Working in international production means balancing creativity with logistics, relationships, regulations and the Director’s vision with the practical realities on the ground. I have learned that successful overseas work depends as much on cultural understanding and trust as it does on planning and precision.

When a UK client brings a project that involves filming or sourcing overseas, the first step is always people. From procuring the right fixer and location manager, success relies on building strong, respectful partnerships with suppliers, which is everything.

I’ve spent time nurturing these relationships—getting to know how teams operate in different countries, understanding local working styles, and showing genuine appreciation for their expertise. Whether it’s negotiating with a supplier in Mexico for specialist lighting equipment or coordinating a fortnight shoot schedule that involves three different countries and time zones, communication and flexibility is pivotal.

These partnerships often begin online but are cemented in person. A call at 7am UK time might be 2pm for your crew on location. You also need to know your golden window for approvals and client updates to facilitate communication in different time zones.

Kit procurement is often a balancing act between cost, quality, and practicality. Shipping from the UK can introduce customs headaches and costs, while hiring locally supports sustainability, puts money into local pockets and saves time. Whenever possible, I source from trusted local suppliers but we have also travelled with kit so as not to compromise on Director's preferences.

Travel and accommodation bookings come next. Coordinating crew movements across borders, ensuring appropriate insurance and managing expenses and per diems are all part of the job. It’s the unseen groundwork that is not fun but is necessary. Perhaps the biggest challenge in international production is time. When your client’s office day ends just as your local shoot day begins, you need clear approval processes and communication routines. I often set up rolling updates—daily wrap emails or brief video reports that keep everyone aligned despite the time difference. Having a clear hierarchy for sign-offs and contingency plans for delays helps keep production agile and stress-free. Really you need a client and agency to trust in you and vice versa you have to be open and honest as a producer so they feel informed and not blind-sided later. Ultimately, delivering an international brief for a UK client comes down to preparation, trust, and adaptability. Every country, crew and client adds a new dimension to the craft of production. It’s not just about getting the shot—it’s about understanding the bigger picture: how people work, how systems function, and how to align everyone around the clear creative vision.

International production teaches you patience, empathy, and precision. And when you finally deliver that finished piece—knowing it came together through collaboration across continents—it can be an eye opening and rewarding experience. And of course the added bonus is getting to appreciate the culture of another country which can be anything from seeing hairless dogs in Mexico (Xoloitzcuintli), witnessing the scale of fanfare for student football in Baton Rouge, punctuated with a real life tiger mascot on the University campus, waiting for a herd of elephants to cross the road in Zambia, eating Poutine in Toronto to being taught vogue dancing moves by artists in Paris.