Q: Can you tell us a bit about your journey into the world of commercial filmmaking and what inspired you to focus on comedy?

Simon: I was 19, living with my parents, with no job or real prospects when, out of the blue, I was offered an opportunity to work as a runner on TV commercials. It was an incredibly lucky break. I had no formal training. I didn’t deserve to be here. I felt like a hapless clown. And yet, there’s the focus on comedy. I will always be a hapless clown!

Q: Your work often involves creating memorable and humorous characters. Can you share some insights into your creative process for coming up with these characters and their quirks?

Simon: My grandmother was the most incredible character I've ever met. Her life motto was, 'You can have no money or job, but you will always have your personality.' She was hilarious, and her presence could light up a room. This is where my fascination with memorable and humorous characters began.

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Q: Comedy can be very subjective. How do you balance appealing to a broad audience while injecting unique and witty humour into your commercials?

Simon: Larry David said he can tell if something's funny because it makes him laugh. I feel the same way: if I laugh, it's funny. You can't be worried about whether others will find something funny. You have to trust your own judgement.

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Q: Your commercials are known for their impeccable comedic timing. Can you share some tips on achieving perfect comedic timing in your work especially when under pressure in making punchy 30s ads?

Simon: I worked my way up through editing so timing a 30s ad is something that I take very seriously. There is a real craft to it.

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Q: Many of the ads you make have great catchphrases and one-liners. Do you have a personal favourite?

Simon: Not really. Anything short! As mentioned it’s tough fitting an ad into 30s!

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Q: The use of very world-building production design is a key element in your work. Could you share an example of a particularly challenging or fun set you've executed in one of your commercials?

Simon: I loved the sets we constructed for Mr Q. Myself and my friend the DOP Ian Murray worked for days with a Bulgarian prod designer who hadn’t created anything similar before. It was really rewarding to get such great sets visualised, designed and then approved by the client.

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Q: Sound design can play a significant role in comedy-based commercials. What does it mean to you?

Simon: I'm not sure! All I know is that it's all about tone. I'm very much into crafting the right music choice. I guess I love applying a quirky, fun, silly yet serious quality to my work, and that's achieved through a combination of sound and picture. If the images communicate 'silly,' then sometimes it's funnier to put a serious music track on, or vice versa.

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Q: In the fast-paced world of advertising, clients often have specific expectations and tight deadlines. How do you navigate creative freedom while meeting client demands?

Simon: I have a lot of tips and tricks for dealing with this. If things are going badly, I've found that occasionally bursting into tears can help garner support. During a contentious pre-production meeting where we disagreed on a casting choice, I spontaneously performed 'Singing In the Rain' in front of the client. It turned out to be a real icebreaker. While they ultimately stuck to their casting choice, we all left the room on a feel-good note and the job turned out really well.

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Q: Collaboration is essential in filmmaking. Can you tell us about a particularly fun or memorable collaboration experience with a fellow creative during one of your projects?

Simon: Many years ago, I shot a commercial in the Sahara desert. There were about 30 of us. On the first night, 22 ate the meat tagine, and all 22 fell desperately ill by the morning. I was one of eight who hadn't chosen the meat option. The next day on set, most people, including an Oscar-nominated cameraman, were violently ill. That day served as a stark reminder to me of how crucial everyone's job is. No matter how hard I tried, I couldn't cover for them.

To complete the film over the next few days we all had to pitch in. Some crew returned and some left through illness. I learned the true nature of collaboration. And I’ve never eaten meat since.

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Q: Comedic trends evolve. How do you stay up-to-date with changing humour preferences and incorporate them into your work while maintaining your unique style?

Simon: I believe that the rules of humour remain constant over time. The absurdity of human suffering is a timeless theme that will always be a huge part of humour. However, what is crucial is staying up to date by recognising and addressing the influence of the patriarchy and the historical dominance of the male perspective in storytelling and humour. It's of utmost importance to respect and address gender bias and promote diversity. Unfortunately, a significant portion of comedy throughout history primarily catered to a white male audience. 

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