Editor’s Note: Each March, in celebration of Women’s History Month, Reel Chicago shines a spotlight on the remarkable women shaping Chicago’s film, television and advertising community. From directors and producers to editors, strategists and creative leaders, these women bring talent, vision and determination to an industry built on collaboration and storytelling. Through our Reel Women series, we invite them to share their journeys, the lessons they have learned and the experiences that continue to inspire their work.
Today we include Heather Richardson, Executive Producer at Cutters in Chicago in our celebration of Reel Women.
Heather Richardson is Executive Producer at Cutters in Chicago. Heather is known for her creative problem solving and strong relationships. She has produced Super Bowl spots for State Farm, Jeep, Rocket Mortgage, Nintendo, BetMGM, LIFEWTR and WeatherTech, along with high-profile campaigns for scores of other clients.
Let’s hear Heather’s story.
What’s your origin story? Where did this journey really begin?
My journey began in October 2004, when Yvette Cobarrubias hired me as a receptionist at Cosmo Street in Santa Monica. I had just graduated with a degree in Sociology and wasn’t exactly sure where I was headed yet, so that opportunity meant everything. Once I got inside the industry, I set my sights on becoming a producer and never looked back.
When you walk into a room today, what do you want people to understand about you before you even speak?
I want people to know that they’ll be heard and understood. Creating an environment where people feel comfortable sharing ideas is incredibly important to me.
What’s one decision you made that shifted your trajectory?
Moving from New York to Chicago in 2015 was a huge turning point because it brought me to Cutters Studios. I feel incredibly lucky to be part of this company and this team.
Chicago’s production landscape continues to evolve. Where do you see the biggest opportunity for women right now?
Over the course of my career, it’s been exciting to watch women move from being in the minority to holding equal standing in many roles across the industry. While women are still somewhat underrepresented among editors, mixers, and colorists, etc., I’m really encouraged by the number of women coming up through assistant roles. At Cutters, we actually have more women assistant editors than men, which gives me a lot of optimism about the next generation of creative talent.
Imposter syndrome is real for many women. When did you stop questioning whether you belonged in the room?
I’m still working on that one. I’m not sure we ever completely stop experiencing a little bit of imposter syndrome. One moment that helped me push through it was advocating for myself and asking to be promoted to Executive Producer—and then being given the opportunity. It reinforced something important: if you’re not advocating for yourself, it’s hard to expect someone else to do it for you. Confidence sometimes comes after the leap, not before it.
What conversation about women in this industry still isn’t being said loudly enough?
The expectation of constant availability is still a challenge in our industry. The pace of commercial production can demand that people be “on” all the time, and that can be especially difficult for women who are often balancing significant responsibilities at home as well as their careers. As the industry evolves, I think we need to keep asking how we maintain the creative energy of this work while also making it more sustainable for the people doing it.
Have you ever walked away from a lucrative opportunity because it didn’t align with who you are or where you’re headed?
I don’t have a specific example that comes to mind, but I’d like to think I would if the situation called for it.
What are you building that will outlast you?
The culture at Cutters is what makes the company so special, and I’m proud to play a role in helping shape and evolve it. Creating an environment where people feel supported, where emerging talent has room to grow, and where collaboration is valued is something that will outlast any one individual. Great companies are built by people who want the next generation to succeed even more than they did.
Name three women in the Chicago industry you’d like to shine a spotlight on.
Magdalena Hernández, editor at Cutters
Marian Oliver, editor at Cutters
Louise Rider, Executive Producer at Another Country.
If you could change one structural thing about this industry tomorrow,
what would it be?
While I appreciate the flexibility we gained during the pandemic, I do wish we still had as many in-person sessions as we once did. There’s a level of creative energy that comes from being in the room together that’s difficult to replicate remotely. I also worry about the impact on up-and-coming talent. Without the same face time with clients and creative teams, it’s harder for them to build the trust and relationships that help move their careers forward. Mentorship is also much more challenging to do remotely, so it’s crucial that we all make the extra effort to keep it going.
What’s the title of the chapter you’re currently living in?
Do the Hustle
After all the grind, what still excites you?
Pairing the exact right editor with a director and creative team and then watching that collaboration turn into something new and unexpected.
Bonus: What song plays in your head when you land a big win? And do you happy dance?
Boom Shakalaka and yes, there is absolutely a happy dance.
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