An Interview with Simon King

If you don’t know who Simon King is, go away. Or read this. He’s a Canadian comedian from Vancouver who moved to London, England last year, but has been back in Canada touring and regularly doing shows around Vancouver for the last several months. It wouldn’t be out of line to compare him to the likes of George Carlin, Bill Hicks, or Sam Kinison. A fast-paced, bombastic and powerful performer, King demolishes audiences with comedy sets equal parts dark and silly. Doug Stanhope has called him “Wicked fucking funny,” and the late, great Robin Williams has said “Having seen Simon perform many times, I have been incredibly impressed with his unique talent. From everything I have seen, Simon is truly a gifted comedian.” Below are a few questions I annoyingly emailed him and he graciously replied to, verbatim. This is not in any way a definitive or delving interview, but I enjoyed the brief conversations we’ve had, and he’s a great, thoughtful person. You really must not miss the opportunity to see Simon King live. For all Simon King links and media, please see the end of the interview. Please enjoy my mediocre attempts to sound funny and insightful to one of Canada’s top comics.

Hey man, thanks again for doing this. I’ve seen you around Vancouver a few times and watched some of your stuff online and you’re really great. I was actually at your going-away show last year. It was phenomenal. We took a picture together haha. How is touring going? How does it feel to be back in Canada after nearly a year away?
Thanks! Yeah that was a fun show, I think a lady passed out, I hope from laughing but it was likely beer.
It’s great to be home, there’s a lot to miss about Canada and sometimes you don’t realize that when you’re here all the time but when you go away you really appreciate what this place is. Not just from a living point of view but from a comedy perspective too. You see, in the UK headline sets are usually around twenty minutes in the clubs. You can do longer sets but that’s usually when you do your own shows or previews for the fringe festival in August. So when you deal with club crowds, even as a headliner, you don’t get too much time. This presents two problems: firstly it makes it hard to work new material in club setting. You can work your material at open mics and indie shows but when you get stuff to where you want to try it in front of a comedy club crowd you need to work it into an already tight set and getting much of that done in twenty minutes is hard.
The other thing is that in that much time it’s hard to hit really high degree of difficulty material. You can’t just show up on stage after they’ve had two or three acts who have been very funny but more whimsical and then just hit them with high concept or social commentary material. It’s a lot to ask of a crowd, even one that’s there for what you do, so you can’t do that right out of the gate. They have to get to know you before you take them down that road, it’s better for everyone when they have a chance to adjust to what you’re going to do. Not always but it’s a better way to do it.
I bought and watched “FURIOUS” [Simon’s latest special available at] to help prep for this, so there will be a lot about that at first. First, would you mind telling us a bit about the special?
So you’re the person who bought it, haha. Thanks for giving it a watch, there’s a bit of a back story with it for sure. At the end of 2013 I recorded the original version of Furious at the Rickshaw theatre in Vancouver, a big punk rock style theatre in the worst part of town. We had a great camera crew and a full room for both shows. Really went about as well as you could expect it to go but when all was said and done massive audio problems caused the footage to be useless for a wide release. I was a bit bummed out about that and kind of turned my back on it thinking it was a lesson learned. I moved on and stopped doing most of that material in favour of newer stuff. Fast forward to 2015, early in the year as I was preparing for a move to the UK the opportunity arose to retape it, I didn’t really do the material any more so I’d have to relearn most of it at that point and also find a venue, the usual deal. I walked into this really cool dive bar in Calgary one day and was immediately taken by the location, perfect spot to shoot a bootleg style version of the same set. I’m a bit of a punk rock style comic so it made perfect sense to shoot the thing like a bootleg music video. We went with two cameras in a small room, no audience shots and a real hard cut style with the editing. We originally recorded two shows of just over an hour each but after the edit was done and I went a bit crazy with the scissors we got it down to about forty five minutes, more of a club set. Still, I pack a lot of material in that amount of time so the value for dollar is still there haha. It took a while to edit because I got the raw footage literally one day before I got on a plane to the UK so finding an editor, getting the sound sorted etc all took a long time. I also had a weird mental block with wanting to put anything out, not sure why but I just felt almost too self conscious to release it, that’s over now and I’m very eager to record the next one which will hopefully happen late in the year or early 2017.
You began with a great routine that seemed very odd and off-kilter, but morphed it into a commentary about American media, specifically Fox News. Were those two disjointed thoughts that came together, or did it just morph into that?
