Embracing the Unconventional: A Conversation with Simone Holland

Simone Holland’s journey through the film industry has been anything but linear. From the start, she made one thing clear: her career path didn’t follow a traditional trajectory, and she’s all the better for it.

Simone attended Villanova University, where she studied journalism. But instead of following a conventional media route, she found herself drawn to visual storytelling. Without a direct path into film, she sought out ways to immerse herself in the industry. Makeup and wardrobe became her entry points—roles that allowed her to work on set, observe the filmmaking process, and establish relationships with directors and cinematographers.

Her early career started in styling before working at MAC Cosmetics, where she worked as a makeup artist. From there, she expanded into styling and costume, landing commercial gigs with brands like Old Navy and Ben & Jerry’s. But even as she gained experience in these roles, her aspirations lay behind the camera. “I used makeup and wardrobe to network, talk to directors, actors, other stylists, and makeup artists,” she explained. “It helped me understand every aspect of filmmaking while still trying to find my own voice.”

As her passion for directing grew, Simone sought out hands-on experience with cameras and lighting. She started assisting on indie sets and shadowing cinematographers whenever she could. While she loved visual storytelling, breaking into cinematography as a woman— especially one coming from the world of makeup and styling—was far from easy.

“It was very hard—a very, very hard job,” she admitted. “I come from an analytical family; my mom works with computers, and my first internship was in IT.” That background helped her approach cinematography methodically, but the industry still had its biases. As a petite woman who started in vanities—makeup and wardrobe—people often underestimated her.

“I was powerlifting at the time,” she laughed. “People worried about me carrying equipment, but I needed to prove I could do the job. I studied camera manuals, tested gear on set, and eventually got a job at Videosmith in Philly, where I could experiment and learn.”

That persistence paid off. With the support of industry mentors, Simone honed her craft, building a reputation for herself behind the camera. She immersed herself in every aspect of cinematography—learning the nuances of different lenses, lighting techniques, and camera movements that could elevate storytelling. She also sought inspiration from visual artists and experimental filmmakers, further refining her unique style.

Simone’s first documentary—a beauty-focused project highlighting seven unconventional Philly models—was her way of establishing herself as a director. She partnered with Kris Mendoza at Maestro Filmworks, gaining access to space and gear, but the pandemic derailed their premiere plans. Still, it put her on the map as a filmmaker.

Post-pandemic, she worked as a camera operator on Autisarian, a segment from FTW Philly about a father with autistic children who went back to school to help teach his son coding, which ultimately turned into the founding of the Holocdec. That project went on to win an Emmy, cementing Simone’s ability to blend storytelling with deeply human narratives. “That film set the pace for my documentary work and helped people understand my vision,” she reflected.

Her success with Autisarian opened doors, leading to collaborations with other filmmakers and organizations that valued her eye for detail and emotionally resonant storytelling. But even with accolades, she remained committed to growth, constantly pushing herself to explore new genres and experiment with different storytelling techniques. Whether through narrative shorts, commercial work, or experimental visuals, Simone continued to challenge traditional filmmaking conventions.

Simone’s filmmaking career took a major step forward when she was brought on as the director of photography for Love Machine, directed by Jasmine Lynea, which was part of the inaugural slate of films for the Philadelphia Filmmaker Lab. The following year, Simone became a directing fellow of the Filmmaker Lab with her surrealist short All That’s Left, which went on to be an official selection of GRRL Haus Cinema. “I haven’t had the most traditional background, but all of it made sense at the end of the day,” Simone shared. “I ended up exactly where I’ve been trying to get to.”

Simone left one final thought: “You can have different irons in the fire and still be considered an artist. Not everything has to be on display; sometimes the journey is internal.”

In an era where social media often dictates creative worth, Simone’s words serve as a reminder that true artistry isn’t about constant visibility—it’s about growth, exploration, and trusting the process. She emphasized the importance of taking creative risks, learning from failures, and allowing oneself the space to evolve without external validation.

Her journey also speaks to the importance of community and mentorship. Throughout her career, Simone benefited from the guidance of seasoned professionals who saw her potential and helped her navigate the challenges of the industry. Now, she hopes to do the same for emerging creatives—offering advice, sharing resources, and fostering spaces where unconventional paths are not just accepted but celebrated.

Simone continues to expand her filmmaking portfolio and commercial appeal with projects that challenge conventional narratives and elevate underrepresented voices. Most recently, she has been working on Born/Raised, a feature documentary exploring the deep connection between music, community, and identity through the journeys of three West Philadelphia DJs—all while balancing her role as Creative Producer at Honeydew Health.

Her career is a testament to perseverance, adaptability, and an unwavering belief in her artistic vision. If her journey proves anything, it’s that the most fulfilling creative paths are rarely straight—they’re winding, unexpected, and absolutely worth the ride.