7 and 7 with Austen Taylor Pease. Our Newest Director.

At just the beginning of his professional journey, Austen Taylor Pease has already carved out a unique voice as a director. With roots in skate culture, studies in film production, and a growing portfolio that balances music videos, short films, and commercial work, Austen represents the next wave of Northern creatives shaping stories that linger long after the credits roll.

We sat down with Austen for a “7 and 7” — seven questions to get to know the director, and seven answers that capture his vision, process, and ambitions.

1. How did you first get into directing, and what was it like balancing that passion alongside your studies?

"I first got into directing through my friends who skated. They’d film and photograph each other, and I thought it was the coolest thing, so I picked up a camera. I started with photography, then moved into filming, and it became something deeply personal - almost like a ritual. By the time I started my Film Production degree, I’d already directed a few music videos. Moving to Manchester, I made sure to keep that momentum going alongside my studies - balancing assignments with personal projects, and carving out time to develop short films, a feature script, and ideas for music videos and commercials. University gave me opportunities to pitch some of these projects for coursework, so my academic work and passion projects often fed into each other."

2. Being based in the North, how does your environment shape the stories you want to tell?

"Growing up in Leeds shaped me into someone who appreciates quiet spaces. I love the energy of London, but my work is rooted in nostalgia and identity. Much of it comes from walking through my hometown and letting memories resurface - those familiar streets, sounds, and silences often find their way into my stories."

3. If we peeked into your creative process, what’s the very first thing you do when starting a new project?

"Music is where I start almost every project - it helps me tap into the creative side of my brain. If I know what I want to make, it becomes a soundtrack that guides me. But when I hit a block, I switch to silence. That quiet helps me reset, and I’ve learned to be patient with the process - good ideas arrive when they’re ready."

4. Your work is still evolving, what’s a recurring theme or visual style you’ve noticed creeping into your projects so far?

"There’s a lot of moodiness in my work, and I’m 95% sure it comes from growing up in England. I’ve learnt to embrace the moodiness - dial it up to ten - and it’s become part of my visual identity. That atmosphere runs through my short films and has now seeped into my music videos and commercial work, giving it a tone that stands out."

5. University gives you theory, the industry gives you deadlines. How do you balance artistic vision with practical constraints?

"For me, the real learning comes from making things. Essays haven’t shaped my directing nearly as much as experimenting with my own creative flow has. University gave me space to discover my voice, and the industry has taught me to sharpen it under pressure. Deadlines force me to make bold, decisive choices, but I make sure those choices always serve the story I want to tell."

6. Every director has that “one shot” they’re itching to pull off. What’s yours?

"The one shot I’m itching to pull off is inspired by a recent trip to Aviemore, Scotland. I tried clay pigeon shooting and the adrenaline rush was incredible. I’d love to capture that feeling on film - a boy firing a Lee Enfield rifle, the powerful knockback on his shoulder, the focus in his eyes. Something that looks simple but feels insane."

7. Fast forward five years: what do you hope people are saying about an “Austen Taylor Pease” film?

"How can a film be so emotionally groundbreakingly beautiful?’ I want my work to linger with audiences, crafting films that not only connect deeply but leave them with a new perspective on the world."

Bonus Question. As a new filmmaker that has just graduated, you've stepped into an advertising world where Artificial Intelligence is going to be at the forefront of certain projects. What's your view on this and how do you think you could use it in a positive way?

"AI is efficient, but efficiency is not the same as artistry. In filmmaking, what matters is the human touch, the energy, passion, and imperfections that give a story its soul.

AI-generated work might look seamless, but it will always feel hollow. Film is made by humans, for humans, and that’s the only way I want to run my projects.

That said, I do see AI as a supporting tool. It can handle the background noise - scheduling, organisation, or early drafts - so I can pour more of myself into the creative process. A supporting tool. Never the creative driver."

Wrapping Up.

Austen Taylor Pease may be early in his career, but it’s clear he’s already building a body of work defined by atmosphere, honesty, and ambition. Whether he’s drawing on the nostalgia of his Leeds upbringing, embracing the moodiness of the English landscape, or experimenting with the interplay between silence and sound, Austen’s vision is one to watch. In five years, we might all be asking the same question he hopes for: 'how can a film be so emotionally, ground-breakingly beautiful?'