I had, for a long time, liked to start my sets with something that will push the audience into an uncomfortable spot. So maybe something very dark, or shocking. It was an exercise in learning crowd manipulation to push people towards a point. One day in the summer it was terribly hot out and I joked with another comic that I bet I could get the crowd to agree the sun was the worst thing ever. You know, as an exercise in crowd control. So I got up on stage and just riffed this thing about how much I hated the sun and people went nuts on board with it, the problem was while I was doing it I realized there was no pay off so I just made a point at the end to prove how easy it is to push people into certain ways of thinking with a strong enough sell.The Fox news propaganda relation was an easy one to make and it hit hard. It’s one of those pieces that lets me test their response to my energy, the ability and wilingness to follow me down a weird path and then their acceptance of the bait and switch at the end. It’s one of my favourite pieces because of how much it backfoots the crowd, that’s why you can only ever do a bit like that off the top. Before they know what to expect of you. The whole “war with the sun” bit stayed almost exactly the same from that first day I did it. I have a habit of doing that as my strength is very much improvisation around a point and that’s how I write so I tend to try to keep it as close to when it was fresh as I can. Tweaks here and there of course but the heart of it is always as close to when I first said the words as I can.
You said “I would rather watch a man shit into a camera lens every week than watch Fox News.” So… a fan of Trump?
Hahaha I’m no fan of Trump but in some the way I admire him. You’ve got a completely unqualified man, saying anything he wants and hoodwinking a huge section of the American population. He’s not a legitimate contender but he’s clearly very good at trolling a whole country. I don’t think for one second he actually wants to be president, that sounds like an actual job and far too much work for a guy like him. The fame of it appeals to him of course and I think it’s a shopping cart full of concrete he was pushing down a hill for the fuck of it and it got away from him. I mock politics, he’s doing the same thing by taking part in it.
CNN is on at work ALL. THE. TIME. I’m not sure which is worse – at this point it should be called TNN; Trump News Network. What role does the media play in the stupification (trademarked) of America? Being Canadian, what do you find, if anything much, is the difference between American and Canadian media.
Well mainstream commercial media is always at the heel of those that pay the bills. So if you’re a huge advertiser with a network they’re going to try to avoid telling the story on the news of how you spilled a bunch of acid in a small country and burned some babies until they looked like stewed prunes. If they push that story you may not advertise with them anymore or you may go out of business and not advertise with them anymore, either way the media company loses money. Now these are not new ideas and anybody knows this so we can look to publically funded news particularly to have less bills to pay in the “you scratch my back” department. However, public broadcasters and their news outlets still have bosses so although they can be more fair, in the case of the BBC in the UK and the CBC in Canada they still have biases. No news is completely balanced because it’s unwieldly and boring to tell the whole story most of the time. We cut stuff down to make it saleable. Anytime something is on your TV someone is paying for it to be there and as such they have a dog in that fight. Public broadcasting helps but it’s still at the mercy of the government in charge and the high ups in the organization itself. No news is honest but it can be a useful tool as an appetizer so you go out and find the meal of the story yourself. People need to want to know more, if they just take what’s given to them, no matter how good the intention behind it is, they will never get the whole story.
Later in the special, you talk about the prejudice of people who claim their jobs are being stolen, usually by the feared ILLEGAL IMMIGRANTS (cue organ music, thunder and lightning). However, I’m pretty sure it’s the case that job loss has a lot to do with jobs being outsourced overseas. And these same people are the ones voting for politicians with very close ties to the large corporations that are taking away these jobs. What role does Fox News, CNN, et al. play in getting people to vote against their own interests; to rally for what they’re angry about? And to what degree are people responsible for their own ignorance? It’s the information age; at this point, it’s really a choice.
Well yeah, like I said before, it comes down to the comfort of ignorance. Most people don’t wanna know. It’s too much for them to deal with, they got kids to get to school, a minivan that needs a windshield, their boss is being a jerkoff, so they don’t have time or desire usually to sit down and really look at why things are the way they are. I sometimes think that expression “idle hands are the devil’s playground” is actually more about saying if you give people time to think, they may actually think. Which is bad for power as we all know. However a lot of people do want easy to digest answers, even if they aren’t true. So they’re given those and with that little bit of knowledge they can cling to something that gives them satisfaction. It doesn’t matter if things are true, it matters if you can sell them. The news, the politicans, power in general sells ideas they want us to buy and most people don’t look past the easy answer because, well it’s easy. The day somebody nailed shit to a church door was the first day power started to realize they need to control what we think with propaganda not just with physical force. You can kill a person but an idea is nebulous and indestructible. So they change the idea. They even let us think it’s not an idea they want us to have sometimes. They’ll give up ground on tiny battles to make us feel like we’ve accomplished something. Like legalizing weed. That’s not a fight we need to really be spending our efforts on when there’s so much else going on. People are fanatical about having legal access to something that is essential a recreation thing. Yes there are medical applications but most people just want to get high. So they get active about a non issue when there’s so much else we need to change. That issue gets changed a bit and then they sit back on a nothing victory. Keeps them from fighting the real fights. Misdirection is another form of control and the system in place does it so well.
