Member in Focus:
Damian Anderson

There are careers that tell the story of an entire era of British studio filmmaking - and Damian Anderson's is one of them. Starting out as a Production Supervisor on productions including Sherlock Holmes, Jupiter Ascending and the original Wonder Woman, Damian has worked his way through every level of senior production management - taking in Solo: A Star Wars Story as Production Manager, Wonder Woman 1984, Death on the Nile and The Marvels as UPM, and The Acolyte as Producer - before stepping up to Executive Producer on The Last House, Netflix's most talked-about sci-fi thriller of the summer. It is a journey that spans fifteen years, some of the most ambitious studio productions ever made in the UK, and an evolution from the production floor to the very top of the producing ladder. This week's Member in Focus, Damian sat down with us to reflect on a career that has shaped - and been shaped by - the golden age of British studio filmmaking.

Firstly, can you tell us how you first got started in the industry, and what path led you from Production Supervisor to where you are today?

My first cinema experience was when my brother took me to see the original movie of Tron at a very young age. I remember I was immediately blown away by how all the effects, action, sound and cinematography came together and were achieved. The feelings and emotions the film evoked in me I will never forget. After that I was hooked. I even managed to sneak my way into a viewing of Jaws aged 9 and didn’t go into the sea for years after that. I became so passionate about understanding film due to the emotions it gave me, that I started watching as many movies as I could, going through all genres exploring all the different ways movies were made. I think what captivated me the most was the fact that so many different trades could come together anywhere in the world, in any environment, and instantly work together so intensely and creatively. All I wanted to do was work in the film industry.  

My journey started 35 years ago when I was given an opportunity to bring coffee on a film set, literally working for free. I never stopped running around and worked my hardest every day to ensure everyone got what they wanted. As we all know, a good coffee goes a long way and it was this determination that was recognised and allowed me to progress to becoming an office PA. I’ve since worked in every single role there is in Production. I think the path that led me from being a Production Supervisor to where I am today was simply due to hard work, dedication, and knowledge. Learning as much as I could through the physical, technical, creative and financial mechanics of filmmaking and taking my time to gain as much experience as possible along the way.  

The Last House is one of Netflix's biggest releases of the summer - and you served as Executive Producer on a film that has genuinely captured audiences' imaginations. Now that it's out in the world, how does it feel - and what drew you to the project in the first place?

The success of The Last House feels incredible. So much hard work and dedication went into the movie from every single crew member that worked on it. To see it capture so many audience’s imagination and attention gives me immense joy. That’s the direct result of the crews amazing work and it shows on screen. I’m a fan of the supernatural/horror genre so I was immediately drawn to this project. The original and highly captivating storyline and the opportunity to work with such a passionate and talented Director such as Louis, plus realising the complexity of needing to build a house that would evolve with the family trapped inside over the course of 5 years and eventually flooding it entirely, was a challenge that I was instantly intrigued by.

Your early credits as Production Supervisor include Sherlock Holmes, Jupiter Ascending and Wonder Woman - productions that between them represent some of the most ambitious British studio filmmaking of their era. What did those formative years on large-scale studio productions teach you, and is there one that stands out as a real turning point?

Supervising such large-scale ambitious productions were a masterclass on all levels. I think such logistically complex films taught me the rigorous discipline I needed to have to stay one step ahead; including how to stay calm and manage intense pressure. These films gave me the ability to learn pressure problem-solving and the unpredictability of film making. Jupiter Ascending and another Wachowski film, Speed Racer, were both turning points for me as I learned about the importance of how VFX were incorporated into a Production; how the methodologies of VFX sequences and shots are implemented on set.  

You went on to serve as Production Manager on Solo: A Star Wars Story - one of the most complex and scrutinised productions in recent memory. What was the experience of working on a film of that cultural weight like, and what did it demand of you professionally?

The experience was one of the best of my career. Not only because I was working on what is arguably the biggest franchise in the film world, but also because I was witness to, and part of, the incredible world building of Star Wars. The amount of talent behind the incredible set builds, locations, creatures, costumes, makeup/hair, action vehicles and prop building was immense, and the professional demand of bringing this all together was an experience I will never forget.

From Wonder Woman 1984 and Death on the Nile as UPM, to The Marvels - you've spent a significant part of your career working across major superhero and studio franchise productions. What does that environment demand of a senior production professional, and how do you navigate the pressures of franchise filmmaking?

Working across franchise productions does significantly demand the importance of IP and the amount of security measures one implements to protect it within the environments involved. The ability to navigate the pressures grew from my varied experience. Having worked on different levels of franchises, I would say the pressures lie in learning to navigate the many creative opinions/input with franchise productions. You have to satisfy the loyalty to the characters, storylines, and appease the appetite of the fanbase.  

