{"id":27970,"date":"2025-03-27T11:38:04","date_gmt":"2025-03-27T18:38:04","guid":{"rendered":"https:\/\/presskitchen.com\/?p=27970"},"modified":"2026-01-28T09:50:03","modified_gmt":"2026-01-28T09:50:03","slug":"in-creative-bloq-communication-is-paramount-in-any-creative-partnership-a-day-in-the-life-joshua-blum-and-han-west","status":"publish","type":"post","link":"https:\/\/demo.techsystintel.com\/press_kitchen_dev\/in-creative-bloq-communication-is-paramount-in-any-creative-partnership-a-day-in-the-life-joshua-blum-and-han-west\/","title":{"rendered":"In Creative Bloq: ‘Communication is paramount in any creative partnership\u2019: a day in the life of Joshua Blum and Han West"},"content":{"rendered":"

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By\u00a0Natalie Fear<\/a>\u00a0published\u00a0
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(Image credit: Joshua Blum and Han West)<\/div>\n
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Washington Square Films (WSF) is a multi-genre production company immersed in the worlds of marketing, series and feature entertainment, and live theatre. Heading the company is founder Joshua Blum, a producer who made his mark on the entertainment and advertising industries by specializing in discovering first-time talent, leading him to work with global clients like Pepsi, Ford,\u00a0Apple<\/a>, and Coke.<\/p>\n

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Alongside him is WSF’s EVP of Production Han West who has built a career providing architecture for storytellers, working on feature films, commercials, and diverse content from virtual reality to the experiential. As part of our\u00a0Day in the Life<\/a>\u00a0series, I caught up with Joshua and Han to discuss their collaborative roles at WSF and what lies in store for the future of the production industry.<\/p>\n

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\"Washington<\/picture><\/p>\n<\/div>\n<\/div>

(Image credit: Washington Square Films)<\/span><\/figcaption><\/figure>\n
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Could you walk me through a typical day in your roles?<\/h3>\n
Joshua Blum:\u00a0<\/strong>There isn’t a typical day, really, but I usually carve out personal time in the morning, as many of the people I work with are on West Coast time. Sometimes, I work from home until around 11 AM before heading to the office, and my office workday often extends until 7 or 8 PM.When I do come into the office, I start by figuring out my priorities. At this point, Han and the production team handle the day-to-day operations of our commercials effectively, which alleviates a lot of the burden on my end. But, I still like to have daily check-ins with Han to review jobs and bid. Every day Han or I also talk to our Head of Sales (and commercial division co-founder) Jonathan Schwartz regarding leads and big picture strategy. Beyond that, my focus is on our producing projects, which includes the musical\u00a0The Harder They Come,\u00a0<\/em>a tv series we are working on with Lionsgate, and several feature films.<\/p>\n<\/article>\n<\/section>\n
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\"Washington<\/picture><\/p>\n<\/div>\n<\/div>

(Image credit: Washington Square Films)<\/span><\/figcaption><\/figure>\n

Han West:\u00a0<\/strong>Every day is different, but here\u2019s one version: I drop my kids off early between 8:00 and 8:30 AM. I\u2019m the first one in the office and my mornings are dedicated to calls with European clients \u2013 everything from new projects to reviewing cuts and general check-ins \u2013 all before lunch.<\/p>\n

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Midday, we have various internal staff meetings, which is a great opportunity to check in with the team and for everyone to align. If it\u2019s a lighter week in terms of production, I focus on things I\u2019ve been meaning to catch up on, such as reading scripts, watching film cuts, and reconnecting with people I haven’t spoken to in a while. If it\u2019s a heavier week for production, I try to stay available to support producers with any challenges they might be facing.<\/p>\n

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In the afternoons, I focus on in-person meetings and check-ins, reserving the last few hours of the workday to tackle more detailed tasks like budgets, treatments, and providing notes and feedback. I leave the office by 5:30 PM to pick up my kids, and after putting them to bed around 8:00 PM, I use the end of my day to catch up with folks on the West Coast.<\/p>\n

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\"Washington<\/picture><\/p>\n<\/div>\n<\/div>

(Image credit: Washington Square Films)<\/span><\/figcaption><\/figure>\n
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What does it mean to be a multi-genre production company?<\/h3>\n
JB:\u00a0<\/strong>Everybody assumes we make commercials just to fund our producing projects, but I really love commercials. We work with great people, we get to work with the latest technologies, and a lot of the content is fun and creative. I especially love how fast it all happens. A feature film can take you 10 years to develop. As a multi-genre company, we are also exercising different business muscles. When we make commercials, we never forget we are a service client working on behalf of a client. On the entertainment side, there are also critical commercial and financial considerations, but my priority has always been about protecting the artists and the work being made. That tends to pay off on the business side.<\/article>\n<\/section>\n
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A little stoicism can really help keep the train on the tracks<\/p><\/blockquote>\n<\/blockquote>

Han West<\/cite><\/figcaption><\/figure>\n

HW:\u00a0<\/strong>You embrace more entropy but you also earn more perspective. Being multidisciplinary provides a unique understanding of the ecosystems that surround creative projects and gives you a wider range of choices to pull from in terms of people and approach for the projects you\u2019re working on. There are many similar characteristics between producing feature films and producing commercials, but there are some very clear differences as well, especially with whose vision you\u2019re serving and the venues and ways in which you vocalize and address your opinions and concerns as a producer.<\/p>\n

If I\u2019m being honest, I also think being prepared to give up one or the other makes you a bit bolder (for the positive) in each discipline: \u201cIf I mess up this commercial and am banished from the industry, I can always go back to making movies!\u201d And vice versa. This balance also helps me avoid becoming too emotionally entangled in the process; when working with passionate creative people, a little stoicism can really help keep the train on the tracks. Our physical office reflects our multidisciplinary identity, conjuring what Josh calls the \u201cclubhouse\u201d effect at WSF, where our doors are always open to people from different walks of creative life to meet and work. And that makes it an exciting place to be and work.<\/p>\n<\/div>\n

Read the full story HERE<\/strong><\/a>.<\/p>\n

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###<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

By\u00a0Natalie Fear\u00a0published\u00a024 March 2025 Washington Square Films’ founder and EVP of Production discuss what it means to be a multi-genre production company.   (Image credit: Joshua Blum and Han West) Washington Square Films (WSF) 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