Problem-Solving Producing With Rachel Helton
A Conversation on All Things Indie Film Production
Welcome, Wednesday readers! And also those of you who read on Thursday or perhaps even Friday—we don’t mind your tardiness. This week, we got the opportunity to talk to someone whose praises we could sing all day long (though unfortunately we’re a web series, not a musical)…Rachel Helton!
Rachel is one of our producers, and in all honesty there is very little we could do without her. We also figure it was high time she be featured considering last week we spoke so highly of her husband (our editor, Jake Helton) that we needed to balance things out. So without further ado, please enjoy our conversation with Rachel!!!
What do you think people understand most about what a producer actually does?
I think some people see their producer almost as the fun police, as the person who’s there to say no to all of the crazy out-of-the-box ideas because it doesn’t fit into a budget. When in reality, it’s really our job to make those unattainable ideas achievable. I’m not here to tell you you can’t blow up a car - but I will tell you how we can do it safely and in budget ;D
What’s the best call you’ve ever made as a producer? What’s the worst?
It’s not a specific call, but I’m very proud of my production emergency kit that I’ve put together over the years. It’s been built through a combination of “wish I had that” moments and “what if the worst thing possible happened” thinking. It comes with me to every shoot and there is always, without fail, something you wouldn’t think was even needed that ends up saving the day.
Worst call - wearing pants that didn’t have pockets. I’ve been known to double up with both cargo pants and a fanny pack since that fateful day. You’ll never think to yourself “man I wish I had LESS pockets”, but you will absolutely be hurting the second you have too few.
In all seriousness though, any time I’ve regretted a production decision, it’s almost always been wishing we had more crew. I know how tempting it can be - “but if we lose a PA we can get a fog machine!” or “This person can do 2 roles and that covers an extra day at location!” Don’t fall for the trap - invest in your people and your entire production will be better off for it.
How do you balance protecting the creative vision with protecting the actual schedule/budget from spontaneously combusting?
Creativity is a huge factor in producing indie content because you’re working with such limited resources. While you can typically juggle different pieces of budget or schedule to make some things work, that flexibility can only go so far.
Beyond a certain point, it’s time to chase down as many creative alternatives as you can. This is where having the right team around you really makes a difference. Your director and cinematographer can help brainstorm ways to frame out imperfections in a location. Your art team can come up with creative solutions for props and effects that would normally be out of your price range. Your AD can build the schedule with maximizing time efficiency in mind when it comes to wardrobe changes and art resets. You’re all on the same team running towards the same goal, and can come to much better solutions with more minds on the problem.
One of your most recent projects, The Wildman of Shaggy Creek, was released in 2025. How do you feel watching a project back after knowing all the little things that went into producing it?
There is so much joy in watching a project knowing all of the little moments that made it come together. The ones that were full of challenges in production are even more satisfying to watch, knowing that the team overcame every obstacle thrown at them through sheer dedication and skill.
I also love that finished projects are a walk down memory lane. I can vividly picture where I was in the creation of each moment, and how much work went into every frame…Here’s where I was next to camera getting soaked under the rain machine…Here’s where I was offscreen with a leafblower to get the wind just right…Here’s where we stuck our talent on apple boxes to catch the last bits of light as the sun set…
What excites you about starting a new project, and what element of Final Girl were you most excited to tackle when you first joined our team this summer?
My favorite part about starting a new project is the feeling you get when you’re first discovering it. The first time you read a script or hear a pitch or have a spark of an idea feels like such magic because you’re in a position with endless possibilities. There are a million different ways this content can take life, and it’s up to you and the team to craft that along the way. It’s a stage that’s so collaborative and full of “what if”, you can’t help but love it.
I was so excited for Final Girl from the minute Caroline told me about the script, but what really reeled me in was the script’s humor. The dialogue is so witty and fun and the characters are so uniquely hilarious without even trying. It was funny on the page, it was funny during filming, and I can’t wait to laugh at the jokes a third time around when I see them on screen.
What’s something you hope more indie productions prioritize in 2026 - whether creatively, ethically, or behind the scenes?
I would love to see more indie films prioritizing a positive atmosphere on set. When everyone is having a great time creating something together, there’s just such a different energy that gets taken through to the finished product. Filmmaking often requires long hours and very physically demanding days - but with the right environment, those challenges feel more than worth it.
What has been your favorite on set memory?
For Final Girl - my favorite on set memory is when we were filming in the podcast studio. We’d captured what we needed in the wide shots, and Aaliyah and Julia took the reins and began improving entire conversations fully in character. They both fully embraced the absurdity of their characters so much that it was nearly impossible to be in the same room without ruining the audio from laughing.
