Production Line: Gary Gimelfarb on Human Creativity and Emotional Connection

Gary is the head of production for Performance Art and an award-winning producer with extensive experience in all facets of content production: TV, Film and Digital. He has worked with some of the most prestigious production companies, TV networks and agencies in the industry, including Digitas, Endeavor (WME/IMG) and NBC. He has produced experiential, digital and broadcast campaigns for brands including, Samsung, Pfizer, KPMG, Evian, BMW, Dannon and NBC’s Today Show.  His passion for combining visuals and audio to craft engaging messages is evident in every stage of the production process.

LBB> What lasting impact has the experience of the pandemic had on how you and your agency think about and approach production?

Gary> The pandemic had a profound impact on all of us. It definitely led to changes in the way we think about and approach production. It also seemed to foster an even greater sense of social responsibility and a heightened focus on purpose-driven campaigns that center around themes such as community, solidarity, and resilience. A great example of that is a spot that we created earlier this spring – produced in just a matter of days for the Humanitarian Coalition – called “A Prompt for Ukraine.” I think the flexibility and practicality that we all had to develop during the pandemic made quick-turn work like that more possible in everyone’s minds.

The pandemic obviously also accelerated lots of technologies and gave us reason to lean into things like AI and XR. Those two technologies are evolving at a very rapid pace. We’re not even sure exactly how much better that technology is going to be a year from now – but it’s already massively changing the game. And wait until something like ChatGPT is combined with something like Unreal Engine and an XR stage. We’ve entered an era where the line between the physical and virtual worlds is becoming increasingly blurred, it’s becoming faster and easier to create worlds and most importantly, it’s becoming more affordable. Shooting at your local XR stage will help reduce costs on things like travel, lighting, crew, set builds, etc. It will also help ensure that talent is working in safer, more controlled environments.

LBB> Aside from Covid-19, what have been the most disruptive forces to hit agency production in the past few years?

Gary> I think it’s probably the advancements in technologies like AI and Unreal Engine. And while these tools will help us create more targeted and immersive campaigns, we’ll need to balance their use with the human creativity and emotional connection that I believe are so vital to the success of truly great advertising.

LBB> A good producer should be able to produce for any medium, from film to events to digital. Do you agree or disagree with this statement? Why/why not?

Gary> Yes, that’s the job. Just like they say that a great actor needs to be fearless, so does a great producer. I think it all should be exciting for a producer to try to figure out. Back in the day, projects that I had no experience executing used to cause me serious stress. But once I got them going and eventually completed them, I felt prouder and more accomplished. Stepping out of your comfort zone, taking risks, and facing your production fears will definitely help you grow and develop professionally. 

I remember when I was working on Evian, I was asked if we could put a 10-story-high surfing baby on the side of a cruise ship. I said, “I don’t know, but I can’t wait to find out.”  A good producer should be able to adapt and attack. Just ask lots of questions, organise your thoughts and your support squad, present the facts to all involved, and you will find your stress dissipating. 

The last thing I’ll say on the topic is that the media landscape is constantly evolving, and new mediums are always emerging. A producer who can produce for any medium will be better equipped to future-proof their career.

LBB> And leading on from that, when it comes to building up your team at the agency, what’s your view on the balance of specialists vs generalists?

Gary> I prefer to have a majority of generalists on the team because they tend to be more proficient in multiple areas of production and can be more flexible and versatile in responding to the changing demands of clients and projects. Having said that, we’re always looking to find a balance that works for the agency's specific needs and goals. We’re constantly reassessing our current and projected workload, the skill sets of existing team members, and the agency's desired areas of growth and specialisation to determine the optimal balance.

LBB> What’s your own pathway to production? When you started out, what sort of work were you producing and what lessons have stayed with you in that time?

