Greenroom Films: A David Among Goliaths

Since its inception in 2000, independent, LGBTQ+, and female-led company Greenroom Films has evolved into a powerhouse of storytelling, blending creative ambition with an unwavering commitment to inclusivity, authenticity, and innovation. With its roots in Scotland, today Greenroom proudly operates from its bases in London, Manchester, and Edinburgh, producing everything from high-end commercials to agile, social-first content.

At the heart of Greenroom’s success is executive producer Lucy Ball, who took over the company in 2018, ushering in a new era of creativity known among the team as ‘The Revamp’. With a simple philosophy to ‘tell stories beautifully’, she and her team – including producer Michael Evans, junior producer Andrew Compston, and head of post production and tech Lee Archer – have built a company known for its bold creative vision and unmovable values. From listening to, championing, and supporting female directors, to pioneering innovative production solutions, Greenroom is not afraid to be the underdog at the table dominated by larger players. Sitting with them is flattering, tells us Lucy, but winning against them is exhilarating. And that’s exactly what Greenroom is doing – winning, on their own terms.

Being independent comes with its own challenges, and when you add integrity to that, it becomes even harder in an industry that can often be hostile to change, but Greenroom Films is flourishing despite it all. They’re the production company that, because of its agility and size, will be there all the way – a partner in work, and in life, one that will know your dog’s name and be invested in your project as much as you are.

Today, LBB’s Zoe Antonov catches up with the Greenroom team to hear more about their impressive evolution, and what comes next.

LBB> Greenroom Films has been around since 2000. How has the company evolved over the years, and what has remained at the heart of your creative approach?

Lucy> None of us were here when the company was first formed twenty-five years ago, but beyond transitioning from tape to digital, Greenroom Films has evolved massively.

I joined Greenroom fresh out of college, at 19, having studied TV production, as a production assistant. I loved it and I just couldn’t believe what I was doing was a real job. Don’t get me wrong, I grafted… But ultimately, I couldn’t believe I was being paid to be part of making films or commercials. After climbing the rungs internally, to become a producer, I took over the company as part of a management buyout in late 2018 – I was 28 by then. That marked a new era of Greenroom Films. Or ‘The Revamp’, as we called it.

The day I became the owner of Greenroom Films, I literally wrote one sentence in the middle of a bubble chart (I must have been in the middle of reading ‘How To Run a company for Dummies’). I wrote: ‘Tell stories beautifully’. And that has informed all our thinking and decision-making going forward, and is absolutely at the heart of our creative approach.

That new chapter has led to lots of exciting things, the most prominent being the curation of our directors rosters, expanding our offering to London and Manchester, shooting all around the world in places like Cape Town, China, the US and doing it with a calibre of agencies and brands we only dared to dream of.

We work relentlessly hard off screen to put as much production value as we can on screen. It’s one of the reasons we have our own post facilities and team – it means we can be super cost-effective and add value to all of our projects through post production. It also means we can be really reactive to tight deadlines and deliveries.

Lee> From a post and technology perspective, we’ve come a long way since digi-beta and 16mm. Both our edit suites are fully integrated with cloud-based tools, remote workflows, and AI technologies to enhance post-production efficiency. While we believe technology cannot replace the human touch in editing, sound design, and visual composition, it does support us in meeting tight deadlines. Our focus remains on understanding the project's vision, collaborating with directors and producers, and creating impactful, emotionally resonant work.

LBB> As an independent, female/LGBT-owned production company, how do your values shape the work you produce and the talent you nurture?

Lucy> Our values are at the heart of everything we do; they have to be. We prioritise inclusivity, diversity, and authenticity in both the stories we tell and the talent we nurture.

We want to be telling stories that reflect a vast range of human experiences, especially those that are often under-represented in advertising or mainstream media. As a female/LGBT-owned company, we make it a point to showcase narratives that reflect our own experiences and the lived realities of marginalised communities. This acute and unwavering focus on representation ensures that we are part of shaping a more inclusive industry where every voice matters.

In my sixteen years working in advertising, I could count on one hand the amount of times I’ve received a script that featured an LGBTQ+ person or couple when it wasn’t narratively relevant. Then, a couple of years ago, I got a set of scripts from TBWA/MCR for Beaverbrooks the Jewellers, written by the wonderfully talented Becci Nadin. One of the scripts was about a couple with a newborn baby who are navigating new levels of exhaustion and sharing the never-ending night shift called ‘The 2am Club’. And for no reason, the couple was two women.

