About – Will Simpson

Film & TV Editor ·
Projection Designer ·
Creative Lead ·

Over two decades shaping stories for screen and stage — from BBC documentaries to Broadway productions and brand campaigns for Disney, PlayStation, and BMW. Based in the UK, working internationally.

Known for storytelling that blends craft editing, cinematic rhythm, and design-led thinking.

I like projects that sit between worlds — theatre that behaves like cinema, commercials that play like stories. The tools keep changing, but the job doesn’t: make it clear, make it move, then move on.

I work best when the brief’s still half-formed and needs shaping — turning scattered ideas into something that moves cleanly from thought to frame. I’m as interested in process as in outcome, and I like finding small, smart ways to make complex work flow better.

Most of my
work disappears

The work I make has always been about rhythm: finding it, shaping it, then getting out of its way. Whether it’s a projection filling a theatre or a six-second film made to stop a scroll, the goal’s the same — build the moment so cleanly that the craft disappears. I’ve spent twenty-plus years learning how to disappear properly.

My practice moves between film, television, theatre, and design — sometimes separately, often all at once. The boundaries were never clear, and that’s the point. Projection taught me about scale and composition; television about patience, silence, and timing; advertising about speed and precision. Each feeds the others. I think in images, but also in rhythm — where to cut, where to hold, when to let the story breathe.

In theatre, I’ve designed projections that transform architecture into story, from regional stages to the West End, Dubai Opera House, and Broadway. The Kite Runner remains a landmark: a visual language built to carry memory, collapse distance, and make a kite soar through air and emotion at once. In television, I’ve edited documentaries and drama for BBC, Channel 4, ITV, and Arts Council England, learning that pace is invisible until it’s wrong. In commercial work, campaigns for global brands like Disney, PlayStation, BMW, and SharkNinja have to land fast and clean — storytelling compressed into seconds, with clarity doing the heavy lifting.

Across all of it, the pattern is the same: movement. Between disciplines, tools, and ways of thinking. The work shifts, but the pursuit stays constant — finding structure in light, rhythm in story, and emotion in design. Now I’m exploring what happens when those worlds merge; when a brand film borrows the emotional logic of theatre, or an AI-generated sequence finds a human rhythm.

The questions keep evolving. How do we keep intuition inside machine-led workflows? How do we tell stories across twenty markets without losing nuance? How do we design systems that still feel personal? The work moves fast, the questions are strange, and the canvas is bigger than it’s ever been.