Based in central London and part of the Factory family, SIREN is a music supervision company whose award-winning music supervisors and producers have their ears attuned to the craft of storytelling through sound. SIREN is at the heart of a global network of composers, artists, musicians, labels and publishers, coming together to craft musical solutions for features and short films, and for brands ranging from Coca Cola, Samsung and VISA to EE, Nike, McDonald’s and Honda. SIREN’s award-winning producer and music supervisor Siân Rogers joined the company more than a decade ago, having beaten a trail through the music industry at Autonomy, Beggars and EMI.
So, Sian, how has the past year been for you?
We’ve had a really great year. The team is going from strength to strength with Joshua Gibbard winning gold for British Arrows’ Young & Emerging Talent in Craft, and Chris Christoforou winning gold at the inaugural Young Arrows for Music Supervision.
It’s also been a very creative year at SIREN with some really exciting work and opportunities; from being part of the Channel 4 rebranding to working on the newly crowned ‘Campaign’s best film ad of the year’ for the National Lottery’s 'A Christmas Love Story' and winning Silver with our first foray into the world of Straight 8.
What’s the big takeaway you’d carry over to 2023?
Collaboration, communication and teamwork. Nothing groundbreaking but you can’t underestimate how much more effective it can make you.
What’s the best idea you had in 2022 and how did it work out?
We’ve had a few good ideas this year (if I do say so myself). We’ve been saying yes to new opportunities and ideas, which in turn have definitely encouraged creativity and growth within the company. Specifically, entering The Straight 8 Shootout, which panned out pretty darn well with a Silver for the team.
What were the change-making developments in craft and tech?
There are always so many exciting new tech developments to explore. We were particularly excited by the advancement of Ambisonics when we attended the Game Developers Conference (GDC) earlier in the year and how they could be implemented and enhance VR and immersive experiences.
How has ideation and creativity evolved and responded to the real-world challenges of a very challenging 2022?
Advertising will always evolve and respond to the times, reflecting society. Even looking at this year’s Christmas spots there has been a shift to focus on and appreciate the simpler things in life (McDonald's) and helping those who are perhaps in a less fortunate position (O2, John Lewis). Even the more escapist love story in National Lottery is centred around a meet cute on a train, something that could realistically happen to anyone.
Will remote and hybrid ways of working continue to be the industry norm, and how may that impact the work, how it’s done and who’s doing it?
I think remote and hybrid working will continue to be the industry norm as it gives people more flexibility in their lives and gives a balance we didn’t know we were so desperately craving pre-Covid.
In-person will always be vital, however. You can’t explain or replicate the creative sparks, inspiration and connection that comes from bouncing around ideas and even passing conversations in person
What would you choose as the year’s best campaigns or pieces of work, and why?
Apple The Greatest from Alice Tonge and Dan Gorlov, directed by Kim Gehrig.
What. A. Film. Empowering, uplifting, brilliant.
Which Christmas campaign in 2022 won you over?
I’m not sure about ‘won me over’, because I loved it when I first saw it, but John Lewis really got me this year. It wasn’t showy, which felt in keeping with the times, and it had an important message – shining a light on children in care and promoting the charities Action for Children and Who Cares? Scotland.
I hold my hands up and say that I am 100-per-cent biased, but National Lottery was an incredible film, which we had the pleasure of working on. A classic romcom love story dreamt up by Forrest Clancy and Jay Parekh and directed by Tom Hooper giving us license to reimagine a George Michael classic with the artist Sleeping at Last.
What was the biggest surprise of 2022?
The sheer number of Prime Minsters we got through and the fact the Tories are still in power.
What trends do you see emerging as we focus on the coming year?
In terms of what we’re seeing in music there’s been a rather wonderful move to more unconventional and experimental scores this year which I think (and hope) will continue through 2023.
The sonic world is definitely becoming more of a focus in the immersive and experiential worlds, which is a really exciting thing for us. It feels like this will open up lots of opportunities to reimagine and incorporate music in new and innovative ways within these experiences.
What do the British Arrows mean to you, what’s their role in the industry and what’s the impetus behind becoming a sponsor?
British Arrows have always been incredibly special. Year after year they champion and celebrate innovation and artistry in advertising. The addition of Young Arrows this year to recognise and award up-and-coming talent only further demonstrates their dedication and importance to our industry. Being part of that and showing our support as a sponsor was a bit of a no-brainer!
What do you think will win commercial of the year?!
Apple The Greatest from Alice Tonge and Dan Gorlov directed by Kim Gehrig