Q: Hi Ed. Could you give us a brief run down of your background, what you have been doing recently, what your doing now etc?

A: After studying Media Production at university and working as a camera trainee in the industry – including on the BAFTA winning Peacekeepers – I chose to pursue writing and completed an MA in Screenwriting at the Northern Film School in 2003.
I have recently joined Laura Rourke at Independent Talent and just developed a screenplay with the UK Film Council after winning the last round of their 25-words-or-less scheme; the genre for which was Teen Hitchcock. I have several film and television projects in development and under consideration. I’m 31 and currently living in Hertfordshire.

Q. What attracted you to the pitch for Negotiating Life?

A: I think it was simply that I immediately thought of the idea I put forward and thought it could make a funny and uplifting feature film.

Q: What was the thought process behind your brief? Was there any particular issue you wanted to explore within the confines of the pitch?

A: I suppose I liked the idea that a guy gets to see his version of heaven and is desperate to get back, but finally decides he wants to live a little first. It’s a kind of Christmas Carol journey a la Groundhog Day.

Q: Who/What are your main influences? There seems to be an independent American film grounding running through your brief?

A: I have a very eclectic taste in movies. For this I immediately thought of Groundhog Day as an apposite tone, and I love that movie. But I might try and squeeze in some lines from Double Indemnity. That doesn’t really answer your question.

Q: Do you think there are enough for opportunities for new writers to showcase their talent in Britain?

A: Tricky one. I’ve got nothing to compare it with. Of course there could always be more and there should be a lot more competitions, but the script isn’t quite as sacred here as it is in the US.

Q: We seem to be in the midst of a massive change in the way films are both made and distributed, the Movie Mogul Fund is an emerging model vying for position, what do you think of it? (BE HONEST, ha ha)

A: Well, we’ll have to wait and see. If it can finance this film, which I believe could be really good (and funny), then it’s done its job well and how it’s financed it won’t matter if the film takes off. I know Faintheart has recently been made in a similar way and am awaiting its release.

Q: Suicide is not an immediately humorous subject, how are you going to handle this?

A: There are certain kinds of suicide I can’t go near – such as death by cop - or something too nasty like wrist slitting. But there’s a sequence in Groundhog Day in which he tries to commit suicide and it’s not at all dark. Though there will be suicide attempts throughout, after the first act they will be more unexpected.

Q: Do you relish the collaborative process with the Director?

A: Really depends on the director. I relish it if we see eye-to-eye. Of course, a bad film can be made out of a great script, but a great film can’t be made out of a bad script.

Q: Finally, big fan of Belinda Carlisle?

A: I’m determined to make that the film’s theme tune.