Crafting Stories That Shine: Meet the Founders of Goodhouse Films

Joffrey> I’ve been directing since 2011, starting as part of the duo Wolf & Lamm before branching out on my own. Working as a freelancer has been an incredible adventure, allowing me to collaborate with a range of German and international production companies, agencies, and direct clients. Each project shaped my vision of what a truly great production company should look like – not just for directors, but for everyone involved.

Over the years, I’ve learned a lot from both the successes and the challenges. I have immense respect for producers and the production process as a whole. Filmmaking is so much more than balancing budgets or keeping track of expenses; at its core, it’s about communication and connection.

Every project introduces a new team with unique styles and priorities, and that’s where producers shine – ensuring that everyone feels heard while preserving creative freedom. And let’s not underestimate the value of being a good host. Smooth communication is crucial, but making sure the process is enjoyable for everyone is just as important.

Leonel> Directing in the USA has been a game changer for me. They have an incredible way of supporting directors, with ‘The Client is King’ as a guiding principle. It’s about truly understanding the client’s needs. In the States, every detail is carefully considered, and everything comes together in a pre-production meeting held just a day before shooting.

I’ve tried to bring some of that approach into our own production model. For instance, we love creating custom websites for each project and using tools like Figma to maintain smooth communication between departments. Transparency and making the process enjoyable for our agency partners are always top priorities.

Joffrey> From the beginning, we wanted to do things differently. Instead of signing a long roster of directors who struggle to get work, we focus on ensuring each of our directors lands at least one job per year. Collaboration is at the heart of what we do – we love working with friends and creatives who share our vision. For example, we’ve been collaborating with director Nina Aaldering since the early days, and we’ve created some fantastic work together .

Building strong relationships like that has not only enhanced our creative journey but also the projects we produce. Staying flexible and focused has allowed us to choose projects that genuinely excite us. In today’s constantly shifting world, our commitment to creative integrity and teamwork keeps us moving forward.

This philosophy has helped us to create standout campaigns for global brands like Swatch, Hugendubel, and Loewe. These projects have captured the attention of the advertising industry and enabled us to forge strong relationships with both national and international clients.

Leonel> Some of the most successful production companies were founded by directors – I’m thinking RSA, Canada, Hungry Man and Tool of North America to name a few. Our journey has shown us that while passion and a commitment to creative filmmaking are essential, directors don't always make the best producers. It’s easy to get so caught up in perfecting the creative vision that the practicalities, like budget, take a backseat. 

Teaming up with producers has been so rewarding, it creates a collaborative solutions-focused approach that sparks creativity and leads to fantastic films. These partnerships have inspired us to step into the producer role ourselves. We now actively review budgets and manage responsibilities, merging artistic integrity with practical production oversight. This balance allows us to create a sustainable and thriving production environment while staying true to our creative roots.

Joffrey> One major perk of being a director and an executive producer is the ability to communicate more effectively with directors on our projects. Having been through the directing process myself, I fully understand the creative challenges directors face. This shared experience cultivates a sense of collaboration, where we can have meaningful conversations about creative visions, roadblocks, and potential solutions.

As an EP with firsthand directing experience, I can offer insights and support without overstepping. This builds trust, making it easier for directors to share their ideas and concerns openly. Ultimately, this teamwork leads to a more cohesive production. By addressing issues head-on and remaining aligned with set creative goals, we can balance artistry with practical logistics. My background as a director has really enhanced my role as EP, strengthening communication and partnerships across the filmmaking process.

Leonel> At the start of our journey, Joffrey and I were constantly brainstorming ideas for the kinds of films we wanted to direct. Around that time, I connected with a marketing exec at Swatch. Fueled by our vision, we took a leap and edited a mood film – with no brief, no commission, just our enthusiasm driving us forward.

Swatch is still owner-managed and doesn’t rely on a large agency, so this gave us a rare opportunity to pitch our concept directly. Incredibly, within six weeks, we launched a global campaign, delivering a huge array of assets – from TVCs to standout videos displayed in iconic locations like Times Square and Tokyo’s Shibuya. We even managed to produce a Christmas campaign, all in the middle of the COVID-19 pandemic.

This client marked a major milestone for Goodhouse. It showcased our ability to handle high-stakes, large-scale projects and gave us the confidence to tackle ambitious challenges. And proved to us — and to others — that we could seamlessly blend creativity with efficient execution, even under pressure.

Joffrey> Our experience with securing book retailer Hugendubel story has a similar story and showcases the importance of having a clear vision and acting decisively. I’d been nurturing an idea for a film and finally took the time to write it down. After refining the concept, I reached out to Sarah Victoria Orlandi, Hugendubel’s marketing manager, on LinkedIn and to my surprise, just three weeks later, we were on set, ready to bring the idea to life.