Me and my wife had just had a baby, and it is probably the most seen I have ever felt in advertising. I cried when I read the script and I think I’d have cried again if we hadn’t won it. That feeling reminded me just how important it is to create visibility in advertising for under-represented communities.

Andrew> As a member of the LGBTQ+ community, I feel that the company's values align closely with my own, and I believe this is a crucial aspect of any workplace. It’s something I take great pride in to be part of.

LBB> The advertising and film industries have traditionally been male-dominated. What steps are you taking to support and develop female directors in this space?

Lucy> Recognise and acknowledge their talent. Engage with them, offer guidance and support, and actively advocate for their work. Make sure they have a seat at the table, and continue to do so consistently.

Mike> In addition to having over 10 female directors on our roster, we’re constantly seeking out new female talent to collaborate with. Beyond directors, we take pride in maintaining a diverse crew on all our shoots and make a conscious effort to balance traditionally male-dominated roles, such as female DPs and camera teams.

LBB> Can you tell us about some of the female directors on your roster and the kind of work they are creating?

Lucy> I’m so proud of the female directors we represent on our roster, something we’ve spent years carefully and organically building. All our female directors are super varied in terms of their tone of voice, their genre, their aesthetic, and their level of experience. Some are super commercially experienced, some very much emerging talent and others fall somewhere in between. Here’s just a few of the talented women we represent:

Imogen Harrison: Imogen’s work feels so immediate, so raw, so intimate. Her casting and performance are always approached with an authenticity and nuance that I so admire. We shot a hate crime commercial together for the police and watching her work with the cast in both pre-production and on what could be a very triggering set (a cast that included people from ethnic minorities, with disabilities, as well as trans and gay) was a wonderful thing. She was sensitive, warm, and reassuring. Her look and feel is deep, textural and rich with an observational-meets-commercial aesthetic.

Lauren Midwinter: As well as being an incredible director, Lauren is one of the nicest people I’ve probably ever met in this industry. Lauren tends to create character-driven narrative commercial work. She has a nose for a compelling story and a skill for building larger-than-life characters in the shortest of times. Her work has a detailed, stylistic, and visual tone, and she is wonderful at working with talent, thanks to her immiserise director’s training at Drama Centre London.

Indigo Bates: Indigo is a woman of the world and that can very much be felt through her international work for global brands. Born and raised in London, she’s spent the last ten years living in Paris, Buenos Aires, and NYC. Her work always feels poetic and charming, her visuals always rich and premium. She’s hugely versatile and can go from doing comedy narrative commercials for dating app ‘Hinge’, to a branded documentary piece for ‘Moet & Chandon’.

AINS: AINS is known for her highly art-directed, painterly approach to filmmaking. She treats every frame like a work of art, crafting statement visuals with a polished aesthetic that demands attention. She’s a director who strikes that rare balance between style and substance. Beneath that stylised aesthetic is a rich, conceptual approach and emotional weight in her storytelling.

LBB> What challenges have you faced as an independent production company, and how have you turned those challenges into strengths?

Lucy> Right now the production and advertising industry are rapidly evolving, where just about everything ‘traditional’ by way of process has changed and with that there are a number of challenges and new learnings.

That aside, I’d say since we extended our offering beyond Scotland and to London and Manchester, more often than not, we will be the underdog or smallest production company on a pitch. I quite like being the underdog though, a David amongst Goliaths. Rather than let it unsettle me, it sort of ignites that fire in my belly – the one that made me want to own a production company in the first place.

To be sitting at the top table with some of these big and iconic production companies is flattering, to win work against them is exhilarating.

We’re an intentionally agile and boutique production company. We have smaller overheads, so we can bid more economically. We can be reactive and quick in our decision-making. If you’re working with us, it’ll feel like a true partnership, and you’ll have a consistent and personable relationship with the production team. They’ll know your dog’s name, how you take your coffee, and ask how your trip to Margate was after a bank holiday weekend.

As an independent production company, we also have the creative freedom that comes with not being part of a big group structure. We can be bold, innovative, and experimental.

LBB> You describe yourselves as “creative dreamers and problem solvers.” Can you share an example of a particularly bold or unconventional project that embodies this spirit?

Lucy> A commercial we made for Play OJO called ‘The Tarot Card Con’. When we first got the script for this from the guys at McCann, we loved it, and knew our director Richard Hunter was perfect for it. The creative lean into Neo Noir, and we love a genre-leaning ad over here. Once we’d won the job, we had to figure out how to produce it.
The budget was pretty ‘challenging’, and the script demanded a certain level of cinematic execution and creatively, that's where we wanted it to be. It also had to look like it had been shot somewhere like New York or Chicago. We couldn’t travel overseas due to budget and both that and lead times ruled London out. It needed some sharp problem solving to bring it all to life.

