Trevor Banbury
The Boathouses
The biggest changes in the estate agency business over the last 30 years has been the development of online sales, where In the past, sticking it on the portals and hoping people would call - it's not enough now
From being a seller, a buyer, an agent, for Trevor Banbury - Sitting on different sides of a property transaction, the unique perspective gathered over 30 years in the industry changes everything about the advice he gives about property.
The story behind the film
Trevor Banbury and I had been working together for a while before we ever sat down for an interview. I'd filmed his properties, learned how he thought about spaces, understood what he valued in the way a home was presented on screen. By the time we finally got the interview in the diary, I already knew there was a compelling story to tell — I just needed him to tell it.
He didn't disappoint. Trevor is one of those rare people who comes across on camera exactly as he does in person — measured, direct, completely natural. There was no warming up period, no finding his feet in front of the lens. He simply spoke, and what came out was thirty years of genuine experience distilled into something that felt both authoritative and deeply personal. A furniture maker from Devon who walked into a Bloomsbury estate agency one day on a whim and never looked back. An agent who has since sat on every side of a property transaction — as a seller, a buyer, a renovator — and whose advice is shaped by all of it.
The shoot ran a full day. A sit down interview of an hour or two followed by a full property shoot to capture everything the edit would need. The challenge wasn't the interview — that took care of itself. The challenge was the property. Getting enough coverage from both the air and the ground to convey the scale of what we were working with, while making sure every shot served the brand story rather than just the listing. Aerial and ground footage had to work together — the wide establishing shots earning the intimate detail shots, the visual language of the property complementing rather than competing with the story Trevor was telling in the interview room.
Unlike the Millett project, everything came together in a single day. No return visit needed. The edit became an exercise in building a narrative section by section — taking an interview rich with insight and experience and finding the through line that connected his personal journey to his professional philosophy. The film doesn't lean on a single dramatic moment. Instead it builds — industry observation to personal approach, personal approach to earned perspective, earned perspective to what that actually means for the people trusting him with their most valuable asset.
The result is a brand film that feels less like a marketing piece and more like a conversation with someone who has spent thirty years doing this properly — and has the results to prove it.
