myself in, there are none I couldn't necessarily work my way out of most of the time! In those cases, it's about getting everyone on the team to accept the new reality together. It's snowing, the sun went down, talent is crying, animals won't do anything, flight is late, gear broke, truck is locked, celeb is cranky, clients are fighting, whatever it is. If you can create some camaraderie around the situation and get everyone to have a laugh, you can let go of what is lost and say, "Okay, this is the new reality. How do we move forward together in this one?"
LBB> What are your personal ambitions or aspirations as a producer?
Cody> It's hard to really measure, but at the end of the day, I'd like to know that some of the work I've made has created some empathy. It's a special thing about this medium for storytelling; film can really immerse you in someone's story and environment in a way that creates understanding.
LBB> As a producer, your brain must have a never-ending "to-do" list. How do you switch it off? What do you do to relax?
Cody> Word games and puzzles, Sudoku, that kind of thing is good for shutting off the working brain. And I live in LA now, so it's the law that I do yoga.
LBB> Producers are problem solvers. What personally fuels your curiosity and drive?
Cody> I once heard a German cinematographer use one of those amazing super long compound German words, and he said it roughly translated to "foreground makes the image." He was referring to how, when framing a shot, you want some foreground to make it interesting - a dirty window frame or what have you. But I always like to think it applies to production problems as well. If there's not any shit in your way, you're probably not doing anything interesting. Welcome the difficulties as a sign that you're trying something new.
LBB> What advice would you give to people who are interested in becoming a producer?
Cody> Find a way to be a fly on the wall; get as close to the people you want to learn from as possible. Listen, and don't be annoying to have in the room; be very chill. Worry less about what tasks you're being assigned and just try to bear witness. Take notes.
LBB> From your experience, what are the ingredients for a successful production?
Cody> Clear communication and open minds.
LBB> What's the key to a successful production-client relationship?
Cody> See above!
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?
Cody> As an EP, I set up a production as if I were going to line produce it. I put myself in that person's shoes so the expectations are realistic, and I'm setting them up for success. I like to give the line producer room to breathe and do it their way, but I'm available if they need to bounce ideas or strategise or vent. The EPs I worked with at Park Pictures when I was a new line producer were always so kind when I was struggling and learning, so I really try to take after them now that I’m in that role.