Gary> I knew early on that I wanted to somehow be involved in television and film production. Growing up, I was a creative kid. I drew pictures and lots of doodles, wrote stories, admired photographers and artists, and watched lots and lots of television and film. I was practically raised on VHS tapes of Disney films and every now-popular 80’s movie. I decided at the age of 11, that I was going to do something in the world of production. It seemed to require all the things I was good at and interested in and I planned to learn as much as I could about it. From reading books on film directors, producers, and photographers to later getting forced by my parents to take a retail job selling cameras, lenses and TVs for The Wiz, a now-extinct NY electronics retail chain. (It turned out to be my dream high school job.) At the time, I didn’t realise how important a phase in my professional life that job was going to be. It gave me the confidence I needed and it’s probably the reason I stayed on my production path. I learned so much selling those electronics and I was there for the switch over to all things digital. The rise of MP3 players, digital still cameras (the first one was on floppy disk) and digital video cameras, memory cards, high definition, high-speed modems, and flatscreen TVs. Besides the obvious technical education, I learned how to work with people from all walks of life and I learned how to ask lots of questions and how to deal with customers and brand reps. How handy that turned out to be for me. In some ways, it was better than the education I received in college. 

I went on to intern at MTV Networks and VH1’s talent and music department. I landed that gig all because my store manager at The Wiz happened to put in a good word for me with his high school best friend who was working there as a talent booker. I was super lucky to land that internship. I learned so much about that world. I got to see how top talent was negotiated, how shows were developed, and what goes into putting on episodic TV, award shows and concerts, documentary-style shows, music videos, and even entertainment news. I went on to be a production assistant for everything I possibly could, from the VMAs to “Where Are They Now” to “Storytellers Live.” 

Later, as a freelancer, I started making a bit of money by working on student and indie films, reality shows, and music videos of all budgets – hustling to network and get into as many NYC production circles as possible. I was still pretty broke, but really happy. However, my parents were not very happy with me. They supported me but they grew more and more concerned. I just really wanted to learn more and prove to them and myself that I can do this.

Eventually, I found a group of people in the very same position, and we formed a company that focused on music video production. It was a medium that allowed us to have fun, make some money and experiment. After years of doing that together, we created an opportunity for ourselves to make a branded short film for Samsung Mobile from a script that I found lying under a pile of scripts in our office. I read it and loved it because it had all the elements. A strong story, under 25 pages, with few characters, one location, and lots of potential for product placement. Specifically, I knew that we could execute the idea really well for a modest budget.

I lined up a budget and rallied our team. Everyone got excited. We rallied and used all our connections to do whatever we could to get this off the ground. Eventually, we landed at a studio looking for short films for Samsung Mobile. We pitched them the story, shared our game plan, and told them that we could produce it for under $200k including talent. We called in every favor we had and some that we didn’t.

We did whatever we could. We got creative and made deals with everyone. We made a major soundstage owner an executive producer in exchange for us to build our set in the attic of one of his stages; we convinced a rising TV star to shoot it during a writers strike; and we even somehow received sponsorship from Panavision and Kodak. The short film turned out great. It was released and preloaded on Samsung Mobile phones in 40+ countries. We went on to win at lots of film festivals with the director's cut – it really opened lots of doors for us including giving us the opportunity to make a feature film version at Universal Studios a few years later and ultimately opened the door to my career in advertising.

I’ve learned a wide range of lessons over the past 20 years in production. A former boss and mentor once told me that in times of high stress, the cold hard truth will always set your stress free. It took me a long time to realise it, but after a few years of taking on copious amounts of stress, it came back to me. Today, it’s my mantra. Presenting the facts and being honest is essential to the success of every commercial production. Every production. 

LBB> If you compare your role to the role of the heads of TV/heads of production 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?)

Gary> Overall, the role of the Head of Production has become more complex and diverse over the past 15 years, requiring a broader skillset and a deep understanding of digital media and technology and the emergence of new platforms and channels for advertising. 

The rise of digital and social media has transformed the advertising landscape, leading to a shift in the role from traditional media such as TV, print, and radio, to online platforms such as social media, mobile apps, connected TV, etc. With the proliferation of all these digital channels, the role has become more focused on quickly producing engaging and relevant content for different platforms and devices in a wide range of media formats.  

LBB> There are so many models for the way production is organised in the advertising industry - what set-ups have you found to be the most successful and why?

