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Meet Your Makers in association withLBB Pro User
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Meet Your Makers: Why Jess Lowe Always Believes in Miracles

15/07/2022
Production Company
London, UK
37
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Fresh Film producer on bring people together to play pretend, keeping a cool head and why lists are always the cure

Jess Lowe is a first generation Costa Rican/American Producer and Director based between New York City and Los Angeles.

She has produced commercials for a wide variety of brands ranging from Dove to Target.  Heading the NY office, she works full time at global commercial production company, Fresh Film.

Her music video credits include Radiohead, Maggie Rogers, Mitski and Oneohtrix Point Never.

Her directorial credits include commercials for Living Proof and Madre Mezcal alongside music videos for Brandi Carlile and Cid Rim. Her music video, ‘Control’ by Cid Rim feat. Denai Miller won Best Music Video at the 2019 Female Voices Rock Film Festival.

Outside of filmmaking, Jess organises her camp at Burning Man + the photo studio at Oregon Country Fair. She volunteers as the film teacher at the Mitakuye Foundation summer arts program for Lakota youth and is Director of Partnerships at Huneebee Project.


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?

Jess> I’ve always been interested in filmmaking. As a kid, I made home videos with my neighbourhood friends on the family camcorder, got my first job at the local movie theatre in town for the free movies, moved to LA with stars in my eyes at 18, etc etc. 

I was drawn to production because it felt like the best use of my skills – working with people, solving problems, and balancing equal parts: logic and optimism. 


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?

Jess> My first job in the industry was assistant to the director of a feature film in post-production. It was so close and yet so far from the action but it felt like a breakthrough moment. I remember I got horribly sick with a stomach flu the night before my first day. I couldn’t imagine calling in. This was my big break!  So I went in and worked from the office like everything was fine. It was not fine. I learned a lot about the post process – I got to sit in on edit, colour, and ADR sessions. For ADR I’d pick up the actors and drive them to the studio which led to an invitation to play poker at one of their homes. I only knew Texas Hold Em’ but they played dealer's choice. That night I must have learned eight different games of poker in real time with a group of middle-aged men from Long Island. What a stress. The director’s wife had just given birth to their new born baby. She needed to travel overseas. I was responsible for setting up the nursery, so I went to Ikea to buy a crib and of course the kit was missing a critical piece. At this point she was to arrive with the baby in mere hours. I couldn’t find an assembled crib for sale anywhere, so I panicked and convinced the Soho Grand to let me borrow one of theirs which I wheeled across 6th avenue to their apartment in Tribeca. That job kicked off my career in filmmaking and when I think about what it taught me, I guess it’s that you may have a defined role, but it will likely come with many unexpected hats.


LBB> How did you learn to be a producer?

Jess> I had a mentor, a producer I worked under for a few years. 


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?

Jess> I remember I found a posting on Craigslist; they were looking for a PA to work on a short film for no pay. I thought I’d go and meet people to get my foot in the door. Sure enough, I met someone who was going into production on a narrative feature and needed a PA. Without hesitation I agreed, I was 23 and this would be my 2nd time on set, ever. I’m really not sure how it happened, but next thing I know, I’m promoted to UPM!? It was definitely a ‘Don’t Tell Mom the Babysitter's Dead’ moment. ‘I’m right on top of it, Rose!’ I remember I would often run to a janitors closet near the production office and call an industry friend to urgently ask questions like, what’s a day out of day? What are sides? etc. It was a nightmare, but I learned in breakneck speed.


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?

Jess> Theoretically, yes. A producer's mind has a knack for figuring things out with a cool head so I don’t doubt that it is possible. However, a Producer is only as good as their network and we tend to specialise in certain areas.


LBB> What’s your favourite thing about production and why?

Jess> Bringing people together to play pretend. 


LBB> How has production changed since you started your career?

Jess> The changes in diversity have easily been among the best to witness. 


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?

Jess> Keeping a cool head and believing in miracles. This type of crazy seems innate to me.


LBB> Which production project from across your career are you most proud of and why?

Jess> I produced a film for director Stefan Hunt called They Saw The Sun First. It was incredibly low budget so the challenges were plenty, but it turned out to be a really beautiful and meaningful piece. We didn’t get into any of the film festivals we entered so we started to question the work and ourselves. We settled for an online premiere. Suddenly we’re getting nominated for this and that award. Cut to last summer when we learned it won a BAFTA for best short programme. There was a big lesson in that whole journey.


LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?

Jess> We’re currently filming a documentary on a remote island. Getting everyone there is an absolute nightmare, but the scenery is gorgeous and the subject is fascinating. The last time we went to film, our flights were cancelled, I got mauled by a pack of dogs, and a flash flood storm almost swept our tents away, but we survived and had a great time all in all.


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?

Jess> I’ve seen it all but this one still haunts me. I was PMing at the time. We were working on a branded series with Anthony Bourdain. We travelled around the country with him interviewing master craftsmen in their field. We were in upstate NY filming a respected tailor. I was in charge of the catering. The only place open for lunch in the town of Chittenango, NY was a Mexican restaurant. I thought, hey, this is not ideal but we can’t go wrong with Mexican. The food arrives, we call lunch, Tony steps right up, pulls the aluminium sheets back to reveal varying textures of brown slop, and this king of all kings doesn’t say a word. He puts the food on his plate and eats it with a smile. 


LBB> What are your personal ambitions or aspirations as a producer?

Jess> I’d like to support diverse directors in their career and protect crew from inhumane hours and work conditions. 


LBB> As a producer your brain must have a never-ending "to do" list. How do you switch off? What do you do to relax?

Jess> Lists are the cure. I would say this to anyone. If you’re up at night with thoughts swirling in your head – keep a notepad at your bedside and jot everything down as a list. That pen and paper is like a vacuum for your brain. Cleans it right up.


LBB> What advice would you give to people who are interested in becoming a producer?

Jess> Work under different producers and production companies. By working with many different people you’ll get to learn and cherry pick the best workflows for yourself.


LBB> From your experience what are the ingredients for a successful production?

Jess> Enough prep time, a solid team, an appropriate budget, and no egos.


LBB> What’s the key to a successful production-client relationship?

Jess> Clear communication through the good and bad.


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?

Jess> I need to be just as plugged into any production as the Producer so that I can communicate to the agency and client exactly what’s going on. 

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