Getting To Know… Greenroom Films

Greenroom Films is an independent female-led production company which makes cinematic commercials and premium content for agencies and clients who've got something to say. 

With an eclectic directors roster, both a commercial and content arm, the team works all over the UK and indeed, all over the world. 

Greenroom Films has directors to suit projects of all shapes and sizes as well as its own post production facilities, which means the team can be finantically responsible and responsive when budget and time are tight. Which they almost always are. 

“We're a one stop shop for seamless production, and we're nice folk to work with. We tell stories beautifully and we're obsessed with craft.” Read more about Greenroom Films below.

LBB> Tell us a bit about Greenroom Films – when did you form and why?

Lucy> We're a female/LGBTQ+ owned commercial production company with an acute focus on storytelling, craft and talent. 

The company was actually set up over 25 years ago, but in 2018 (having started at the company in 2009 as a runner) I completed a management buyout and became the sole owner of Greenroom Films. 

From badly made coffee to MD. 

So, Greenroom as it is now, has been around and developing for almost seven years. In that time we've built and worked with our eclectic and diverse roster of directorial talent

We've also just expanded our production offering with the launch of 'Greenroom Content' – an agile and nimble product arm dedicated to content work, as well as commercials with more 'challenging budgets' that require a lightweight footprint. It features a new roster with more content focused directors as well as emerging talent. 

As a production company we're now fully scalable, from big brand TV commercials, to more agile content projects. We have our own post production facilities (available in person or dialled in sessions) and bases across London, Manchester and Scotland.

It's all about telling stories beautifully, big or small, for telly or TikTok. 

LBB> What’s the story behind your name?

Lucy> Great question and truth be told I've no idea. The company was started long before I got involved. 

My theory would be that traditionally the green room is where the fun/magic happens. It's back stage, it's a bit exciting, you might bump into that guy out of that band you like. It's where people hang out, swap stories, eat good snacks, grab a guitar and start noodling away. 

I see Greenroom as a creative playground, where fun and creativity is encouraged. We don't take ourselves too seriously and we always have good snacks on hand. 

But that's a post rationalisation, and could in fact be nonsense. 

LBB> Tell us about three campaigns that epitomise what you do as a company? 

Lucy> ‘The Great Wrenovation’ directed by Michael J Ferns.

A big production number where we got to flex our muscles. We created six bespoke full interior and exterior practical set builds working in collaboration with the clients design team and our own HOD's, built across two sound stages in Manchester with a three week build, big cast, animals and SFX.

There were a ton of moving parts and lots of elements to navigate, but everything was handled expertly by the production team, the local Manchester crew, and executed to perfection by our wonderful director Michael J Ferns.

The agency and client absolutely loved the commercial, as did we.

'Journey’ for ScottishPower directed by Richard Hunter.

What's not to love about shooting a custom, fully practical, remote control dodgem all over Scotland?

This was a ton of fun to film, and had a team of really brilliant people working (very hard) behind the scenes to make it all happen in a very short pre production period. From build of dodgem, to road closures and VFX, there were lots of elements that had to be done quickly but properly. We had a super trusting and collaborative agency and lovely client team, which made it even more enjoyable.

‘Hate Crime’ for Scotland police, directed by Imogen Harrison.

Directed by our brilliant Imogen Harrison, this ad for police Scotland is super powerful as it explores the overwhelming and relentless effect hate crime can have on marginalised communities.

I love old fashioned advertising with social purpose, with one strong CTA and the real power to change the world (or a small part of it). I loved observing Imogen's approach to authentic casting as well as her sensitivity when working with the cast on what was very triggering for them.

I also love the cinematography, the edit and sound design – all those elements just work together to make a really powerful commercial.

LBB> Give us a fun fact about your company.

Lucy> During covid lockdown we shot in five different countries over a five day period – all remotely, with different local production and crews. That included Colombia, South Africa, The USA, France and Belgium. 

LBB> What are your strongest opinions relating to your specific field?

Lucy> The one I seem to be chatting about the most with colleagues and friends is that the landscape of production,  advertising and content is changing fast – and that we must diversify and be a scalable production partner in order to be reactive to agency and client needs.

We are now a one-stop-shop, able to service all. But, and it’s a big but, I adamantly refute the notion that 'agile' means we need to sacrifice craft and production values.

Agencies, clients and production companies still need to work together. We still need to cut our cloth.

There has to be accountability; scripts need to be written with production budgets in mind, production companies should still be involved in scoping and problem solving early on so that by the time the script goes out to pitch, we're not trying to build a five bedroom house with the budget of a modest conservatory.

Budgets and deadlines will always be tight – that's showbiz’ baby – but we shouldn't set ourselves up to make mediocre work at best.

Nimble production shouldn't mean cutting corners. It should mean informed, smart and responsive production.

LBB> What are you proudest of as a company?

Lucy> Our relationships and our ability to form and nurture them – with directors, freelancers, crew, agencies and clients. 

The pride I feel when I get an email after a shoot (could be from a creative director or a runner) praising my team for their level of care and attention to detail on set or during production. 

We're responsive, personable and lovely folk to work with, and in a high stress environment knowing you can pick up the phone to someone and be listened to  makes a huge difference. 

Our relentless commitment to craft and storytelling. We care about the work we make, the ideas we execute and the people we bring along on the journey to make it with.

We care about diversity. About talent with no prejudice. About the perspectives of underrepresented communities and the nuances their informed experience can bring to our work and a wider conversation.

LBB> What are some upcoming projects our readers need to keep an eye out for?

Lucy> Having only been launched last week, Greenroom Content is already working on two new projects with two of our newly signed directors. Stay tuned.

LBB> Looking beyond LBB, what socials can we check Greenroom Films out on?

Lucy> Best place to keep an eye on new work on news is our instagram page and of course our website.

My LinkedIn page also has occasional rants and observations.