Member in Focus:
Simone Goodridge

There are productions — and then there are productions. Simone Goodridge has spent her career working at the very highest level of the latter. A producer with an exceptional body of work across film and high-end television, Simone is this week's Member in Focus — and her most recent credit is The Agency Season 2 for Paramount+, one of the most acclaimed and eagerly anticipated returning dramas of 2026. Produced in London alongside an executive producer roster that includes George Clooney, Grant Heslov, Michael Fassbender and Joe Wright, The Agency is exactly the kind of production that defines what British filmmaking can achieve on a global stage. Having served as Producer on Season 1, Simone returns as Co-Executive Producer for Season 2 — a progression that speaks to the trust, expertise and creative authority she has built over the course of a remarkable career. We sat down with her to find out how she got here, what the role of Co-Executive Producer really involves, and what it takes to produce television at this level.

Congratulations on the release of The Agency Season 2. It is one of the most anticipated returning dramas on Paramount+ right now — how does it feel to be back for a second series, and what has changed for you stepping into the Co-Executive Producer role this time around?

Returning for Season 2 was a real privilege, especially because there was very little downtime between seasons. That continuity is quite rare, and it meant we could carry the momentum from Season 1 straight into the next chapter of the story.

Additionally, the step up from Producer to Co-Executive Producer was both exciting and challenging. I became much more involved in the creative conversations, working closely with the Writers, Directors and Producing team, while still managing the practical realities of delivering a complex international production.

What I enjoyed most was being part of the bigger conversations. On a show like The Agency, every decision has creative, logistical and financial implications, so having the opportunity to contribute from that broader perspective was incredibly fulfilling.

Can you tell us how you first got started in the industry, and what path led you to becoming a producer working at this level?

My route into the industry wasn't particularly conventional. Like many people in this industry, I started at the bottom and learned by doing. One opportunity led to another, and over time I built relationships, gained experience and worked my way through different roles and productions.

I was working in advertising when, through a chance introduction, I met a producer called Sarah Bradshaw. She mentioned they were looking for an assistant to the director on Entrapment, and that became my first job in film. Sarah became an important mentor, and we ended up working together for more than 20 years. During that time, I was fortunate to work on major productions including Miami Vice, Syriana, Pirates of the Caribbean, Maleficent, Snow White and the Huntsman, In the Heart of the Sea. Those projects gave me a real insight into how large-scale productions are made.

Working alongside her for so many years was an incredible learning experience. She taught me a huge amount about producing at the highest level, but also about building relationships, supporting teams and creating an environment where people can do their best work.

Looking back, my career has been built on relationships, hard work and being open to opportunities when they come along. Every role taught me something, and each step helped prepare me for where I am today.

The role of Co-Executive Producer sits at a fascinating intersection of creative and logistical responsibility. For those who might not fully understand what the role involves, can you walk us through what your day-to-day actually looks like on a production like The Agency?

One of the interesting things about producing is that there isn't a single template for the role. Every production is different, and every day brings a new set of creative and logistical challenges.

On The Agency, I work closely with Executive Producers David Glasser and Grant Heslov, and I'm involved throughout the life of the production. That can mean everything from script discussions, casting and creative development through to budgeting, scheduling, locations and delivery.

In prep, I might be working with writers, directors and the Production Designer to figure out how best to bring a storyline to life. During production, the focus shifts to supporting the creative team while managing the realities of a large-scale international drama.

Because The Agency operates across multiple territories, a lot of my role involves working with directors and location teams to find solutions that serve both the story and the production. Ultimately, producing is about bringing all those moving parts together and turning creative vision into reality. Everything involved in getting the script onto the screen touches my desk at some point.

The Agency filmed Season 2 in London but is an adaptation of the acclaimed French series Le Bureau des Légendes for a global audience — with an international cast and crew to match. What are the particular challenges and rewards of working on a production that operates across so many different creative and cultural contexts? 

One of the greatest strengths of international productions is the opportunity to bring together different creative perspectives in service of a shared story. Having spent much of my career working on global productions, I've seen first-hand how that collaboration can elevate both the filmmaking process and the final result.

The Agency is a great example of that. While London was our production base, the DNA of the show is inherently international. We were casting across multiple countries, working with talent from Kenya, Morocco and France, and collaborating with crews who brought valuable local knowledge and insight to the project.

The challenge is making sure that collaboration remains genuine at every stage. Successful international filmmaking isn't about everyone working the same way, it's about creating an environment where different perspectives can come together in service of the story. That requires listening, adaptability and respect for different ways of working.

The reward is richer, more authentic storytelling. You also benefit from the experience, innovation and problem-solving that comes from bringing together talented people from different backgrounds. It's something I care deeply about because when a wider range of voices are involved in creating the work, the storytelling becomes stronger, more original and ultimately more relevant.