Through all the times I’ve seen you, I noticed as quick as your delivery is, there is an equally quick change between serious, dark, divisive issues, and really goofy, silly material. Is this intentional where you might feel yourself focusing too much on something, so you feel you have to change it up? Or are you more like a train; just going where the rails lead; a more organic evolution?
It’s a bit of both. Nobody wants to ride a rollercoeaster that never climbs or never dips. There has to be variation so I’m aware of metering out the social commentary stuff with just enough sugar to help the medicine go down. This is an old concept in communication but it’s one that works really well. It’s got to be funny, otherwise it’s an angry TED talk so I make sure to keep it way more funny than serious. Or at least to make the serious funny enough to get by and still be entertaining. Now, if you talk to me in person you’ll find I’m very much like that anyway. So it is organic because we can have a social or political discussion with great gravitas and then I’ll be doing an impression or a character or making jokes because humour is part of my communication naturally and always has been.
There are American flags on everything! And it’s a very USA phenomenon; beyond sports teams, you don’t really see that anywear (pun fully fucking intended). I saw a guy at work yesterday with American flag shorts; Land of the Free, Home of My Balls.
Haha oh god. They hate when you burn the flag because it’s not patriotic but they’d put the stars and stripes on a fly swatter if it made a buck. “FUCK YOU FLY THIS IS AMEICAN JUSTICE!” Yeah, they market the country to themselves constantly. It’s a real insecurity thing. It’s like all the time they keep asking themselves “we’re the best right?” and the answer is always “WE’RE THE BEST! LOOK AT THIS FUCKING FLAG!” They’re not the best in almost every measurable sense but they maintain that illusion because it’s part of how the empire works.
You did a bit about how tigers are extremely endangered, and are less dangerous than bankers. You think if we bred tigers to eat, we could get their numbers up like cattle? Or just fed them bankers?
Let’s eat bankers. Lot’s of them are fat and delicious and have no muscle tone from never working physical labour. They’re basically lumps of veal in suits. That would make them behave hey? If you damn near destroy 3/4 of the world’s wealth then we eat you. Sub prime rib. Hahaha.
Did you really go to flight school?
Yup, I was good at it too but the school went under before I got many flight hours or finished ground school. I’ll get it one day, love aircraft and always have. I know a weird amount about early 20th century aviation, particularly WWI. I’m a secret weapon at the legion on trivia night haha.
I read this on your twitter: “My teeth are sharper than they’ve ever been and it’s such a waste because I’ve got nothing worth chewing on.” Do you feel like you’re running out of steam, or that life hasn’t been bringing you enough right now to talk about? Is it just a simple, temporary writer’s block?
That was actually in reference to opportunity and profile. I don’t reach that many people, my fan base is small and nobody outside of those who see me live really ever hear what I say. I’ve got to a point where I think I’m sort of worth listening to as a comic and there aren’t enough ears to talk to. I’m grateful for my fans because they’re loyal and amazing but I’ve been a comic for sixteen years, done multiple television, radio and festival appearance and still struggle to put people into rooms. It’s tiring.
You RT’d John Buehler “Can we stop limiting black characters to saying outlandish nonsense as a tired punch lines and start writing like they are actually people?” I think that’s a great point. I saw an example of that in the Ghostbusters trailer, where the black woman says some line that would be hilarious in 2004.
Yeah, people got so obsessed with the Ghostbusters being women they kind of missed the point that it’s pretty negative to the black character. She doesn’t get to be scientist like the others, she’s street smart. It would be offensive if it wasn’t so predictable.
Speaking of Ghostbusters, while, yes the trailer looks horrible, it doesn’t look more horrible than any other 80’s nostalgia-masturbation fodder reboot. I don’t see it being much more than ‘EW GIRLS.’ What’s your take on it?
