One person is accountable for your story.
Unicorn Studios is Henry Finn. I write the narrative and I direct the film, and those are not two people here, which is the entire point — the treatment does not get handed to someone who was never in the strategy room.
The short version
Twenty years behind the camera and in the room where the story gets decided. I directed and shot for Salesforce, Spotify, Nike, Google, Samsung and Kia — usually as director and DP on the same job. Doing both teaches you quickly whether a story is actually finished, because an unfinished one falls apart the moment you try to shoot it. The Salesforce film is still in rotation thirteen years later. The BLACKPINK × Spotify launch came off one hour of artist access and shipped as thirteen deliverables. Johnny Depp's Three Hearts Rum had to look inevitable on day one, and did.
I live in San Francisco, and the studio is aimed at the companies being built here: technology companies whose product is real and whose story is the last thing anyone decided properly.
Content got cheap. The work around it did not.
Every company can produce endless words and video now, so volume on its own is worth very little. What still takes real work is a story worth telling, the taste to tell it properly, and the trust that makes people, and the AI engines they ask, repeat it. The studio is built to do that work.
I have spent my career translating between rooms that do not speak to each other — boardrooms and film sets, founders and the people on the street who actually buy the thing. Tech companies fail at story for exactly that reason: they can explain the product to an engineer or a VC, and nobody else. The work is building the one telling that survives every room.
I'd rather turn down your launch than be the third-best thing on my desk during it.
That ceiling is deliberate. Two productions at a time, a bench I have worked with for years, and a monthly engine built on playbooks so the system scales even when my calendar does not. The limits are on this page because you should know them before you call.
Where the thinking lives
The journal is working notes, not marketing: how a shot list becomes a strategy, why the story is sold separately from the film, what an hour of artist access actually costs. If you want to know how I think before paying me to do it, start there.
Or watch the work — the case files carry the numbers.
Direct
Tell me what you are launching.
Fifteen minutes, and my honest read on whether the story is the problem. If it is not, I will say so, and we will both have saved a fortnight.
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