Gary> The key to success is finding the right balance between creativity and structure, which will depend on the specific needs of the agency and the clients it serves, the type of campaigns it handles, and what resources it has available.

One thing is for sure, having the right number of team members is critical to maintaining efficiency, a positive work environment and meeting deadlines. The department should have enough staff to handle the workload without overburdening any one individual.

Additionally, every team member should have a very clear understanding of their role and responsibilities. Tasks must be delegated effectively to make sure that there is no overlap or confusion. The production department should also have an open communication culture where team members can share ideas and feedback. 

By implementing these practices, an agency can create a production department that is efficient, collaborative, and successful. 

LBB> When working with a new partner or collaborator, how do you go about establishing trust?

Gary> Building trust with a new client, production company or even a director that we haven't worked with is crucial in establishing a successful relationship. 

My first rule? Be as transparent as you can. My mantra, the truth will set you free, comes into play here – it will help you establish a trusting relationship. 

Second – don’t just focus on your needs; listen to other’s needs and understand what they are trying to achieve. Ask relevant questions to clarify any doubts, and make sure you understand their expectations.

Try to communicate regularly with everyone to keep them updated on progress. Good communication helps build trust and ensures that both parties are on the same page. I also like when people respond promptly to emails, phone calls, and messages. Being available and responsive helps build trust.

And remember – if it’s a client and you commit to something, make sure you deliver on your promises. It's far better to under-promise and overdeliver than the other way around.

Building trust takes time and effort, but it's usually worth it in the long run. 

LBB> How important is it to you there is diversity across all partners on a production? Do you have any measures to promote diversity when it comes to production? 

Gary> It’s really important. Diversity among partners is crucial for several reasons. Firstly, a diverse team can bring a range of perspectives and experiences to the project, which can help generate fresh and innovative ideas and lead to better decision making. This can lead to more creative solutions and better problem solving.

Secondly, diversity can help a production team better understand and connect with a wider range of audiences. When a team is made up of people with different backgrounds, cultures, and experiences, they can bring a broader range of insights to the creative process. This can help ensure that the content produced is inclusive and respectful of diverse perspectives.

Thirdly, a diverse team can help build trust and credibility with audiences. If a production team is seen as inclusive and respectful of diversity, they are more likely to be trusted and respected by the public. This can lead to better engagement and support for the project.

Finally, it is important to note that diversity should not just be seen as a box-ticking exercise, but as an ongoing commitment to creating a more inclusive and equitable industry. By ensuring diversity across all partners, we can help create a more vibrant and dynamic creative sector that reflects the diversity of the world we live in.

LBB> Speaking of casting, what is your approach to this side of a production? How do you work with directors to ensure a fair and fruitful process? 

Gary> One way we ensure a fair casting process is that we have our casting directors begin with a very diverse pool of actors to choose from. We also have them reach out to a variety of talent agencies and we always allow actors from all backgrounds to apply. By creating a diverse and inclusive casting process, we ensure that our commercials are representative of a wide range of people and perspectives.

LBB> Sustainable production is also, understandably, a big talking point and will continue to be so moving forward. How are you navigating this as an agency? 

Gary> There are several ways that we, at Performance Art, approach sustainable production when working with production companies. 

Before beginning any production, we set clear sustainability goals and communicate them to the companies we work with. Many of our production partners are already doing a great job in this department. But in general, we encourage all our production partners to be as sustainable as possible. We use local suppliers, travel with fewer people, use reusable water bottles and coffee cups, provide recycling bins on set, encourage the use of digital rather than paper-based documents, and on and on. 

Our clients are often pleasantly surprised by how out of our way we go to be sustainable on set. 

LBB> Has the pandemic accelerated this conversation at all, in your opinion? (ie, the number of people on set, less people flying around the world, etc.)

Gary> The pandemic definitely accelerated the sustainability conversation in regard to production. 

It highlighted the importance of reducing reliance. Due to some supply chain disruptions, we had to focus on sourcing some materials locally. This has led to a reduction in transportation-related emissions and a renewed focus on sustainable sourcing practices. And there has been a growing interest in renewable energy solutions for production, solar-powered generators, electric vehicles, and other sustainable energy solutions are increasingly being used on set.

