The Directors: Salomón Simhon

Salomón was born and raised in Bogotá, Colombia. In 2002 he enrolled at the Universidad de Los Andes to study philosophy, but dropped out to pursue filmmaking. After studying at Black Maria, and the Academy of Photographic Arts Film School in Sydney, Australia, his film Sonrisa was nominated for Best Dramatic Short Film at the Los Angeles Short Film Festival. He went on to direct music videos and award-winning commercials for brands such as Toyota, Pepsi, Axe, Renault, and Unilever. In 2011 he was hired by the production company Ennova to direct commercials in Beijing, China. Returning to Bogotá, Salomón opened the city’s first independent cinema, Cine Tonalá, a cultural space where cinema and art intertwine. Simultaneously, he was commissioned by Dynamo Productions to direct the film Detective Marañón (2015). He has worked with top artists such as Nicky Jam, J Balvin, Shaggy, Karol G, Sech, Chocquibtown, among others.

Name: Salomon Simhon

Location: LA/CDMX/Bogota

Repped by/in: Panamericana

Awards: 

Official Selection, National Music Video Competition, 2017, with YO TAMPOCO (SALOMÓN BEDA). Winner of the Santa Lucía for Best Music Video in the 15th BOGOSHORTS edition.

Official Selection, National Music Video Competition, 2016, with BAILA (ESTEMAN). Winner of the Santa Lucía for Best Music Video in the 14th BOGOSHORTS edition.

Official Selection, National Music Video Competition, 2008, with EXPERIMENTAL APE (KOYI K UTHO). Winner of the Santa Lucía for Best Music Video in the 6th BOGOSHORTS edition.

Official Selection, National Fiction Competition, 2006, with the short film SMILE. Winner of the Award for Best Art Direction in the 4th BOGOSHORTS edition.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Salomon> The elements of a script that distinguish it for me typically revolve around its conveyed tone. When this aspect is effectively expressed, it has the potential to elevate the narrative, performances, and visual appeal of the resulting piece. Two types of scripts particularly captivate me: first, those in which emotion and character take centre stage in the storytelling; second, those that transport you to a divergent, transgressive, surreal, and experimental world.

LBB> How do you approach creating a treatment for a spot?

Salomon> My approach to creating a treatment for a spot involves several steps. Initially, I read the brief multiple times, specifically five. Each read-through prompts me to jot down various thoughts and ideas from distinct perspectives: my personal viewpoint, the agency's perspective, the client's perspective, the communication issues to address, and finally, a hypothetical "What if?" scenario. Following this, I use music to set the desired tone. This leads to the development of initial storyboards, which often open new avenues for both narrative and aesthetic exploration. Once I have a clear direction, I revise the treatment based on my storyboard and begin researching the best ways to communicate my vision across various mediums. If time permits, I prefer to present my vision shot-by-shot to illustrate what I imagine.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Salomon> Understanding the strategic and contextual aspects of an advertisement is crucial, especially when the script pertains to a brand or market that you're unfamiliar with or don't have a strong connection to. In such scenarios, research becomes instrumental. With a thorough exploration and understanding of the brand, not only do you open up to creative possibilities when developing a treatment, but you also gain a deep insight into the brand's essence. This allows you to present a vision that not only resonates with what the brand desires but also carries a personal touch, which makes your vision distinct and unique.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Salomon> In my opinion, the cornerstone of any successful working relationship for a director in the ad-making process is respect, followed closely by the ability to set aside personal ego and engage in collaborative efforts from day one. And it’s important to do this with everyone in the process; in this light, every relationship is important. It's critical to effectively communicate your vision to your crew, client, and agency, ensuring that everyone understands and shares your idea's visual manifestation. Once all parties are on the same wavelength, it fosters a creative environment where everyone's input helps elevate the project to its greatest potential. Misalignments can lead to complications, but it's important to note that diverse views and ideas are not necessarily negative. They can contribute significantly, provided they are directed towards achieving the same ultimate goal.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Salomon> I am deeply passionate about genre-defying content. This applies to series, movies, ads, or any other form of communication that takes audiences on an emotional rollercoaster, blending elements of drama, comedy, suspense, mystery, and perhaps, science fiction. I enjoy content that elicits a spectrum of emotions, from laughter and tears to fear and anxiety, all within the same piece. Stanley Kubrick serves as a touchstone in this respect. His films meld the profundity of art cinema, the visual appeal of commercial films, and the raw emotional power found in real life, resulting in an expansive emotional experience. Other directors who, in my view, excel in this area include Bong Joon-ho, Paul Thomas Anderson, and Chan-wook Park.

LBB> What misconception about you or your work do you most often encounter and why is it wrong? 