I definitely think there are guys out there who feel like that but I think it’s been blown way out of proportion as marketing. They have a mediocre script and are remaking a movie that was beloved which is tricky. It’s likely to disappear as just another shitty redo or get panned because they’re fucking with a well loved film. So why not fiddle with it a bit and take advantage of the climate of internet activism. Women will now see it to support it even if they probably wouldn’t have seen it because it’s likely a shitty movie and men and women will talk about it constantly raising the profile of the movie. It’s brilliant marketing, get people to fight about something making them think about that thing all the time. Tie a shitty movie to an important and passionately charge movement like feminism and you’ve got a winner. Heaven help Hollywood should start making new movies not just shitty remakes and rely on quality over marketing for once.
You often espoused your admiration for Doug Stanhope, and he gave you a great review. I had a nice interaction with him when he was here last summer. He asked the audience if anyone was actually, no-kidding, diagnosed mentally ill. I figured I wouldn’t be alone and put my hand up. Apparently, I was. He then asked with what, and I said depression and anxiety, for which I am on meds. Doug says “Well, I think that just means you’re aware of what’s going on around you,” a nice callback to some older material and continues on. He asked about jobs and came back to me, and we went back-and-forth about that. Then, when I went to the merch table to get my poster signed, he yells “Hey, Crazy!” and gave me a big hug. It’s too bad he’s being sued by Amber Heard.
Ugh, Hollywood drama. I don’t think Doug would have written that if he didn’t believe it. I don’t know anyone in that fight other than having met and worked with Doug once a few years ago. He struck me as a great guy and was wonderful to chat with. Very open and you can tell when someone has empathy and kindness. Bummer he’s getting sued but there are worse things than getting sued for something you believe in. He’ll make a hell of a bit out of it I’m sure.
Now, the reason I bring up Stanhope, is you personally hold him in higher regard than Louis CK or Richard Pryor, and said that the state of famous comics is fairly abysmal. While I personally hold George Carlin in my own eye as my personal idol, I love CK, Pryor, Stanhope, Bruce and Schumer and a lot of other comics of varying degrees of fame. Jim Norton has become another personal idol of mine, for example. It’s so odd to me that people will latch onto who’s popular simply because they’re popular, and then be totally unable to defend their position. I think personal importance in your life is the biggest factor, but who’s BETTER is often an intangible; you’ll never really figure it out.
Yeah, there’s not such thing as a best favourite colour. Sense of humour is individual preference, I think I just have a low tolerance for a lot of stuff in comedy. I’m a bit of a curmudgeon that way.
Are there a lot of people who take umbrage with what you say? I can’t imagine it’s ever from people who know your work.
No, I think by and large people respect other’s opinions particularly when they’re ancient in their field. I’ve got the resume to talk a little shit at this point so that helps me get a pass but I’m rarely against the comedian themselves but more the mentality that rewards the middle ground. I hate the lauding for mediocrity that society doles out. As a species we’re really comfortable with stuff in the middle of the pack and that’s reflected in our culture. Most of the time the exceptional people are pushed outside because nobody understands them and are usually a little afraid of what they represent. If someone is exceptional it means that it’s possible to be exceptional which means if you’re not exceptional or at least comfortable with who you are you don’t want to be reminded of what could be. I don’t know if you’ve ever met a real one but it’s sort of a bummer to meet a genius, makes you feel like an idiot. You walk away going “ugh, I’m nobody compared to her or him.” So I get frustrated at that thinking and push against it. I’m a but recalcitrant if you haven’t noticed so as soon as the pack move a certain way I try to take a second, stand back and ask myself why they’re going that way and if I really want to move with them. I usually don’t.
There’s a lot of talk in the media, online, blogs and in the Vancouver Stand-up Forum about offensive comedy. At this point, it’s getting very repetitive; you know what people are going to say; free speech, problematic, punch up/down, blah, blah, blah…….. So please indulge me with your brief thoughts. I’m obsessed with it too, and as people who tread that line, it can get annoying on either side of the argument. Even though you vehemently defend common sense, there are people who would fine your ‘gay voice’ offensive.
It’s a hard topic to cover briefly but here’s the thing. You cannot control how people take what you say, only what you say. It’s up to the individual what they want to get from the world around them. Maybe two or three times in my career I’ve had someone tell me they were offended by something I’ve said and every time it’s because they didn’t get the point or only head what they wanted to hear. It’s rare and I talk about anything. Why is it rare? Well, I think people can read intent well. Also, I never say anything I don’t believe or can’t defend.
