Shawn Lacy; making her mark
The founding partner of production powerhouse Biscuit Filmworks, Shawn Lacy has been at the heart of creativity for more than 25 years. Here, she talks to Danny Edwardsabout influences, ideas and why ‘problem-solving’ is the new ‘brave’.
What was it that initially drew you to the advertising industry?
With a major in French and Political Science I wasn’t seeing a clear-cut career path. When I called my dad in distress, he suggested advertising, and it sounded glamorous.
We wanted to create a company that protected and put directors and storytellers first.
I knew I wanted a career that included a creative element, so I set my sights on the Big Apple and finding a job in the ad industry. It appeared in the form of an account coordinator on Kentucky Fried Chicken, and the rest is history.
You set up Biscuit Filmworks with Noam Murro 25 years ago; why did you want to start your own company?
I hadn’t met anyone as smart and funny and driven as Noam. We connected instantly and worked together for several years before deciding to take the leap. We wanted to create a company that protected and put directors and storytellers first. I had no idea how to do that... but we held hands and jumped.
Above: Director Noam Murro, Lacy's partner at Biscuit Filmworks.
What are some of the biggest changes you’ve seen in that time?
Everything and nothing! Here I go dating myself – but we used to bid jobs on a yellow note pad and FedEx location pictures, and use pay phones and pagers to communicate with our teams. We now move at lightning speed across the globe, and we meet expectations that everything happens instantly.
Being nimble and adept at creative problem-solving might be the new brave.
We have had to adapt constantly to shifts in the industry, world events and changing political climates, which all affects the kind of work being done and how we produce it. But what hasn’t changed is the focus on creating a stronghold of talented directors and the relationships and partnerships that withstand the test of time. That will never change.
Do you think the advertising industry – be that via brands, agencies or others – is as creatively brave now as it has been in the past?
The easy answer here is no, but that’s actually not true. I’m not sure if brave is the best word, but there is an inventiveness that is more necessary now than ever. Agencies and brands are constantly pushing themselves, and us, to meet challenging needs. Being nimble and adept at creative problem-solving might be the new brave.
What is it about the advertising industry that most inspires you?
It’s always the people and ideas. For 25 years it has been the exceptional, creative people that we’ve worked with and partnered with to build this company and make great work. I love the brains of the people in this business. And I love that we hug each other so much.
Credits
View on- Agency 4Creative/London
- Production Company Biscuit Filmworks/UK
- Director Steve Rogers
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Unlock full credits and more with a shots membership
Credits
View on- Agency 4Creative/London
- Production Company Biscuit Filmworks/UK
- Director Steve Rogers
- Production Co Revolver
- Editing Work Editorial/London
- Post Production Time Based Arts
- VFX Time Based Arts
- SFX MachineShop
- Audio Factory Studios/London
- Audio Post Factory Studios/London
- Music Siren/London
- Executive Creative Director Lynsey Atkin
- Creative Director Andy Vasey
- Creative Director/Copywriter Dan Warner
- Creative Reuben Dangoor
- Head of Production (HP) Miketta Lane
- Executive Producer Fiona Wright
- Senior Producer TV Lauren Holden
- Managing Director/Executive Producer Rupert Reynolds-MacLean
- Head of Production Emily Atterton
- Producer Simon Eakhurst
- Production Designer John Henson
- Casting Director Hannah Birkett
- DP Daniel Landin
- Editor Rich Orrick
- Assistant Editor Miles Watson
- Producer Frankie Elster
- Post Producer Mia Saunders
- Colorist Simone Grattarola
- Color Assistant Matthew Tomlinson
- 2D Lead Stephen Grasso
- 3D Artist Teodora Retegan
- 3D Artist Ihor Obukhovskyi
- VFX Lead Matt Shires
- VFX Executive Producer Sian Jenkins
- VFX Creative Director Sheldon Gardner
- Sound Designer & Composer Jon Clarke
- Executive Audio Producer Deborah Whitfield
- Music Supervisor Sian Rogers
- Voiceover Nabil Shaban
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency 4Creative/London
- Production Company Biscuit Filmworks/UK
- Director Steve Rogers
- Production Co Revolver
- Editing Work Editorial/London
- Post Production Time Based Arts
- VFX Time Based Arts
- SFX MachineShop
- Audio Factory Studios/London
- Audio Post Factory Studios/London
- Music Siren/London
- Executive Creative Director Lynsey Atkin
- Creative Director Andy Vasey
- Creative Director/Copywriter Dan Warner
- Creative Reuben Dangoor
- Head of Production (HP) Miketta Lane
- Executive Producer Fiona Wright
- Senior Producer TV Lauren Holden
- Managing Director/Executive Producer Rupert Reynolds-MacLean
- Head of Production Emily Atterton
- Producer Simon Eakhurst
- Production Designer John Henson
- Casting Director Hannah Birkett
- DP Daniel Landin
- Editor Rich Orrick
- Assistant Editor Miles Watson
- Producer Frankie Elster
- Post Producer Mia Saunders
- Colorist Simone Grattarola
- Color Assistant Matthew Tomlinson
- 2D Lead Stephen Grasso
- 3D Artist Teodora Retegan
- 3D Artist Ihor Obukhovskyi
- VFX Lead Matt Shires
- VFX Executive Producer Sian Jenkins
- VFX Creative Director Sheldon Gardner
- Sound Designer & Composer Jon Clarke
- Executive Audio Producer Deborah Whitfield
- Music Supervisor Sian Rogers
- Voiceover Nabil Shaban
Above: Channel 4's spot for the 2024 Paralympics picked up the Film Grand Prix in Cannes last week.