Salomon> One of the most frequent misconceptions I encounter is the assumption that being a Latino director might limit my ability to direct for the Anglo market. This stereotype is misguided. In fact, being Latino brings with it a depth of emotional passion which, in my opinion, makes us highly versatile and valuable in any market, including the US. This cultural richness can provide unique and compelling perspectives to a wide range of stories and audiences.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been? 

Salomon> While it's more common for the producers to talk directly with cost consultants, I have had instances where I've had to join discussions to clarify certain elements of importance. These experiences have been a lesson in negotiation, where sometimes my points of view have been accepted, while at other times, compromises have had to be made.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it? 

Salomon> One of the most chaotic challenges I've faced occurred while directing a thriller TV series during the pandemic. It was an enjoyable project, but we frequently ran into problems as shooting locations were cancelled a day in advance due to government-imposed neighbourhood lockdowns in response to the progressing covid-19 situation. This forced us to resort to alternate locations we already had access to. Upon arrival, we had to adapt on the fly, rewriting dialogues and reshaping scenarios. These abrupt changes eventually became routine, and we adjusted accordingly. The necessity for continuous improvisation with writers and actors pushed our experimental boundaries, ultimately resulting in distinct scenes and exceptional performances.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea? 

Salomon> Striking a balance between collaboration with the agency and brand client, and safeguarding the core idea is a delicate process. Ensuring everyone is on the same page is essential, but it's equally important to acknowledge that the creative process is fluid and evolution is inherent to it. Collaboration thrives on reasoned discussions; sometimes you prevail, sometimes you yield, and that's part of the journey. Filmmaking, like personal tastes, is subjective. Not everyone shares the same preferences, but that doesn't make any viewpoint inherently right or wrong. I strive to preserve my vision as long as I can, but understanding when to relinquish control is part of the process, and I am comfortable with that.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Salomon> I believe it's absolutely vital to diversify the talent pool in the production world. Inclusion of perspectives from all walks of life provides an array of unique ways of thinking and problem-solving, fostering the creation of truly distinctive visions. I am indeed open to mentorships and apprenticeships on set. Filmmaking is a craft where experience cultivates creativity and confidence, and I am enthusiastic about contributing to that growth process in others.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time? 

Salomon> Aside from cutting down on coffee consumption on set, starting to do remote directing during the pandemic, although challenging and uncomfortable, was a necessary adaptation during this period. However, it was the unpredictability brought about by the pandemic that truly shifted my creative process, forcing me to improvise more frequently. This improvisation has unlocked a variety of creative opportunities, which I believe will continue to impact my work in the long term.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)? 

Salomon> Given the wide variety of formats in which work is now presented, it's essential to consider this aspect during the creative process. However, it's a mistake to assume that a single finished piece will effectively translate across all formats. Budget and time constraints often necessitate this approach, but it's crucial to remember that different formats cater to diverse viewing experiences. Ideally, if budget, time, and creative requirements permit, tailoring the piece to a specific format would likely result in a more impactful communication. If this isn't possible, which is often the case, the challenge lies in finding a creative solution or "loophole" that allows the work to function across varying formats. However, this does not mean it will be as effective as if it had been done specifically for the format.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)? 

Salomon> I have a keen interest in new technologies, as they consistently aim to enhance the end results of our work. For instance, virtual production can be a game-changer for brands, enabling the capture of two or three times the content in a single day by allowing rapid transitions between different locations. It also presents multiple creative opportunities. I'm enthusiastic about interactive storytelling because of its ability to elevate audience engagement to a whole new experiential level.

Artificial Intelligence (AI) is an emerging game-changer that might seem intimidating, but I believe it can be a significant advantage if harnessed correctly. In my case, AI-driven visuals have proven to be an invaluable tool. They allow me to create references directly from my imagination, rather than relying on pre-existing references. When utilised effectively, tools like these have the potential to elevate our creative capabilities exponentially.

LBB> Which pieces of work do you feel really show off what you do best – and why?

Salomon> Senorita 89 

I had the privilege of directing the marketing shoot for the series ‘Señorita 89’. The aim was to creatively delve into each character's journey, utilising a more experimental approach. Here's a glimpse into one character exploration.

Dj Khaled 

Directing this music video was a formidable challenge. I received the song on a Thursday, developed and presented the treatment on Friday, and dove straight into shooting by Monday. The brisk timeline truly put my skills to the test.

Trailer Malayerba 

'Malayerba' marks my first experience directing a series during the pandemic. I'm particularly drawn to its narrative arc, which transitions from a captivating drama into a thrilling cannabis saga. The blend of these genres provided a unique and enjoyable storytelling challenge.

100 años de soledad 

'100 Años de Soledad,' the renowned novel by Nobel laureate Gabriel García Márquez, is a timeless piece of literature. I was thrilled to contribute to its legacy by directing the kick off commercial, an opportunity I cherished deeply.