At Floraison Magazine, we have always had a passion for screenwriting and filmmaking, whether that is theatre, cinema or television - it plays a core role in shaping society, how we think about specific topics, such as politics, ecological issues, world themes or current affairs. It also shapes readership in multiple ways, so when I was able to catch up with award- winning and Forbes 30 Under 30 honouree, Kayleigh-Paige Rees, it was a given that we wanted to see a fresh gen z take on the new industry and how that plays a role across the entire arts section.
Introducing Kayleigh-Paige Rees
Award-winning and Forbes 30 Under 30 honouree Kayleigh-Paige Rees is starring in Pops, directed by David Thackeray, releasing on 20th March on Amazon Prime Video. Kayleigh is available for interviews and features. A British actress, producer, and mental health advocate, Rees first rose to prominence in Sanditon and has since built an impressive multi-hyphenate career as the CEO of Raspberry Films, earning Best Producer at the National Film Awards and further acclaim for her documentary We Are Home, narrated by Stephen Fry, now streaming on Prime Video UK and Apple TV. Known for championing socially conscious storytelling through projects like We Are Home and Little Things, Rees continues to carve out a space as both a compelling on-screen presence and a powerful voice behind the camera.
Here, we sit down with Kayleigh-Paige Rees to talk about her incredibly career, and the way she views the industry, working with screenwriters and actors and how her process ultimately leads her to creating masterpieces of art.
When you first read a script, what are you instinctively looking for: structure, voice, theme, market potential, something less tangible?
I think this instinct has evolved as both I and the company have grown. As a producer, my role is fundamentally about bringing together an array of talented individuals and giving them the tools and space to spread their wings. When we first began, we were open to producing a wide range of projects, short films, features, and television, driven by curiosity and a desire to explore different formats and voices.
Over the last 18–24 months, our focus has naturally shifted toward documentary and socially conscious projects that aim to make a genuine difference in the world. Alongside this, we continue to explore narrative storytelling, stories that offer audiences both escapism and an honest reflection of life as it is. Ultimately, what draws us in are untold concepts and stories with a strong, distinctive voice, particularly those rooted in socially conscious storytelling and meaningful human experience.
At what point do you begin shaping the story creatively, and how involved are you in rewrites or development conversations?
I’m involved from the very beginning. With any Raspberry Films production, I’m part of all the creative conversations, working closely with both the writer and the director throughout development. Shaping the story is a collaborative process, and for me it starts as soon as a project comes into the company. I see development as a space for open dialogue rather than rigid rewrites, supporting the creative team to strengthen the story while protecting the heart of what they’re trying to say. My role is to help guide the project toward its fullest potential, ensuring the tone and intention remain aligned as the script evolves.
How do visual design, location, or cultural context influence the stories you choose to tell personally?
This is integral to the stories I’m drawn to, they’re never just a backdrop, but an active part of the narrative. I’m particularly interested in projects where place and culture are inseparable from the story being told, adding authenticity and meaning to the work. A strong example of this is our documentary work in Ukraine, where we focused on displaced children and families affected by the war. In that project, it felt vital not only to document the devastation, but also to show the beauty of the landscape and the resilience of the country itself. The contrast between a war-torn environment and moments of quiet beauty helped humanise the story and honour the lives being lived within it. For me, landscape and cultural context can become characters in their own right, holding history, loss, and hope simultaneously. When visual language is thoughtfully embedded into a story, it allows audiences to connect on a deeper, more instinctive level, which is something I actively look for when choosing the stories I want to tell personally.
As a producer under 30, do you feel your generation approaches narrative differently?
This is a difficult question to answer, as I don’t think I can speak definitively on generational differences in how narrative is approached. What I can speak to is my own perspective. I place a strong emphasis on self-awareness in the projects we choose and the teams we build caring not only about what we are creating, but also who we are creating it for. For me, storytelling isn’t created in a vacuum. Audience, accessibility, and context all matter, and I think there’s a growing responsibility to consider the societal impact of the work we put into the world. It’s important that projects resonate beyond the screen whether that’s by sparking conversation or contributing to meaningful social dialogue.
What kinds of stories do you feel are still underrepresented?
There are still so many stories and conversations that remain underrepresented, often because they’re uncomfortable or challenge existing systems. These are usually the stories that are hardest to tell, but also the most necessary. Silence around certain topics can allow failings to continue unchecked, which is why I feel such a responsibility toward projects that bring those issues into the light. Our next project focuses on maternity reviews and the systemic failings surrounding them, an area that hasn’t yet been explored in a feature documentary format. Despite the profound impact these experiences have on families across the UK, they are rarely given the space or depth they deserve in mainstream storytelling. For me, underrepresented stories are often those rooted in lived experience, where listening carefully and telling the story with care can lead to real awareness, and hopefully, change.
Looking ahead, what kind of storytelling world are you hoping to build?
I hope to build a storytelling world that values authenticity and impact, where the stories we tell spark conversation, and give audiences both a mirror of society and a window into lives they might never otherwise see. I want to continue supporting voices that push boundaries and create work that inspires understanding and change.
Pops, directed by David Thackeray, is available to stream now on Amazon Prime Video, offering audiences a sharp, emotionally layered exploration of family and identity. You can also catch Kayleigh-Paige Rees’ acclaimed documentary We Are Home on Prime Video UK and Apple TV. To keep up with her latest projects, advocacy work, and upcoming releases, you can follow Kayleigh-Paige Rees online here.
*With huge thanks to Liv at Kirkby PR for the information and photos.