What, for you, is the biggest challenge the industry faces in the coming years?
There is so much that’s new about how and where advertising is being consumed, and the mindsets of contemporary audiences. And the tools are changing, and the budgets... we are all navigating that. But, fundamentally, there will always be an appetite for good work: considered, clever, emotional, timely and meaningful. If we can keep that at the forefront and not lose sight of what that means as we go forward, I think our industry will be in a great place.
We’re just back from Cannes; what is it about the festival that makes it so popular, and how important are awards as both a mark of quality and a business imperative?
Hint: South of France and white beaches? But really, I think it’s the combination of being in such a wonderful place with so many peers from around the world that allows for real chemistry and connection to happen. I met Michael Ritchie [MD at Revolver] at Cannes over a beer at the Carlton.
There will always be an appetite for good work: considered, clever, emotional, timely and meaningful.
That’s where we started our cherished 20-plus year journey together. And when work is recognised at this festival you know that it has crossed cultural divides and risen to the top.
What are some of the most important lessons you’ve learned over your time working in the industry?
Where do I begin? Stay true to who you are as a company, as a leader. Be honest and kind. Remember everyone is struggling with something and see how you can be the solution. Is this too self-helpy of an answer
Credits
View on- Agency Goodby Silverstein & Partners/United States of America
- Production Company Biscuit Filmworks
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Unlock full credits and more with a shots membership
Credits
View on- Agency Goodby Silverstein & Partners/United States of America
- Production Company Biscuit Filmworks
- Post Production Ring of Fire
- Post Production Bikini Edit
- Editor Avi Oron
- Director of Photography Stefan Czapsky
- Creative Mark Wenneker
- Creative Jamie Barrett
- Director Noam Murro
- Producer Jay Veal
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency Goodby Silverstein & Partners/United States of America
- Production Company Biscuit Filmworks
- Post Production Ring of Fire
- Post Production Bikini Edit
- Editor Avi Oron
- Director of Photography Stefan Czapsky
- Creative Mark Wenneker
- Creative Jamie Barrett
- Director Noam Murro
- Producer Jay Veal
Above: Noam Murro's Sheet Metal, for Saturn, one of the spots Lacy is most proud of.
Which piece(s) of Biscuit work are you most proud of?
Such a trick question! Noam’s Saturn spot Sheet Metal has always been a testament to me about what great advertising is. From the client to the agency, to production, everyone was on the same page about wanting to do something courageous: a car commercial with no cars.
Noam’s Saturn spot Sheet Metal has always been a testament to me about what great advertising is.
It was amazing to be a part of it. I remember first seeing it air, it was stunning, and I think it gave a lot of people that feeling of ‘oh wait... you can do that?’. I think that feeling is what has driven me since then.
Biscuit’s work and the people behind that work, has been an influence on many, but which people have been most influential in your career?
So many people have been influential to me! Obviously starting with my partner, Noam, who believed in me from day one, has pushed me to be brave, and has made me laugh a million times. Other companies and their wonderful work have inspired me to be better. And our Biscuit family of directors, executive producers, staff and sales have been daily inspiration.
What’s next for you, and for Biscuit?
I hope the ability to continue to grow, learn and make work we are proud of with people we like.