LBB> What conversations are you having with clients about issues such as diversity and sustainability? Is it something that clients are invested in or more that agencies need to take the lead on?

Gary> Many brands have become more aware of the importance of diversity and sustainability issues regarding production and talent, and they are taking a proactive approach on the topic. But I believe that it is up to us as an agency to prioritise those topics and to lead by example – from ideation to casting to the production and post-production crews. 

I’m personally dedicated to doing all that I can to promote diversity, equity, and inclusion in all of our productions. I honestly believe it’s one of the key reasons why we’ve had so much success as an agency and with all our productions to date.

Now that you mention it, I hope to help raise awareness by doing this interview to foster meaningful conversations about these kinds of important topics.

LBB> What are your thoughts on the involvement of procurement in production? 

Gary> It’s important and someone needs to be responsible for ensuring that vendors and suppliers meet the necessary standards for quality, safety, and compliance. Procurement is an essential function in commercial film production, and it often ensures the success of a project by helping manage costs and ensuring that the necessary resources are delivered on time and to the required standards.

LBB> Should production have a seat in the c-suite - and why?

Gary> At some agencies, a chief production officer role is necessary for the C-Suite, but I think it depends on the size and structure of the agency and the kinds and volume of work they are producing. In large agencies, where production is a critical function, having a CPO in the C-suite can be essential for growth, effective management, and decision-making. However, in smaller or mid-size agencies, those responsibilities are either handled by a Head of Production or Executive Producers. Ultimately, it depends on the agency's needs and priorities. Regardless of the size of an agency, it’s essential that senior production leaders have a direct line to the C-Suite and are involved in the kinds of conversations that will shape the agency’s productions resources, capabilities, and vision forward. 

Clients’ thirst for content seems to be unquenchable - and they need content that’s fast and responsive! What’s the key to creating LOTS of stuff at SPEED - without sacrificing production values? Is it even possible? 

I think that the key to creating high volumes of content quickly without sacrificing production quality is to streamline your production process and leverage technology to your advantage. 

Content calendars help us stay organised and focused on the most important content pieces. We are always looking for ways to repurpose existing content in new formats. We create templates and sometimes use automation tools to help us accelerate the production process. We partner with great vendors where possible, especially if we have a tight deadline and limited resources. These are just some of the things that come to mind that can help us create lots of content quickly without sacrificing production quality.

To what extent is production strategic - traditionally it’s the part that comes at the ‘end’ of the agency process, but it seems in many cases production is a valuable voice to have right up top - what are your thoughts/experiences of this?

I think that working with production early in the process can help ensure that a concept is well-conceived, feasible, unique, and has the greatest potential to be successful in the marketplace.

I have experience in creating engaging content, and I like to think that I can provide valuable insight into what types of commercial concepts are most likely to be successful, and how to execute them in a way that is both compelling and effective. I think of myself as a creative and often provide creative input that can help shape the direction of a concept. I like to be part of ideating and love to suggest unique ideas and perspectives that a creative director may not have considered and help to refine the concept in a way that maximises its potential impact.

Working with me – and any good producer – early in the process can help ensure that the concept is feasible from a production standpoint. I can provide guidance on logistics, budget considerations, new tech, trends, and other practical concerns that can impact the success of the final product.

LBB> What’s the most exciting thing about working in production right now?

Gary> The most exciting thing about working in production right now is the incredible range of tools and technologies available to us. From advanced game engines and AI-powered tools to cutting-edge XR technology, the possibilities for creating new and innovative content are virtually limitless. These technologies allow us to immerse viewers in virtual or augmented worlds, enhancing storytelling and creating unique and unforgettable experiences. As XR technology becomes more advanced and accessible, we can expect to see even more groundbreaking content produced in this space.

LBB> And what advice would you give to an aspiring agency producer?

Gary> Stay current with the latest trends and technologies, be adaptable and open to ideas and approaches, be willing to take on new challenges, embrace and encourage change to stay ahead of the competition, and remember, the truth will set your stress free.