When Darcey Cherubini says she's a "production animal" she means it. But she doesn't necessarily limit the definition of producer to the commercial realm, and her experience isn't so neatly contained either.

Currently director of production at JWT, New York, Cherubini has worked in every imaginable area of production - from theatre to television serials, feature films to agency, post and production companies - and in nearly every corner of the globe from Australia to Asia to the UK and the US. And unlike many of her contemporaries who just 'fell into' the profession, Cherubini knew she wanted to be a producer before she was even old enough to grasp the concept. "This is all I've ever wanted to do, whether it's producing theatre, film, TV, commercials, opera, it's all in the same family," she says.

As a child growing up in a remote village in Papua New Guinea, Cherubini was not exposed to TV, radio or the newspaper. But she was a part of an art-loving family and was exposed to theatre and opera on her family's frequent trips to "the civilized world".

Once she knew she wanted to be "the person that made things happen" rather than the person on stage, Cherubini studied theatre production management in Australia. She graduated during a slump, so she landed some pick-up work in features, which led to TV and then commercials in 1990. She hasn't looked back since.

Despite the fact that she's been with JWT for six years now - her longest stay in any one place and one that's weighing heavily on her - Cherubini has established herself as a veteran contractor. Her global production tour has taken her to Japan, Hong Kong, Singapore, Malaysia, New Zealand and Australia for virtually any major agency you can think of (Saatchi, BBH, and W+K being a few). Along the way she's created spots for Levi's, Pepsi and Sony with some of her favorites being for Thermasilk, WildAid and Smirnoff.

As a result of this vast experience, Cherubini has very specific ideas of what makes a good producer that she actively imbues into JWT's production department, which she manages along with three other executive producers under the leadership of EVP/CD of broadcast and development John Garland.

"I think the best producers are the ones who've worked on the vendor side. It's one of my chief bugs," says Cherubini. "In smaller markets that's how it works, but in America, advertising went from a cottage industry to big business, so now people can make a living just being an agency producer. When I started, you couldn't just do that so you worked [in other fields]."

She's concerned that the role of the agency producer is moving away from the basics of production. "I'm anxious that agency producers in the larger markets will essentially take on the marketing role of our job instead of the hands-on part, which is really the destiny of the job. I think the better [producers] are familiar with the filmmaking aspect of production."

Garland, who met Cherubini when she walked into his prodco looking for a PA job roughly 25 years ago, says she's got the proper authority to make such claims. "She has changed very little from that kid with a definite point of view on everything, a blunt, forthright way of letting you know exactly where everything stands and an intense, burning energy to get it done and to get it done right," he says. "What has changed is she now has a vast international production experience to add to her innate qualities and the advantage of having worked with some of the best creative minds."

He also applauds her infallible work ethic. "I could parachute her into any country in the world with a script, nothing else, and she would reappear weeks later with an excellent film. This is a skill that is virtually non-existent in our industry today."

Production consultant Paul Mavis, a regular collaborator, says that aside from being "one of the most knowledgeable producers I work with, impressive when faced with a seemingly insurmountable challenge", Darcey's greatest skill "is her well-honed talent for cutting through the layers of bullshit to solve any production-related challenge."

Though she may be frank, she's also passionately dedicated to developing the craft she loves. Regularly outspoken on the need to nurture new production talent, her urgency comes from an intense belief in the value of a good producer. "She loves teaching young producers how she does it and has created a whole new pride of young producer lions here at JWT," says Garland.

As someone who rarely does the same thing twice, it's a natural assumption that Cherubini may well be ripe for a jump to her next 'gig' as she endearingly calls her whistle stops. But not so, as she's staying put for what she calls "the most exciting time in the industry since the early '90s".

"I'm interested in seeing advertising come full circle, because everything old is new again and everything new is upon us," she says, noting that with the emergence of longer formats the value of good production is augmented. Of particular interest to her is the gaming world.

"I want to get to the answer of this life-long career. I'm happy for the journey; I don't just want the answer - it's part of what's going to make the answer so much sweeter."

QUICK HITS

Dream Job: "When I'm old enough, I'd like to work in the opera. It takes so much knowledge."
First Play: A Shakespearean play, when she was four years old.
Favorite Films: "I'm a big fan of Baz Luhrmann. His films are like classic operas with a modern twist. There's a future [for opera] as long as people like him are pushing the envelope.
Little-known fact: Cherubini was once offered to join an organized crime ring on the basis of her organized and entrepreneurial instinct.

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