Nicole Powell: Nurturing Creativity And Collaboration In Film

Nicole Powell is a highly experienced freelance producer known for her exceptional work on short film projects, music videos, and commercials. A graduate of Toronto Metropolitan University’s film studies program, she has collaborated with prominent artists like FKA Twigs, Weeknd and Billie Eilish, and notable directors such as Hiro Murai, Daniel Wolfe and Justyna Obasi.

Nicole’s recent project, the award-winning Expedia commercial “The Tub” with Obasi and Love Song Films, showcases her talent in creating impactful and visually stunning narratives. Passionate about character-driven stories, she is now expanding her focus to feature films and television series.

We extend our heartfelt thanks to Nicole for taking the time to answer our questions and share her experiences with our readers.

IMAGE: NICOLE POWELL

1. What initially drew you to the world of film production? Can you share your early experiences when you first started in the industry?

I initially wanted to be an editor and was accepted into Toronto Metropolitan University’s Film Studies program. Here, I discovered the role of producer which really satisfied my control-freak tendencies. I was hooked.

I think the biggest step of my early career was going freelance as a line producer. On the day I left my job, I literally chanted over and over in my head “If your dreams don’t scare you, they’re not big enough”. It was scary as heck, but it was the best career move I ever made.

2. How would you describe the role of a line producer? What is a common misconception?

A line producer works alongside the director and production company to realize the vision of the director. At its most basic level, it involves hiring the heads of department (camera, art, wardrobe, etc), and also includes overseeing the major creative aspects of the project including storyboarding, casting, location scouting, and more.

I think the most common misconception of line producing is the belief that a line producer’s role encompasses only the above. It is much more macro than that – in short format world, a line producer is the director’s wingman. Directing is a high-pressure job; I take on a lot of the logistical and financial burdens so the director can focus on their creative work. In addition, filmmaking is full of unexpected hurdles. When those challenges arise, I’m the director’s sounding board and problem-solving partner. We work together to find solutions that are both creatively satisfying and realistic for production.

It is also up to me to create a safe and positive environment for all collaborators to allow the creative vision to flourish. I offer moral support and encouragement to all who are in need, and work to problem solve across all departments.

3. You’ve worked with some of the biggest names in the music industry. Can you discuss a particularly memorable project and what made it stand out?

The project I did that stands out to me the most is the music video FKA Twigs “Sad Day”, directed by Hiro Murai with Doomsday Entertaintment and FRIEND London.

Not only am I so proud of the end result and how well it was received in the industry, I also love this project because of how special the filmmaking process was.

There was a flexibility and open-mindedness to Hiro’s process that I hadn’t yet seen in a director at that point in my career; he had a strong vision for the story he wanted to tell, but he also appreciated that the way a story is told has infinite possibilities… and the team around him respected and believed in this too. It shifted my perspective of directing and collaborating and gave me new insight into this role.

4. What was your role in the Expedia campaign, and how did you help bring the creative vision to life? What about the Apple iPhone 15 Pro commercial with director Daniel Wolfe and Love Song Films?

These two projects are great examples of how a line producer shows up for directors in different ways depending on the job.

The Expedia “Made to Travel” campaign with director Justyna Obasi and Love Song Films was a four month shoot across Toronto, Jamaica, Mexico, Thailand. It was a big operation from a logistical perspective and involved a lot of macro planning, multitasking, and complicated scheduling on my part.

In addition to this, I worked closely with Justyna on a creative level to help her communicate her vision to our various heads of department. Justyna loves a creative sounding board as well, so we worked through casting, locations, storyboards together – which was so much fun and extremely rewarding.

On the Apple job with Daniel Wolfe, I was folded into a team of go-to creative collaborators for Daniel. Everyone knew very well their roles and their dynamic as it relates to Daniel’s process, and so my role was more about keeping the train moving and generally ensuring that Daniel and our heads of department felt supported throughout the fast-paced and ambitious process.

5. Your work, alongside renowned directors such as Hiro Murai, Daniel Wolfe, Saman Kesh, Justyna Obasi, Henry Scholfield, Pensacola, Young Replicant, Willo Peron, and The Sacred Egg, has received numerous accolades, including the Grand Jury Prize at SXSW and a Clio Award for Best Direction. How do these recognitions impact your career and future projects?

For me and my career, it’s about the word of mouth that happens behind the scenes once these projects are recognized. The industry is small, everyone knows each other (or knows of each other), so the experience that directors and production companies have with me gets around, and jobs come in because of recommends. In addition, to have a portfolio of award-winning work shows that I have the skills and experience to produce high-quality work.

6. What advice would you give aspiring producers looking to make their mark in the industry?

My biggest advice to aspiring producers is to build genuine relationships. Return work and new work both come from people who enjoy working with you. Make it fun but keep it professional. Don’t get too comfortable, but also be vulnerable and find ways to connect with your collaborators.

Find ways to care about the project so that the director feels like their passion is shared by you. And that passion should always be shared! I never take on a project that I am not interested in – whether it be a director I’ve wanted to work with, a brand or artist I love, a treatment I find really interesting or challenging… something needs to speak to me in order to make the hard work worth it… and that’s important; otherwise you will find it hard to work hard.

What else? Treat others with respect and stay calm under pressure. Before reacting, ask yourself if your actions will be something you’re proud of later.

My last bit of advice is to do your research. Know the players – Who is doing what you love? Stay on top of the trends – look at advertising award shows and their winners and find out who is doing the most celebrated work – randomly reach out to them. And then reach out to 100 more people and expect 3 responses. Persistence pays off, and eventually, the door to opportunity will open for you.

If you are interested in even more entertainment-related articles and information from us here at Bit Rebels, then we have a lot to choose from.