BCD Media and Entertainment is excited to announce Elisa Chaffer has joined BCD as their Production Relationship Manager. Elisa brings over 20 years of experience working across the television and film industries in both Australia and the UK, with extensive experience spanning production, travel and logistics.

1. You’ve worked across the Australian and UK industries for over two decades in various roles—what first drew you into the production world and what’s kept you there?

I’ve been passionate about film and television for as long as I can remember, and from an early age I was determined to build a career in the industry. With no initial connections or real insight into how to break in, I was fortunate to land an internship with Porchlight Films, and from there, I worked my way forward through persistence, curiosity and a lot of hard work.

What first drew me in, and has kept me there over so many years, is the dynamic nature of production. Every project brings new stories, new locations and new collaborators—no two days are ever the same. I’ve always thrived on the challenge of solving complex, often unexpected problems, and there’s a unique energy that comes from working toward daily deadlines with a shared goal.

Collaboration remains one of the most rewarding aspects of the job. Over time, I’ve had the privilege of working alongside incredibly talented cast and crew, many of whom I once admired from afar, which still feels quite surreal. My career has taken me on extraordinary journeys, including working with studios I once only dreamed of—HBO, NBCUniversal, Amazon Studios, Sony Pictures Entertainment, ABC, Foxtel, Warner Bros. and Apple.

Some standout moments include joining Neal Street Productions on Call the Midwife—especially meaningful as I had just arrived in the UK with no contacts and was starting from scratch—and working with the incredible creative team at Carnival on All Her Fault. Being part of Damon Lindelof’s The Leftovers with such an exceptional cast was another highlight; working with actors like Ann Dowd and Liv Tyler felt like a full-circle moment.

2. Travel and logistics can make or break a production. From your experience, what separates a smooth-running shoot from a stressful one?

Travel and logistics are often the invisible backbone of a successful production. When they’re working well, they go largely unnoticed, and that’s exactly how it should be. If travel becomes a topic of concern at a senior level, it’s usually a sign something isn’t running smoothly.

A well-managed operation ensures cast and crew can move seamlessly, allowing them to stay focused on their work. When people feel supported and looked after, it has a direct impact on morale, performance and overall productivity.

Ultimately, every day on a shoot is a deadline. Success comes from balancing schedule demands, budget constraints and the welfare of the team. It’s a highly collaborative process, and one I genuinely enjoyed. There’s a real satisfaction in solving the logistical puzzle and keeping everything running smoothly.

3. Having supported productions like All Her Fault, what do you think productions value most?

Productions value efficiency and dedication above all. Crews work long, often demanding hours, so it’s essential that the details are handled seamlessly. When logistics and planning are taken care of, it allows everyone to stay focused on their roles and deliver their best work without unnecessary distractions.

4. What is the best piece of advice you have ever received when working on a production?

The best advice I’ve received is to stay flexible and not take things personally. Production schedules are constantly evolving, so it’s important to adapt quickly and not get stuck on what didn’t go to plan.

This work demands a calm, solutions-focused mindset. Whether it’s last-minute changes or external disruptions like travel delays, maintaining a composed and professional approach makes a significant difference. You can’t control every situation, but you can control how you respond—and that’s key to keeping things moving smoothly.

5. From your experience, where do productions feel pressure the most behind the scenes—and how can strong travel and logistics support change that?

Beyond budget, I feel the greatest pressure points for productions are often late scripts and late script changes. Scripts are the foundation for casting, scheduling and securing locations, so delays inevitably create a ripple effect across every department. As schedules shift, often at short notice, the pressure intensifies behind the scenes.

Strong travel and logistics support plays a critical role in managing that pressure. As a Travel Coordinator, you’re frequently working to tight turnarounds, booking and issuing itineraries at the last minute. Having a reliable, responsive travel management company is essential. When that support is efficient and accurate, it alleviates workload, reduces friction and allows you to focus on delivering solutions rather than troubleshooting issues.

6. Australia continues to attract major international productions. What do productions sometimes underestimate when filming here?

One of the most common underestimations is simply the scale of Australia. Travel times, both internationally and domestically, can be significant, and the impact of time zone differences with the UK and US is often overlooked.

With studios typically based overseas, coordinating across time zones can create real scheduling challenges. There can also be unrealistic expectations around turnaround times—for example, assuming a US cast member can be cast in a role, granted a visa and travel to Australia ready to be on set in a matter of days. The flight might only be 15 hours from LA, but you also need to factor in the time differences. In reality, these logistics require careful planning, and underestimating them can quickly put pressure on a production.

7. You’re now part of BCD Media & Entertainment, who are supporting some of the world’s biggest film and television productions here in Australia. What excites you most about bringing your production background and experience into working within the BCD organisation?

My goal is to bring my production experience to BCD in a way that meaningfully supports both BCD and the productions it serves, offering insight, reassurance and solutions grounded in a real understanding of on-the-ground needs.

Having worked with BCD on All Her Fault, I experienced firsthand the value of that support. Despite the scale and complexity of the travel involved, the BCD team quickly became an extension of my own team. Their collaborative, responsive approach removed a significant amount of pressure and allowed me to focus on delivering for the production.

Interactions never felt transactional—rather, they were all in the trenches with me trying to get the best possible outcomes for everyone. That’s what I hope to provide to other productions: ensuring Travel Coordinators and Production teams feel genuinely supported.

Travel can be one of the more challenging aspects of a production, often becoming a focal point when things go wrong. Having the right support in place makes all the difference.