Yes there are a lot of people these days who look for identity in their outrage but also there are a lot, A LOT, of shitty comics looking to blame the audience. Stand up comedy is hard, it’s hard because you need to connect with people and make them laugh. By laughing they are handing you power, sometimes when they don’t want to. That action puts them in a vulnerable state so you have to be careful with that and lots of comics aren’t.
People have only just started to realize that when they complain in a public forum they can get attention in a very real way. There’s a feeling of minor celebrity with that. Everyone wants people to rally around them and that sometimes pushes people to get mad over nothing. Also, the world has been pretty fucked for thousands of years and the marginalized have been just that, marginalized so now there’s a very understandable backlash that can get a little tunnel vision sometimes. I’d still rather have people be a bit bitchy here and there than not paying attention at all.
As for the comics, get good at what you do. Don’t try to walk before you can even sit upright and you’ll be fine. Stand ups need to learn that maybe you and your fourteen rape jokes at an open mic are the problem. A lot of the time “comedians” bite off more than their skill set will let them chew. If you can’t swim that well don’t jump into the rapids and when you drown certainly don’t blame the water. That’s the thing though, the ego won’t let them accept that maybe they went down a road they couldn’t navigate yet and so there has to be something or someone else to blame. Sure there are touchy people out there but they are far outnumbered by the people who will give you a chance to make them laugh and say your piece if you know how to do it right. Get good or get out. It’s pretty simple.
Are you familiar with the punk band Leftover Crack? I went to a concert of theirs here a couple days ago after not listening to them for years (and will hopefully be interviewing the frontman, Stza, in the same format). They are fairly close to you, philosophically. Although, I’ve never heard you advocate killing cops.
I haven’t although that’s pretty much one of the most punk names I’ve ever heard for a band haha. Yeah, I rarely advocate homicide particularly because of the job someone does, it’s too broad a thing to say. Most cops are just people punching a clock like anyone else, the system that encourages macho fuckwits and the lack of prosecution when those fuckwits get out of line, that’s a much bugger problem. Cops got families to, I like to think most people are more than just their job unless they prove otherwise.
What have you found are the differences between comedy and acceptability in Canada, England and the US?
That’s another question that’s hard to answer in short but I’ll try. Canadian comedy is a nice bridge between UK and American styles. We usually have a healthy mix of word play, whimsy, energy, social issue, edge and point but we also do this great anti hero thing that makes us very accessible. It’s a great place to be comedically because you straddle the line and can play both sides well. I’m not sure what you mean by acceptability but if you’re meaning in terms of how open the audiences are I’d say that it’s pretty similar it just depends on finding the right key for each lock. There are certainly trends towards what audiences seem to prefer based on their cultural norms but you can make them like what you’re saying if you figure it out, which is actually really important to the job haha.
What spurred the desire to move there? Your dad is from Scouse, if I recall correctly? No interest in Toronto, Montreal, New York or LA? I really want to move to New York; my girlfriend is insisting on some land for horses to go with me haha.
Yeah my parents were born in the Wirral peninsula which is right across the Mersey from Liverpool. I was born in Sheffield in the middle bit of England and we moved to Canada when I was five. So being a citizen it made it very easy to go. Plus the UK has a great comedy scene, there’s less travel to gig compared to Canada by a long shot and way more gigs available. I needed to build a new market, my lady friend and I wanted to see some of the world and there’s no better way to get access to Europe as an English speaking comic and still make a living than the UK.
As for Toronto, I like it just fine but there’s no point in moving cities in Canada in terms of career for me. There are about a dozen or so people that keep getting all the opportunities in Canadian show business because there’s so few opportunities overall. I’m never going to be accepted by the people who make the decisions for television in this country, I’m far too risky, nobody knows what to do with me and they place it safe. It’s understandable. Hell I’ve been a pro comedian in this country for well over a decade and never even been asked to do so much as a writing job on a TV show so the option for me to grow in Canadian television, or radio for that matter, is kind of not there. Also, Vancouver is way more liveable. I was raised in the Vancouver area, it’s closer to LA and I love being out here. It’s home. Being Vancouver based and making a living as a comic on the West coast makes you strong as all hell because the audiences in Van are savvy and require you to up your game to keep them on board. Toughest audiences in the country for sure and I love it. That’s why our comedy scene produces so many absolute killers. Plus, the other comics in town tend to usually be very strong and there is more variety in style per capita than pretty much any other scene I’ve been to. Throw the hard road work and variety of comedy abilities you have to have to survive and you’ve got a sure fire way to build super strong comics.
