The Ties that Bind: Simon Cellan Jones for THE FAMILY PLAN 2

Partners in crime…

Simon Cellan Jones has built a career straddling the worlds of British television and Hollywood. From acclaimed early work such as Our Friends in the North and The Buddha of Suburbia to recent collaborations with Mark Wahlberg on Arthur the King and The Family Plan, his directing career has been defined by emotional intelligence, precision, and humanity. The son of the late James Cellan Jones — one of British television’s pioneering figures — Simon has carried a legacy that is both inspiring and complex. Yet, through his own work, he has carved out a distinct voice, one preoccupied with loyalty, connection, and the many definitions of “family." In conversation, around his Christmas sequel, The Family Plan 2, he reflects on inheritance, collaboration, and what it means to tell stories that endure.

We’ll come to the importance of “family” as a theme in your recent films. But, for those who don’t know, you come from a remarkable filmmaking lineage — your father, James Cellan Jones, was one of British television's defining directors. How do you view his legacy today, and how has it shaped your own relationship with storytelling?

My dad was a fantastic director, and obviously, his work and his approach to his work influenced mine. He loved actors — growing up, our house was always filled with these larger-than-life characters overflowing with charisma and telling great stories and holding court.  From him, I learned that actors were artists who created characters, and you just couldn't make films without them.  Not all directors like actors — some think an actor’s job is to remember their lines and not hit the furniture!  But I love and admire them, and think the best ones are brave and inventive and carry the audience through thick and thin.

Your father’s career — and what may be seen as personal complexities — must have made the idea of legacy a nuanced subject. How conscious were you of forging a distinct voice from his, both artistically and personally?

When I was starting out, I tried to avoid comparisons with my dad.  I was conscious — self-conscious — that some people might think I was a nepo baby.  So yes, I tried to work on projects that were strikingly different from the sort of shows he would do.  He would sometimes try to give me kind advice, and though I regret it now, I would make a point of not taking his advice.

In light of this, did you ever find yourself unlearning processes or even redefining yourself as a director over the years?

I didn’t go to film school.  In my early twenties, I borrowed a chunk of money and made a thirty-minute short.  Since I shot on film, it was really expensive, and I paid for the whole thing.  Every time I did another take, it would cost me £20 or £30 as film and processing were so costly.  The whole thing was more valuable to me as a director than years of film school.  I ended up selling the film to the BBC for half what it cost me — so I learnt a lot about the perils of producing as well. 

You began your career in British television, directing a variety of television from the much-loved Streetwise and Rik Mayall Presents to acclaimed dramas Cracker and Our Friends in the North. What did those early years teach you about directing actors and shaping performance?

My first job was on a soapy but brilliant cop show called The Bill.  I did two episodes, and I was absolutely terrified.  The first episode went great, and everyone thought I was really cool.  But I had a few problems on the second episode, and one day I went half an hour over schedule.  I was hauled into the chief producer's office and given a very serious telling off.  I was humiliated and shaken, but it was a great lesson that I never forgot.  I've recently worked on a few big-budget movies, but the rules are basically the same.  You have to put every penny of the money on the screen.

Simon Cellan Jones behind the camera on THE FAMILY PLAN 2.

Working across so many genres, how did you manage to maintain an authenticity while still delivering a “cinematic” energy on the small screen, where time was so limited?

Cinematic is a funny word.  Cinematic like Apocalypse Now, or cinematic like The Zone of Interest?  It's about keeping the audience involved.  My only real talent is my energy.  I get bored easily, and I want to work fast and furiously.  I want to drag the cast and crew, and hopefully the audience, headlong into the story.  Working on tight budgets and schedules filled me with a mixture of fear and joyful excitement, and sometimes that translated onto the screen.

“Half of Mark’s success is that he was blessed with a real talent and that unquantifiable secret sauce that all movie stars have.  But the other half is down to two things — his work ethic and his loyalty.”

— Simon Cellan Jones

Of course, British TV in the ’90s was often a crucible for socially grounded storytelling. How did that environment inform your approach once you transitioned to American projects later in your career, when working on projects such as Generation Kill and Boardwalk Empire?

