The Olympic film-makers

New Moon specialises in corporate films, adverts and documentaries, and its 37-year-old founder ("married, but no children") has the kind of instant pep and vocabulary that you associate with someone who takes business very seriously. She says, at one point, "I can confirm that Paris and New York are being similarly secret" - what is this, a Cold War briefing?

Goodrich is altogether more easygoing. A handsome fellow, single, he's prettier than Spielberg and Besson, at least. He explains that he started his career at the bottom. After leaving Shipley Grammar School, he went to Bradford art college where he concentrated on graphic design for film and television.

He then moved to London and put his skills to work on Channel 4's American Football and Sumo Wrestling programmes. Following a spell with another broadcaster, Chrysalis Sports, covering Formula 1 racing, he "stumbled into advertising".

Rather aptly, Rowland found him, not the other way round. She says that three-and- a-half-years ago, she needed someone to direct a Vodafone ad, and began "stalking" Goodrich (her word). "I pursued him relentlessly, because I needed to find a director who had experience of sport and the highest production values."

Since then, he has worked on campaigns for, among others, Peugeot and Revlon. Goodrich, she says firmly, was chosen for this project because, "the 2012 committee wanted that 'high-end' feel".

Some of Britain's most famous directors started out making commercials (Ridley Scott and Alan Parker included). Yet, despite this, certain artistic types remain sniffy about "the industry". Goodrich can't understand that sort of thinking.

He feels that ads can be very creative. "We've just finished one," he says, for Travelex, starring Jonny Wilkinson and airing on TV this week, "with a shot that pays homage to Jaws, funnily enough." Spielberg, he adds dreamily, "has been a big influence".

With Rowland, Goodrich is about to move into feature-film-making proper. They have created an off-shoot company, Moongate, that has three projects "on the slate". All are about British sports. The most advanced one is called Not Out, and is based on a script by Nina Wadia (of Goodness Gracious Me fame). "We'll shoot that at the end of the year," says Rowland airily. "We're already involved in casting."

The Olympic bid film, she says, is providing a "passage" for Goodrich. "You have to think about long-term career objectives and this will be very good for Daryl."

That is if London wins, of course. "I think the pendulum is swinging our way," says Goodrich.

Rowland is more certain. "Look," she says, metaphorically rolling up her sleeves, "Paris has had a lot of practice, yes. They've done it twice before. But you can see it another way: I'm sure they're pretty worn out, flogging the same things again and again."

Crumbs. I think Rowland is actually saying what she thinks. "Yes, I really do believe London is where the next Olympics should be held." She gives a snort. "But then I would say that, wouldn't I?"

For corporate nobodies, she and Goodrich prove rather delightful. Naturally, not everyone will be behind them. Naysaying is what British people do best, and there will be plenty who feel that London's 2012 committee missed a trick in not enlisting a "name" for this project.

And, it's true, such exalted figures might have had something to offer. Guy Ritchie would have made the capital look dangerously cool. Ridley Scott would have bathed it in an ethereal light. And Mike Leigh. Well, you can imagine the opener: a Hackney housing estate, a screaming couple and a gloomy voice intoning: "There are worse places to host the Olympics. Probably."

Then again, Goodrich - with Rowland behind him - may one day become as recognisable as these figures. Come 6 July, we'll find out if his film made the difference. And should he ever get to make an Oscar speech, we'll know London made the difference for him.