We were founded in Scotland, so we have shot in Glasgow countless times and have great relationships with the location teams there. Glasgow actually inspired NYC’s grid system, so with a few tweaks, it can very easily resemble an American city and we knew this could be the perfect solution. It was very much a project where we lacked in budget, but we made up for it in hustle and ambition.

Hilariously, Harrison Ford was shooting only a couple of streets away from us for ‘Indiana Jones’, and the locals were wildly disappointed when they realised they’d been hanging around the wrong set for hours.

Mike> Problem solving comes part-and-parcel with every project. Quite often, creative ideas are bigger than the budget, which means we have to take a pragmatic approach to achieve the objectives of the agency and director.

I would say that the ‘WREN’ commercial that we did at the end of 2023 certainly embodied the spirit of ‘creative dreamers and problem solvers’. We worked closely as a team with the director, the agency, the art department, the studio, and our suppliers, to bring the vision together both on time and on budget. Building six large kitchens in two studio spaces comes with its challenges!

LBB> Your work spans TV commercials, branded content, and social campaigns. How do you adapt your storytelling for different platforms and audiences?

Lucy> I think storytelling is a universal thing. I know different platforms will attract different demographics and age groups, and that the way they consume stories may be different but ultimately, a well-told story is a well-told story.

Mike> Each brief that comes in has its own goals and requirements that need to be achieved. We adapt to each brief, by offering up a selection of directors, all with different specialities, approaches, and niche talents to help bring the script to life. Some of them have a more cinematic, filmic look, while others may have a more comedic approach. We also work closely with the agency to get a feel for what they want to achieve from the film, and incorporate their ideas into production, casting, and style.

Lee> Know your audience. That storyteller adage couldn't be more appropriate when talking about content and platform type. Understanding a campaign directive, working with clients and agencies to know who the target viewer is, is vitally important when storytelling. Having an insight into the viewers background, interests, and perspectives of the people you are telling a story to, helps us tailor the work appropriately.

LBB> Greenroom Films has recently launched Greenroom Content. What inspired this move, and how does it fit into your broader vision for the company?

Lucy> Greenroom Content is a result of recognising and adapting to a changing market and making sure Greenroom is still accessible to agencies and brands at different levels. We wanted to ensure we were offering scalability, from creating global brand TV commercials to targeted social content.

Greenroom Films will always remain our more traditional advertising arm, whereas Greenroom Content can service the more agile content-based work (or commercials with more challenging budgets which can only be done with a more nimble approach).
The vision for the company has and will always be about telling stories beautifully. Big or small. For TV or for TikTok.

LBB> What kind of brands and clients do you love working with, and what makes an ideal creative partnership for you?

Lucy> I like working with good people who either have, or back, great ideas. ‘Sexy’ scripts over ‘sexy’ brands any day. Nothing is more thrilling to a producer than getting a brilliant script drop in your inbox and knowing you’ve got the perfect director to elevate and deliver it.

For a good creative partnership to thrive, I think there has to be trust, respect, transparency, consistency, and good humour. Production can be a pretty stressful environment where you’re constantly juggling integrity, timescales, and budgets, and to work with people who can keep a cool head, have a sensible conversation, and respect the process can make even hairy moments feel totally manageable.

Andrew> I enjoy working on charity projects or initiatives for social causes because the clients are always deeply appreciative, and there’s a strong philanthropic value throughout the entire process. I like to believe that this sense of purpose resonates with the entire crew as well.

Mike> We love working with brands and clients who think big, bold, and creatively. There is no better feeling than sinking our teeth into a juicy, collaborative project with lovely people and it's always a huge bonus when everybody from client, down to production, is singing from the same hymn sheet.

LBB> Looking ahead, what are your ambitions for the future of Greenroom Films, and how do you see your role in shaping the next generation of filmmakers?

Lucy> Our ambitions are both bold and humble. I want us to keep telling impactful stories, attracting unique directors, and, in turn, receiving interesting briefs. To continue having the opportunity to shoot all over the world with truly talented people. For Greenroom Films to continue to thrive, and for Greenroom Content to gain momentum.

I see our role as both a mentor and a facilitator for the next generation of filmmakers. It’s about creating opportunities for emerging talent, providing guidance, and ensuring they have the support and resources they need to develop and experiment with their own tone of voice. There are new talented directors on both our films and content roster who I’m really excited about; their potential is huge.
By collaborating with fresh talent, we continue to push boundaries and contribute to a more diverse and innovative industry.