Finding Your Voice as a Producer with Amy Bilsby

Amy Bilsby is the lead post producer at Wild Island Films who brings thoughtful organisation and a deep understanding of post-production workflows to every project.
Joining the team in 2019, Amy has grown with Wild Island Films from its early days. She has produced a range of diverse campaigns with clients including BOSS, Netflix, Lloyds, Burberry and Net-A-Porter, to name a few.

Drawing on her background in fashion and degree in criminology and psychology, her approach to production balances creative vision with workflow optimisation, ensuring collaborative environments where teams can deliver their best work.

Amy spoke with LBB about growing in production alongside Wild Island Films, as well as her love of both the organised and magically human sides of the industry.

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?

Amy> My first role in production was actually with Wild Island Films! I'd been in London for a few months at the end of 2018, fresh from a background in fashion and a degree in criminology/psychology, when a friend mentioned the role.

Growing alongside the company from seven to 13 people has been amazing. I've been at the table while foundations were laid, while my own career evolved from producer to senior producer to now lead producer. This experience being in a small team that has grown organically has taught me that great production isn't just about logistics – it's personal. Every project deserves a human touch, and I bring that philosophy to everything I work on now and how I think about production itself.

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?

Amy> There's one project that really helped me cut my teeth! We needed full claim substantiation before going live on broadcast, basically learning an entirely new language while the clock (or clocked version IYKYK) was ticking.

It was terrifying and exhilarating at the same time. I had to become comfortable with not knowing something, asking the right questions, and then confidently presenting solutions as the go-between the client and agency. That project helped me learn that being a good producer isn't about having all the answers, it's about knowing how to find them quickly and communicate clearly under pressure.

I now get excited when this format of project comes up!

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

Amy> I'm genuinely torn on this! Half my brain lights up at the organisational side, I find genuine joy in creating order from chaos. There's something deeply satisfying about seeing all the moving pieces come together. But the other half, it's those magical human moments. When someone sees their edit or grade for the first time and their face just transforms. The sparkle is absolutely unmatched.

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

Amy> This is probably not conventional for a post producer but getting cast as an extra in a ‘Dungeons & Dragons’ scene during a TVC shoot because my fringe was the ’perfect match/ for a goth character. Definitely not traditional career milestone material, but that moment perfectly captures what I love about this industry. One minute you're the producer thinking about the edit and the next you're unexpectedly part of the edit itself!

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

Amy> It's impossible to choose, I love every project we take on, but if I had to pick, working with Vivek Vadoliya on a film for HTSI with Chanel and the English National Ballet was pure magic. It ticked every box for my inner child who dreamed of being a ballerina. The real moment of magic wasn't just the production itself, but seeing the live performance at V&A East with Picasso's ‘Le Train Bleu’ as the backdrop was the cherry on top.

We've been moving more into the art space this year, which presents fascinating challenges. Art projects require a different sensitivity, a deeper understanding of the creative vision, and often more complex stakeholder management which has been enjoyable to work on as a team.

LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?

Amy> Overthinking is basically a producer's superpower isn't it? When I do want to fully switch off, podcasts or music paired with sudoku or word puzzles is my form of relaxation. There's something satisfying about completing puzzles when your day job involves managing projects that never truly feel ’finished.’

LBB> Producers are problem solvers. What personally fuels your curiosity and drive?

Amy> My team jokes that I must own stock in Monday.com because I'm constantly discussing workflow optimisation and better ways of working (I don't, by the way!). I'm genuinely fascinated by team efficiency and this curiosity stems from my psychology background. I'm constantly asking: "What do people actually need? How can we deliver information more effectively? What friction can we eliminate?" It's not about being a perfectionist; it's about understanding human behavior and designing processes that work with people, not against them.

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

Amy> Find your voice as a producer, how do you want to be remembered? Not just professionally, but as a person who happens to work in production.

Every producer started somewhere. Embrace being the person who asks questions, who doesn't know everything yet. That curiosity and willingness to learn will serve you far better than pretending to have all the answers.