I lived in LA for a while but came back to get better at stand up and after having my fill of the industry side of comedy about six years ago. There’s not a lot of paid work in LA so you have to tour and I never found my groove doing that in the states. A move back is not out of the question but it would be very much on my own terms and for the right reasons this time if it happened.
Last time I saw you was a couple weeks ago at the 7 Dining Lounge, and there was definitely some frustration at your place in the industry, despite you’re one of the top Canadian comics and have been on TV a dozen times. The industry is always behind the scene, like I discussed with Devin Townsend (name drop!). Where would you like to be in a few years?
Secure. That’s the thing that eats at me right now. I want to be able to be sure I can sell a certain amount of tickets when I put a show on. For a guy who basically avoids comedy clubs to get stronger and build a fan base it can be really demoralizing when you throw a party and nobody, or few people come. So I need that profile to get me to a point where most places I can sell at least hundred or so tickets across North America and into the UK. If I knew that I could throw a dart at a map of major centers in North America or the UK and I’d sell roughly a hundred tickets there for sure, that would be everything. So I guess basically I need a certain level of fame. That idea has become more acceptable to me these days. I need a louder voice to reach more people so I can do better work. With that comes security and acknowledgement. I’m not ego driven enough to need everyone to know me but it is a pain in the ass having to explain who you are, showcase, send clips etc when you want to get a spot at a place in a new town. Having profile means your reputation preceeds you and that all gets so much easier.
Please tell me impressions will be in your next special; Arnold Schwarzenneger sneezing; racist Marge Simpson.
Haha well I’ve definitely been putting more character voices and impression in my act lately. Mixing the absurd cartoony part of me back in now that I’ve got a handle on how to do it without it. So many people don’t know I have that extra gear because they’re only followed or seen my stuff in the last few years.
My girlfriend loves your Comedy Now! Special (2007?) How have you grown since then?
Thanks! That was my first ever TV gig, an hour on TV as my first thing, what a ridiculous idea. We recorded that in 2008 but they didn’t air that group of them until two years later. Even by then I hated my Comedy Now because I had changed so much. Between 2008 and 2016 is a lifetime comedicaly for me. I’m stronger, more sure of myself and my opinions now and far more skilled. The difference between 30 and 38 is big especially when you spend your time trying to become more aware and I have. I’ve learned a lot as a person in that time and that new depth, hopefully, is well reflected in my comedy. I used to hide messages behind characters and impressions. I didn’t have the confidence or the skill set back then just to say the thing I wanted to say. I think you can agree that’s hardly an issue I have now haha.
Lastly, near the end of “FURIOUS” you said “Identity is the colour of your eyes and the shit you have seen with ‘em.” Holy fuckaroni. That’s pretty poetic and hit the nail on the head. Identity politics is coming more and more prevalent, which is definitely progress, but I’ve always been of the opinion identity is what you choose; WHO you are rather than WHAT you are. White is not my identity, for example. I’m a comic, a creative person.
Yeah absolutely, you’re a collection of choices. That’s why my comedy mantra is to attack choice not circumstance. People control what they do so you can go after their conscious decision but to go after someones’ race, gender, ethnicity, handicaps etc is useless. If the goal is to help people have a realization about the world and their place in it pointing out to a guy he’s in a wheelchair isn’t going to change shit. He knows he’s in a wheelchair, that’s why his shoes always look so new. You’re not making any interesting point or shining a light on anything. However if you point out that just because you’re in a wheel chair doesn’t mean you get to make the choice to be an asshole to people. Being in a wheelchair not a choice, being an asshole in a wheelchair, choice.
The colour of your eyes thing was more about individuality. As in the eyes are the window to your soul, so that’s the colour of your soul. It’s a little nebulous but I did fall for the poetry of that line so I kept it. It is after all an art form so I took the artistic license route on that one.
Thank you again, Simon.
Thank you. Did I get the job? This is an interview for Kinko’s right?
Simon’s media:
Buy Furious:
Twitter: @unfamous
Connect with The Taylor Moorey Show:

2 responses to “An Interview with Simon King”

  1. Wow, love how in depth this is!


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

Website Powered by

%d bloggers like this: