Taylor Thomson’s Independent Film Career Reflects Growing Australian Horror Scene

Australia’s independent horror landscape has found a distinctive voice in Taylor Thomson, whose psychological thrillers demonstrate the creative potential emerging from the country’s regional film communities.

Thomson’s base in Canberra positions him within a creative ecosystem that extends beyond filmmaking into music and performance art. His recent work illustrates how independent creators are building sustainable careers outside traditional industry centers.

The filmmaker’s “Speak to Me” represents a breakthrough moment in his developing career, though Thomson himself views later projects as more representative of his artistic vision.

“There was a lot in ‘Speak to Me’ where I felt like I was still developing what I want as a director or what I want as a filmmaker, and I was still developing those communications skills in filmmaking,” he said during a podcast appearance.

Creative Influences and Methodology

Thomson’s creative foundation draws from diverse sources, including his upbringing in what he describes as a pagan Wiccan household. This background influences his approach to supernatural storytelling and his emphasis on incorporating authentic mythological elements.

“My upbringing has affected my interest in the occult,” Thomson explained. “Wiccan is a religion which is a modern reconstruction of the traditions lost in Europe during the inquisition, during the witch burnings, trying to rebirth these practices which were labeled as demonic or witchcraft.”

His writing process reflects this unconventional background through what he calls “fucking psychotic” methodology that prioritizes visual moments over traditional narrative structure.

“After I get that basic structure down, then run through it again, start to end. Chuck anything that doesn’t fully make sense. Kill your babies,” Thomson said, referencing the creative writing principle of eliminating beloved elements that don’t serve the overall work.

Collaborative Filmmaking Philosophy

Thomson emphasizes the collaborative nature of film production, crediting his success to working relationships built during his studies at the Academy of Interactive Entertainment.

“Filmmaking isn’t something that one person can do. It’s inherently a team activity,” he noted. “Unlike painting or whatever, you cannot go at it alone, and if you think you can, you are a dumb fuck to put it kindly.”

This philosophy extends to his business partnership through Evil Gazebo Media, where he collaborates with Sarah on projects ranging from music videos to documentary work. Their current focus on Canberra’s hardcore music scene represents an intersection of Thomson’s filmmaking skills with local cultural documentation.

Regional Creative Communities

Thomson’s work within Canberra’s creative scene challenges assumptions about Australia’s cultural production centers. His documentation of local hardcore music reveals unexpected creative vitality in smaller urban areas.

“The only things notable about Canberra is you can smoke weed. We make wine, we do politics,” Thomson joked, before adding that the city’s hardcore scene “is far larger than you would ever assume.”

His footage from DIY shows captures intimate performance spaces that contrast with mainstream venue expectations. “There was this sick moment where they brought the goddamn drummer out to the middle of the crowd,” he described from a recent shoot.

Industry Development and Personal Growth

Thomson’s trajectory from film student to working professional illustrates pathways available to emerging Australian filmmakers. His recognition at regional festivals provides stepping stones toward broader industry engagement.

The filmmaker’s perfectionist tendencies sometimes complicate project completion, a challenge he acknowledges while working to balance artistic standards with practical deadlines.

“I have the dumbest flavor of perfectionism, where I will refuse to do something unless I can guarantee I can do it perfect, or I will refuse to put something out until it reaches this arbitrary standard of goodness,” he admitted.

Thomson’s sci-fi horror short “A.R.C.A.” from 2024 demonstrates his continued output despite these self-imposed pressures, while his documentary work through Evil Gazebo Media represents expansion into new storytelling formats.

His Instagram account @TaylorThomsonFilm documents ongoing projects and provides insight into independent film production processes for aspiring creators following similar paths.

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