You worked across both Series 1 and Series 2 of The Agency — moving from Producer to Co-Executive Producer between seasons. What did that progression feel like from the inside, and how did your relationship with the material and the team change as your role evolved?

It felt like a very natural progression. Having worked across both seasons, I was already deeply invested in the story, the characters and the wider creative vision for the show. By the time we moved into Season 2, I'd built strong relationships with the writers, directors, cast and crew, which allowed me to contribute in a much broader way.

What changed most was the level of involvement in the creative process. I became more embedded in the conversations shaping the show, while continuing to oversee the practical realities of delivering a large-scale international production.

I was also fortunate to work alongside producers like David Glasser and Grant Heslov, who created an environment where ideas were welcomed and everyone's contribution was valued. They trusted my judgement, gave me the space to have a voice and encouraged me to contribute at a higher level.

Receiving the Co-Executive Producer credit was incredibly gratifying because it felt like recognition of the work and commitment I'd brought to the series. Looking back, I'm proud of what we achieved and grateful to have been part of the show's journey as it continued to grow.

The Agency is produced by Smokehouse Pictures — George Clooney and Grant Heslov's production company — alongside Paramount Television Studios. What is it like working within a producing structure of that scale and profile, and what has it taught you about how the biggest productions in the world are run? 

It’s been an inspiring experience. Being part of a production of this scale, alongside companies with such an established track record, has been an incredible opportunity to learn, contribute and be part of a team delivering premium television at an international level.

101 Studios and Smokehouse Pictures have a real ability to combine strong storytelling with a cinematic approach to creating shows that feel elevated, ambitious and global, while still connecting with audiences.

Working with David Glasser and Grant Heslov has been particularly valuable. They bring a huge amount of experience and a deep understanding of how to build and deliver high-end television, and being part of that creative environment has been both inspiring and instructive.

For me, one of the most exciting things is seeing that level of ambition and filmmaking brought into the UK production landscape. It’s a privilege to be part of a team that is helping deliver that kind of scale and quality while continuing to build on the strength of the UK industry.

High-end drama produced for global streamers has transformed the UK production landscape enormously over the past decade. From your position as a senior producer working across these kinds of productions, what shifts have you seen — and where do you think the industry is heading, especially with increased concern surrounding AI?

I think, like any change in the industry, AI will impact different areas of production, and we need to be mindful of those challenges. But at the same time, there are also opportunities for new ways of working and new tools that could support the creative process.

Ultimately, our industry has always adapted to change, whether that’s new technology, new platforms or new ways of telling stories. The key will be understanding how these tools can enhance what we do while protecting the creativity, collaboration and human contribution that sit at the heart of filmmaking.

Representation and diversity at the senior producing level is something many in our community feel passionately about. Has your own experience as a producer shaped how you think about building teams and creating space for underrepresented voices — both on and off screen?

As a Black Woman and a Black Female Producer, representation is something I feel very strongly about, particularly because I know what it feels like not to see yourself reflected in senior roles when you’re starting out.

I think it’s important that we continue building teams that reflect the audiences we serve not just in front of the camera, but across every department and at every level of production. Bringing different experiences into the room strengthens the creative process and the stories we tell.

There has been progress, but we cannot assume the work is done. We need to keep creating pathways, supporting talent coming through and making sure people have the opportunity to see themselves in these roles.

If you can see it, you can be it and I think representation remains one of the most powerful things we can do for the next generation.

With all your years of expertise – do you have any tips or tricks of the trade that you use without fail on every job, that make your every day, just that little bit easier? 

One of the biggest lessons I’ve learned is the importance of hiring the right people. You get ahead by surrounding yourself with talented people you trust, because ultimately, you’re only as good as your team.

On a production of any scale, success comes from collaboration. It’s not about one person having all the answers, it’s about creating a team where everyone can contribute, take ownership and bring their expertise to the process.

I also believe strongly that no one is irreplaceable. As a leader, your responsibility is to build strong teams and create an environment where people feel valued and empowered to do their best work.

And after years in production, you also learn the importance of balance. The work is intense and the schedules are demanding, but maintaining perspective helps you sustain yourself and continue doing the job well.

On a lighter note — after the scale and intensity of a production like The Agency, what is your absolute non-negotiable on a long shoot? A ritual, a go-to, or something you simply couldn't get through it without?

My team. Plus, a well-stocked kitchen!

Finally, what advice would you give to someone who wants to move into producing — and what has kept you passionate about this work?

I think it’s important that as you progress in this industry, you don’t forget the people who helped you get there. You must bring others with you, create opportunities and keep opening doors.

That’s also what keeps me passionate about producing. The people, the collaboration and the fact that every production brings a new challenge and a new opportunity to learn.