The Acolyte for Lucasfilm and Disney+ marked a significant step - moving into the Producer role on a major streaming series. How did that transition from UPM to Producer change your relationship with a production, and what did it open up for you creatively?

The transition from UPM to Producer ultimately was learning how to step away from the micro-managing and learn how to macro-manage instead. Taking all the experience that I’d learnt along the way, I was able to implement it across the entire production, and ultimately into creating and building a budget. I don’t feel that the transition necessarily changed my relationship with Production; it rather amplified it, as it meant managing in scale. As a Producer your involved at the very early stages of research and development of a project. This early involvement connects you with a deeper understanding as to how the project develops visually and creatively. This opened up my abilities and confidence and allowed me to express my own creative opinions as the project evolved.  

You are now an Executive Producer - a journey that began on the production floor as a Supervisor. What does that full arc mean to you, and what do you know now that you wish someone had told you when you were starting out?

Becoming an Executive Producer means the world to me and gives me a great feeling of accomplishment after all the years of hard work. I love what I do, and I continue to feel very passionate about our industry, our crews and the world of film making. One of, if not the most important aspect I know having reached this full arc, is that our crews are our most valuable asset. It’s their accomplishments that make the incredible films and series we watch every day. I do wish someone would have told me to ensure I have waterproofs as part of my work kit.  

You chose to join the Production Guild UK - what prompted that decision, and what has membership meant to you throughout your career?

Joining the Production Guild UK marked a milestone in my career. I wanted to connect directly and have access to the UK’s top production talent, as well as benefit from its availability services - putting my profile in front of major studios. The Guild sets the benchmark for best practice in UK film and television, whilst having our industry’s best interests at heart. The Guild provides access to exclusive training, masterclasses and updates amidst our continuously changing industry and gives its members the opportunity to troubleshoot challenges within a trusted community. Its membership has given me the ability to grow and meet our industry’s highest standards throughout my career.  

The Executive Producer role means different things on different productions. On The Last House - directed by Louis Leterrier - what did the role involve day to day, and how did you work alongside the producing team and the director to keep the production on track?

One of the many aspects that made The Last House such a success was the immense collaboration between all crew, producers, creatives and our director. We all worked closely alongside each other and ensured we had access to each other at all stages of production. This constant, open line of communication enabled us to navigate through and tackle the complex and challenging schedule, financial and logistical aspects of the film. We had so many elements to manage including a child cast, live animals, complex physical builds, practical SFX, aerial work, large exterior locations, constant rain, VFX, creatures, water work, water tanks, underwater work, stunt work, live greens - as well as the film largely being shot in chronological order and with a significant narrative time jump. Just a few hurdles! My role amongst many other things was to keep safety, wellbeing and the day to day coordination of all these elements and practical demands in order, including balancing them against our budget!

The industry has changed enormously since your early days on Sherlock Holmes and Jupiter Ascending - streaming platforms, AI, changing financing models, the strikes. From your position at the very top of the producing ladder, how do you read the current landscape - and what gives you cause for optimism?

It’s been a very tough few years on our industry to say the least. From the post-pandemic boom to the strikes, mergers and studio internal resets - all have contributed to the subsequent reduction in production greenlights we have all seen and experienced recently. My optimism lies within the fact I see the industry is returning, as well as a growing appetite for theatrical releases. I feel that storytelling values will play a bigger role going forward and quality over quantity will also play its part. As Producers, we need to continue to be rigorous financial architects in order to bring as much work to the UK as possible, to increase overall greenlights.

On a lighter note - from the production floor of Wonder Woman to the Executive Producer chair on a Netflix blockbuster, what is your absolute go-to on a long shoot day? The craft table essential you'd never get through production without?

I would have to say Doughnuts…

Finally - what advice would you give to a Production Supervisor or UPM who has their sights set on producing, and what has kept you passionate about this work across such a remarkable career?

My advice would be that you never stop learning something new in our industry no matter what role you have, or how big or small the production is. Take your time to learn as much as possible before taking the next step in your career. Production roles carry great responsibility and as a supervisor or UPM, we learn to manage all the boundaries Productions give us. As a Producer our job is to expand what is possible within those boundaries.  

It’s a privilege for me to work in our industry and constantly working with such incredibly talented people on all the projects I have been involved with.Seeing the end product come together which in turn gives our audiences the same emotions that I had when I saw my first movie, is what has kept me passionate throughout my career.