Celia Jaspers has created a career around entertaining people by directing beloved television shows from the time she was just 18 years old.

One of her most popular television shows among travelers and HGTV fans alike, "House Hunters International", showcased the real journeys of people uprooting their lives and moving to a new country. But the clients having to learn about a new culture and at-home quirks that they might not be used to – like food storage in the floor of traditional Japanese homes or the lack of American-sized refrigerators – weren't the only things Jaspers had to deal with for a life on the road.

We spoke with Jaspers recently on what it's like directing the popular HGTV show around the world, how the coronavirus pandemic has impacted her travels and more.

TravelPulse: How did you get started in TV production and directing?

Celia Jaspers: I was lucky enough to find my opportunity into the industry at just 15 while still at school and was taken on as a trainee and intern full time by 18. It was a children's magazine live studio show in Christchurch, New Zealand, called "What now”. It is institutional television in this country. I watched it as a kid and now my children are watching it. So I was lucky enough to start directing at 18 for network television and have been very busy for the last 27 years it seems! But I soon realized that I wanted and needed to master many other crafts to become a better director, so I actively sought out editing and camera work to supplement my directing skills.

TP: Where all have you traveled for directing House Hunters International as well as other TV shows and movies?

CJ: For the first 20 years or so, I traveled extensively throughout New Zealand. I often joke there isn't a country or location road I haven't filmed in this country. And for 'Country Calendar', a farming documentary series I regularly contribute on, I did an episode in Vanuatu (in the Pacific Islands) following peanut and coconut growers. But it wasn't until joining 'House Hunters International' back in 2016 that I really got my passport filling up. They regularly sent me to Australia to do episodes from Perth, to Melbourne, Sydney and Canberra. And a lovely trip to the Coral Coast in Fiji. Then a few episodes up in Asia, from Shenzhen in China to Singapore and Bangkok, Thailand.

TP: What is your travel schedule like when directing for House Hunters International?

CJ: It depends where we are going and how far away that is. I am traveled to the location as part of my role which is fantastic. Generally, it takes 4-5 days to film an episode and usually a day on each side of that for travel. Some of the further afield locations take 2 days from door to door. So it can be quite a full-on week to 8-day trip.

Once we're in the country, it's all go from the minute I leave the airport; there are locations to scout, people to meet, gathering my crew who have usually traveled afar as well. Then the filming days are long and often into the night writing my script notes, making sure the next day is ready to go and solving any issues along the way. So I wouldn't call it relaxing in any of these glamorous spots, but it's great to be in the field with my team and seeing new sights and experiences. I do love trying a local cocktail or two in new locations!

TP: What has your experience been working in production in multiple countries?

CJ: It's not as hard as it might sound. But the amazing coordinators and producers back in New York set everything up, so we do get the glory end of the job arriving on location and managing the people from that point on. But it's the same process no matter where you are. The crews, even if they're new to me and we've never met before shoot day, all slot into our roles and respect each other’s wheelhouses. Often our contributors are fascinated by how long we've all been working together because we look so cohesive at times, and I often have to say "we just met this morning!". It's the common language of production that we can translate to any country and culture.

The hardest parts of filming in foreign countries are not knowing the shortcuts to great locations if things fall over or getting around local laws and filming regulations at short notice. Those problems are always a lot easier to solve in your home country. Our hardest shoot was in southern China for no reason other than things kept falling over and changing. Every single day and every night my onsite coordinator and two local fixers/translators had to meet at the hotel. We'd work out a new plan for the following day, brief all the crew on the new details and try to hustle locations that kept moving. It was like juggling a bag of jelly, but those are also the most rewarding and fondest memories of that trip!

TP: Do any travel stories stand out to you from past House Hunters International shows?

CJ: I personally do love going to new places. It's my fresh eyes and interest in a location that I think works well for the audience, so if I find something interesting I'm pretty sure the audience will too. It's a real privilege to explore these spots in the Pacific and Asia. Singapore is a really interesting place but stiflingly hot. You can really only stand outside the air conditioning for short spells, so it was hard to function in that heat. And Bangkok was similar with horrific travel times between locations, thankfully in the air-conditioned van, but the heat is really hard to do a 12-hour workday in. You leave the hotel in the morning looking somewhat respectable and return at dark at the end of the day looking a fright!

We had a lovely time in Fiji, it was a difficult location but so relaxing at the end of the day. The crew had an end of the day ritual of a swim/meeting, floating in the ocean just off from the resort, so that was a treat. And again the China trip was particularly challenging logistics-wise, but when my cameraman and then sound man both went down with food poisoning, on different days thankfully, we really stretched our ability to deliver that episode. I resorted to picking up the camera (albeit as briefly as possible) just to ensure we had some shots in the bag. But my cameraman was a total legend battling on through excruciating conditions when most would have given up. So hats off to him in all ways!

TP: How has your travel been impacted by the pandemic?

CJ: Absolute decimation for internationals. New Zealand went into total lockdown, and once we came out of that we were then still locked in the country itself. No one can leave as you can't guarantee you will get back in due to the restrictions of a strict quarantine procedure, so that has totally finished my international trips for now. But we are still going full-on in New Zealand itself, as the country is functioning somewhat Covid free. We can travel freely and without any risk of disease, as there are no community cases in this country at all currently.

So we are very lucky to still be able to work in the screen industry. Our film industry has blown up too with many international series and feature films moving their productions to New Zealand to continue production as it was unattainable in their home countries. So we very much covet our Covid status and are lucky we have been able to control its spread so effectively.

TP: What are your go-to travel tips?

CJ: I travel with a small onboard roller bag, to keep the weight off my shoulders, with essentials, laptop, power converters, USB cables of all kinds, headphones, scripts, toothbrush, small change of clothes and light makeup so I can walk off the plane somewhat refreshed. I love my AKG wireless noise-canceling headphones that can plug into airline entertainment systems or go wireless. Just cutting the noise of the aircraft out really keeps me sane on the long haul.

When I was traveling frequently, I cheekily worked out which aircraft type it was and changed my seat to allow for good foot room, not too near the toilet or high transit area and always picked an aisle so I don't feel too boxed in no matter how full the flight is. I also love New Zealand wool made shoes by Allbirds. They are so light and don’t sweat, so they are perfect for travel. And once in the destination, I always just adjust to the current time in that country. I never look back and think about what the time is at home, it is what it is right now in this place. I find I have rarely suffered from jet lag-just general exhaustion!

TP: What’s next for you?

CJ: I've had a particularly busy year which is really surprising post-Covid/lockdown here. I literally haven't eased up until December, making several 'House Hunters' in New Zealand, 4 half-hour farming documentaries and two short films! One film I made with my family in lockdown which has done well with awards, and the second film called 'Milk' with a professional crew and friends which we are marketing and submitting to festivals now. So 2021 is very unknown.

More 'House Hunters International' I imagine, more documentaries, and I have my next short film script and a feature sitting in the wings in development. Hopefully I’ll be visiting some festivals with 'Milk' if we can travel, and there’s a chance of helming a television drama which would be my dream for this year.