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I'm Andrew Davies, a London director and DOP who films leadership messaging for GSK, Ogury and Lotus. Senior leaders are directed to sound like themselves, not a corporate script, for external audiences and internal teams alike.
GSK · Ogury · Lotus · NHS · Dogs Trust
Corporate communications film covers a lot of territory: a message from a CEO to their organisation, an executive interview for a conference or website, a founder explaining their business in their own words, an internal series giving each department a voice. What all of these have in common is a senior person who needs to sound like themselves on camera — and often hasn't done it very often.
Getting that right is a directing challenge, not a technical one. I've filmed corporate communications for global pharma companies at locations in Switzerland, for technology startups explaining their products to investors, and for manufacturing businesses communicating across sites. The same skill applies in each case. See also: founder-led video marketing for an ongoing social content programme built around this format, and training video production for internal films that need to teach as well as inform.
Case study
Post-COVID, GSK needed content for a return-to-office communications push on LinkedIn. The brief was clear about what to avoid: anything that read as a mandate, anything that felt cold or institutional. Real people, relaxed environments, a sense of warmth — but still premium enough to match the brand.
We filmed at GSK's offices in Zug, Switzerland. The session was structured to capture genuine moments rather than staged poses. The finished film remains confidential, but the stills from the shoot demonstrate the approach — and GSK used both in the campaign. The directing challenge was creating the conditions for authenticity, then stepping back.
Case study
Ogury is an ad-tech company whose product proposition is genuinely complex. The brief was to produce a CEO interview that explained the business clearly — in the CEO's own voice, not in compressed marketing language. Shot in London as a structured conversation rather than a scripted delivery, the film gives the viewer the sense of being in the room with someone who knows exactly what they're doing and why it matters.
This format — a founder-style interview that follows a natural conversational arc rather than working through a list of approved points — requires more directorial work in the question design and in the edit. The resulting film is more watchable than a scripted version, and more credible to a sophisticated audience.
Case study
The challenge at Lotus's Hethel site was structural: departments weren't talking to each other. HR needed a format that would let each team explain what they were currently working on, in plain language, accessible to colleagues who weren't specialists in that area. The answer was a series of ten short talking-head films — one per department — each running to a few minutes and shot in a single efficient visit.
Simple to shoot and easy to distribute internally, the series gave HR a repeatable format that could be extended each quarter as projects evolved. The format also worked because the people in it weren't trying to perform — they were just explaining their jobs. That directness is what makes internal communications film work when it does, and what makes it fall flat when it doesn't.
Some sessions arrive with every word approved by legal, comms, and three layers of stakeholder. I understand corporate sign-off, sensitive timing, and how different audiences shape tone. In these cases, my role is precise delivery of the message as intended — professional direction, and the highest standards of image, lighting, and sound. Autocue is available when the speaker prefers it.
Some leaders need more support on camera — help with pacing, delivery, and confidence. Not every senior person is a natural in front of a lens, and the camera can surface nerves that don't appear in a boardroom. I work with delivery, not just framing, to make sure the message feels natural and authentic without over-directing. Whatever the approach, every session is handled with discretion and the experience to make the process feel effortless.
Rates depend on speaker count, locations, and the number of finished films. Indicative ranges, :
| Scope | From | What it covers |
|---|---|---|
| Single-contributor film | £2,000 | One filming day, one speaker, edit to 2–3 minutes, with basic graphics and colour grade |
| Multi-contributor session | £3,500 | Two to four speakers in sequence, same location, individual edits per speaker |
| Internal comms series | £4,500 | Multiple short films (up to 10) shot in a single visit, delivered as a series with consistent treatment |
| International production | POA | Crew, travel, accommodation, and logistics in addition to production fees — quote on application |
The difference between a talking heads film that gets watched and one that gets skipped is almost always delivery, not content. A senior executive who has approved every word but hasn't been directed will often read that script back in a way that sounds exactly like someone reading a script. The director's job is to close that gap — to help the speaker find the version of themselves that sounds natural and authoritative at the same time. That's a different skill from operating a camera, and it's the one that matters most.
Most nervousness comes from unfamiliarity with the process, not from stage fright. A clear pre-brief, a relaxed environment, and a director who isn't in a hurry all help. Autocue is available when the message is fixed and the speaker prefers to read; a structured Q&A works better for leaders who are more fluent when speaking conversationally. The right approach varies by person — the skill is reading which one to use quickly.
A single-contributor talking heads film — one filming day, one speaker, edit to two to three minutes — runs from £2,000 to £4,000. A multi-contributor session or internal communications series with multiple short films runs from £3,500 to £8,000 depending on speaker count, locations, and the number of finished films. International productions require travel and logistics budget in addition to production fees.
Yes — internal communications content is routinely sensitive, and discretion around timing, distribution, and content is part of the standard brief. For high-sensitivity projects (pre-announcement content, restructuring communications, content not yet released publicly), the approach to crew size, file handling, and distribution is agreed in advance.
Talking heads films are typically single-use communications assets — a message from the CEO, a department update, an executive interview for a conference. Founder-led video is a content programme: multiple pieces filmed in a single day, edited over months, distributed consistently across social channels to build an audience. A talking heads film is a message with a specific purpose; founder-led video is an ongoing relationship with an audience. The two overlap — an executive interview can be repurposed for social — but they're produced differently.
Whether it's one senior leader or ten, for internal audiences or external, I'd like to hear what you're making. Email hello@campaignfilm.com or use the form below.