The process was incredibly rewarding. We debuted the film on Nowness as an unbranded piece with an English voiceover, giving it room to stand out and gain traction before Hugendubel adapted it for their brand campaign. This approach highlighted the film’s creative strength and its flexibility to align with the client’s branding, which led to amazing results in a short timeframe.

Leonel> While media platforms and content formats constantly evolve, one thing remains timeless: a compelling story, well told. We may not claim that every project embodies this ideal, but honing the art of storytelling is at the core of what we do.

Our commitment to storytelling began early. We’ve invested in creating short films like ‘NOW OR NEVER’, which we shot in New York and showcased at international film festivals. We’ve also explored documentary filmmaking, with projects like the acclaimed Nowness film ‘Forcadas’, which tells the story of young female bullfighters in Portugal. Beyond that, we’ve produced a pilot, ‘Dirty Hearts’ (featuring David Schütter and José Barros), and are currently developing several long-form narratives.

Joffrey> We don’t see storytelling as a separate niche to our work – it’s integral to everything we do. Projects like the ‘Barbie’ film and ‘Air’ have increasingly proved how interlinked advertising, brand communication and entertainment are. Nothing elevates a brand quite like a powerful story. For us, storytelling is more than just a creative pursuit – it’s a strategic tool that connects brands with audiences in deeper, more memorable ways. 

LBB> As directors and CEOs, how do you both balance nurturing and creatively growing your directors while steering and strategising for Goodhouse?

Leonel> After a bumpy start, we’ve finally established an efficient – and most importantly, cost-effective – setup that allows us to take on big jobs without stress, even during the slower months. While those slow times are rare, knowing we’re prepared gives us peace of mind. Last summer is a great example: we successfully managed three major projects with multiple shooting days across three different countries, handling everything either in parallel or back-to-back without breaking a sweat.

Our set-up is practical yet flexible. We operate from small shared office spaces in Düsseldorf, Berlin, and LA – where I’m partially based – and work closely with a dedicated team of freelance producers. We’re selective about the projects we take on, prioritising those that offer maximum creative freedom or support meaningful causes, like our ‘SOS Kinderdorf’ film. Of course, we also value projects with solid budgets – ideally, it’s a balance of both!

Joffrey> It can feel daunting to turn work down, especially in today’s uncertain economy. But staying true to our principles is essential. Being patient and waiting  for the right projects is key. Since Goodhouse has provided us with an additional  income stream, we feel more relaxed as directors in this competitive industry. This financial flexibility allows us to choose projects that align with our vision and pass on ones that don’t, meaning we can strengthen our strategic direction. 

LBB> Goodhouse has built strong relationships internationally, working in Austria, France, and the US. In practice, how do you work across such diverse markets?

Leonel> We’ve never thought of ourselves as just a German production company, especially not in today’s globalised world. So many campaigns now cater to multiple countries and we really enjoy working within this interconnected landscape. We’ve got solid clients in France, Switzerland, Austria, Italy, and Spain, and we’ve even received inquiries from Japan!

This international approach enriches our work and exposes us to different perspectives, allowing us to create diverse and impactful content. Our directors hail from all over, and our team is a dynamic mix of talents from varied backgrounds. It’s this nl;emd that fuels the creative energy we bring to every project!

LBB> What distinguishes Goodhouse’s approach to storytelling and production from other film production companies in the industry?

Joffrey> Our business model is built on low overheads and maximum flexibility, which means we can assemble the best creative teams for each project and bring in specialist collaborators across departments. Unlike traditional setups, we’re not limited to in-house staff, giving directors the freedom to collaborate with their preferred creatives. We’re dedicated to supporting their choices while also contributing our own creative expertise as directors. This approach ensures high-quality work at competitive rates.

LBB> What are some of the pieces you're most proud of creating since Goodhouse's launch?

Joffrey> We’re proud of many of our projects, but Swatch and Hugendubel stand out because we were so involved creatively from the beginning. Working without an agency presents its own set of production challenges, but collaborating directly with clients means we can be more creatively free, without the constraints of any agency-client policies. At the same time, we’ve really valued working with creative partners, like we did on the last Congstar campaign; with Antoni on Mercedes’ G-Class spots in 2023, and many other projects. Some of the most enjoyable moments come from projects we’ve created independently, like music videos, short documentaries, and pilot episodes. Those projects give us the freedom to 

LBB> Looking to the future, what is your vision for Goodhouse, both in terms of creative ambitions and expanding its reach in the global market?

Joffrey> While we’re not focused on expanding in size, we’re keen to explore more international markets and strengthen our presence in our home market. We have some exciting feature film and series projects lined up for next year, along with some fantastic collaborations. Overall, next year is shaping up to be filled with opportunities and exciting changes for us!