Paul Laverty talks about his approach to writing Looking For Eric.

laverty-ericQ: What was the most difficult aspect of the script?

A: Imagining the main characters and central premise is always key to any story. Although there is a jocular tone between little Eric and Cantona, I was deadly serious about trying to envisage both Eric Bishop’s detailed history and mental state when we join him.  Incidentally, in the script when we open Eric is actually stuck on a roundabout going round the wrong way again and again.  Unfortunately, on the opening day of filming the stunt driver made a mistake and collided with Eric’s car on the first loop. We were very lucky no one was seriously hurt. Ken had bruised ribs for a couple of weeks and Barry got a knock too.  (Director of Photography)  Maybe this shows it is much easier to write a script than make the film.

Although Eric Bishop pretty much came to mind in a flash we were really keen that his psychological condition was absolutely coherent. The comedy only works if we are entirely serious about his pain. I read many books which were helpful, especially one by Andrew Solomon called The Noonday Demon. It is quite brilliant. He analyses himself with impressive honesty and insight and does an entire overview of the condition, even going back to the ancient Greeks. It is clear Eric is not in a deep depression otherwise he would not have been able to get out of bed, but he is certainly going through a significant crisis in his life.

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