LOBO's Paul Amorese on Why Humanity Will Never Go Out of Style

The executive producer at LOBO gives his advice for the next generation of producers, and discusses why longevity in the industry is derived from “inspiration, not just accumulated experience”, as part of LBB’s Producing Tomorrow’s Producers series

Paul Amorese is an executive producer at LOBO, a mixed-media production company, where he leads live-action commercial production. He’s spent 12 years in the advertising industry, working alongside agencies including BBDO, TBWA\MediaArts Lab, Ogilvy, Chiat\Day\TBWA, Crispin, Deutsch, 72andSunny, FCB, The Martin Agency, Droga5, Wieden+Kennedy, and GSD&M. His work spans campaigns for brands such as Apple, Google, Taco Bell, Corona, Coca-Cola, UPS, Pepsi, Lay's, Facebook, and Samsung.

Before advertising, Paul worked on ‘Anthony Bourdain: Parts Unknown’ and spent years as a full-time touring musician, performing as a drummer with artists including Pitbull, Enrique Iglesias, and Wyclef Jean.

Beyond production, he's a two-time tech entrepreneur who has raised $1.5M in combined seed and Series A funding and has worked hands-on as a product owner and designer. He's toured arenas as a drummer, followed a documentary crew around the world, and run some of advertising's biggest sets, three careers that taught him the same thing: stay calm enough to get the work done.

Paul sat down with LBB to discuss the skills that separate good producers from great ones, the creator economy debate, and the value of healthy working relationships.

LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?

Paul> A set is a living, breathing thing with a lot of people involved, and that's the first thing I'd want someone new to understand. You can walk in with a strong point of view, and you should, but the producers who last are the ones who also know how to read the room and learn from how other people approach the craft. I've been in plenty of situations where I thought I knew the best way to do something, only to realise the better move was to let it evolve and hear someone else out instead of shutting them down.

What actually moves the needle is making people feel heard, and making a director feel like you've got the organisational things handled so they don't have to think about it. If you can carry that kind of quiet reliability, you'll find people want you on their set.

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