My big break was Our Friends in the North.  It was an extraordinary script by Peter Flannery, and we managed to cast Daniel Craig, Chris Eccleston, Mark Strong and Gina McKee.  As a director, if you have a great script and cast, 75% of your work is already done.  Though Generation Kill was, at the time, by far the biggest production I had ever worked on, it had a script by David Simon, one of America's great writers, and a stunning ensemble cast.  So I was three-quarters of the way there.  In this situation, a director's job is often — don't fuck it up.  So, I drew on my low-budget experience and planned and prepared obsessively and covered every base I could think of.  Fear of failure is a powerful motivator!

After The Family Plan (2023) and Arthur the King (2024), your upcoming sequel, The Family Plan 2, is your third collaboration with Mark Wahlberg. Working back-to-back on the projects, what is it specifically that makes this special partnership click?

He’s a big movie star — but he is unbelievably easy to work with.  We like to work the same way — with a clear idea of what we want, but the ability to change and react according to what happens on set.  And we both love to work fast.  Mark’s at his best when he’s fresh and has a bit of leeway to experiment.  We often go right into shooting a scene without even a moment of rehearsal.  Plus, he comes to work 100% ready — so I know I had better do the same!

Wahlberg is known for his unrivalled commitment, along with infusing his roles with strong personal values. How does that energy not only shape your work together as an actor/director duo but also impact during the production and work ethic on set?

Half of Mark’s success is that he was blessed with a real talent and that unquantifiable secret sauce that all movie stars have.  But the other half is down to two things — his work ethic and his loyalty.  Some of our crew had been working with him for twenty years.  That work ethic and dedication is infectious — and inspiring.

Christmas vacation. The Morgans are back for THE FAMILY PLAN 2.

Working with Wahlberg as a producer, how do you balance his vision with your own directorial instincts?

Producer isn't just a courtesy title — he is hands-on and instinctively understands every aspect of filmmaking.  But he loves to collaborate.  He loves to hear other people's ideas.  He doesn't mind if people make mistakes as long as they are passionate and throw themselves into the project.  He's really empowering in this way.

I’m interested to hear if your collaboration extends beyond the projects — do you share a similar philosophy about storytelling and leadership?

We definitely keep in touch between projects.  And yes, I guess we do share a few philosophies – trust the audience, don't try to manipulate them.  Because they can spot fakeness.  We both seek a natural and realistic feel when we work together — even when a scene is heightened and extreme, he always looks to keep things grounded somehow.

“Family” — in all its meanings — seems to echo through your recent work. How consciously do you weave that theme into your storytelling?

I’ve got four children, so family is always on my mind.  Everyone in the world is part of a family, for good and sometimes for bad.  Even the most loving family members drive each other crazy sometimes.  Every family is an intense and complex narrative.

Is “family” for you a metaphor for loyalty, resilience, and connection — or has it now become something more personal?

I don't think family is a metaphor for loyalty, resilience and connection.  It IS those things — or sometimes the failure to achieve them.  And of course, there's nothing more personal than family.

Coming back to your own family’s roots in the industry, do you see filmmaking itself as a kind of family tradition, or has it become more of a chosen community?

Though there is an element of family tradition, filmmaking is a community and, when it's going well, a film cast and crew is an instant family.  It's a very seductive thing to be part of a like-minded community.  But you have to keep an eye on the world outside.  If you only exist through your work, you'll end up pretty lonely.

How do you balance sentiment and realism when portraying family bonds — especially in stories drawn from true events?

Sentiment and emotion are great and powerful sensations.  But if they aren't grounded in reality, they end up false and meaningless.

Family threat. Dan Morgan (Mark Wahlberg) confronts the villainous Aiden (Kit Harington).

How do you feel your storytelling voice has changed over the years working on each project — has it softened, deepened, or become more personal?

I used to be wilder and angrier.  I have mellowed over the years, but I still cherish a little bit of obsessiveness and passion. 

What kind of legacy would you like your own work to leave — independent of, yet in dialogue with, the one your father left behind?

I was 26 when I did my first professional directing job.  I was a young tyro, though now I would be considered part of the old guard.  But I still feel young every time I walk on set.  I don't really think about legacy, but I do want to finish every project thinking I put everything I had into it.

What would you like the audience to take away from watching The Family Plan 2 and your recent Wahlberg collaborations as a whole?

I want them to have a blast.  It's a fun, fun movie, and it captures the holiday spirit.  I'd love families to watch it together.  We're not reinventing the wheel or changing the world — but I hope people recognise themselves and their families in these movies.

You can follow Simon on Instagram. The Family Plan 2 streams on Apple TV from November 21.