Meet Edward Halstead

Today we’d like to introduce you to Edward Halstead.

Edward, can you briefly walk us through your story – how you started and how you got to where you are today.
My story of how I am changing the film industry began in the UK, where originally I had a passion for acting throughout most of my teenage years. Excelling every step of the way into University where I then began to start branching out into TV and Film, studying the essentials in cinematography, editing, scriptwriting, directing, and producing. I fell in love with and started to focus more on being behind the camera, in writing and directing, I could use my acting know-how to better myself as a director. I was fascinated with horror, studying genre and the core elements of genre-based stories. My university was very academic, I rebelled a bit by putting down the books and learning by doing. Picking up a camera and experimenting, learning through my production mistakes when editing, and then I would go again and again. I began to find my voice as a writer honing the process that best worked for me.

I was told a quote that stuck with me all through my early years as a filmmaker “your first few short movies will suck” but it’s what we learn from them that drives us to get better. I would always seek to surround myself with like-minded individuals, people who wanted to break into the film industry without a handout, with nothing but their voice and their raw talent, to help each other to learn and grow as filmmakers, however eventually I had to move on. I was in search of a masters degree in filmmaking, something intensive and something hands-on, I was drawn to New York Film Academy (LA campus). Using my experimental horror thesis, I graduated from University, I applied to NYFA and was accepted.

My journey into filmmaking took me exactly where I had to go, where filmmaking lives, LA. It was perfect, I could network as much as possible and learn the essentials to working in the industry. My work in the UK was very ultra low budget and independent. What I learned during my time at NYFA was invaluable skills to not only becoming a professional but how to maintain myself on a professionally funded set. Learning the process of filmmaking from idea creation through to completion and all of the trials and tribulations in-between. I had the chance to get hands-on with industry equipment, taking my basic knowledge from University and building upon them tenfold. I now was learning one of my most valuable lessons to have faith in team-work. I now found myself with a whole building full of people hungry and wanting to get noticed in the industry. I could learn from them and they from me; whilst working on many short films I began networking with more and more people, expanding from those I had met in NYFA. I opened my eyes to taking my knowledge in the basics of the genre and making the most of my time at NYFA by experimenting; writing, and creating in comedy, drama, sci-fi, and superhero stories. I found a love for comedy, as the world around got darker and the news somehow remaining consistently negative, I found that I could make people laugh and forget the troubles, even if for a short time.

It was interesting to have eyes on me in NYFA and expect me to worship the greats like Hitchcock, Pressburger, and Loach but my inspiration into my own projects was Edgar Wright and Ben Wheatley. I wanted to be loud and a little in your face. Most importantly, I wanted to represent a new wave of British filmmakers, I had to be original and inclusive. I graduated NYFA and could now begin to live and work in LA full time. I was thrust in the deep end, determined to swim. I took my thesis film and found people who could help me learn the ins and outs of a festival run, and my movie 1UP had a very successful festival run, going to Vegas, Comic-Cons, Kentucky, and Santa Monica.

I spent most of my time, when not going to festivals, working with some of the most amazing new talent breaking into the industry. Creating a web series (now a TV comedy show) called Caretakers. My time spent building and rebuilding this show has led me to grow so much as a writer, producer, and hopefully as showrunner on my first TV show. Going from one pitching opportunity to the next with my team has been an eye-opening experience. The amount of determination it takes to get something made with the passion that I have, I can think back to my early years as a filmmaker in University and say ‘yeah.’ The fire I had in my belly back then is still burning and only getting brighter. My journey into the TV and Film industry has only just begun. As I continue to lead Caretakers to the US TV market, I am also working on another super exciting TV show as a co-writer called The Monday Club and an exciting heavy metal feature called Chaos Remains.

Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
My biggest challenge to date was moving to LA, leaving everything I knew back home, hoping that this adventure could further my career. Although not as hard as moving to a non-English speaking country, it wasn’t without its obstacles that I had to overcome before I could call LA my home, as I can now. Running and gunning in the UK, I could wear many hats and work at my own pace and seek help from peers when needed. Right from the get-go in LA, I had to let go of that method; I had to welcome teamwork, and in doing so, I wanted my classmates, some of whom had also moved from their home country, to get the most of their experience. This way, we could learn the American way of filming together. Taking what I knew before, and in some cases, relearning it in a completely new way was eye-opening for me.

Most notably, with editing and cinematography, so stuck in my ways that relearning them from the ground up was a challenge for me, but that didn’t stop me. I kept learning, knowing that it would help shape me into a more well-rounded filmmaker, combining knowledge of both methods and being able to tap into them when needed. Also, every set I ever walk onto is an obstacle; not every set is the same, but that’s not to say it’s an obstacle in a negative way; it’s exciting. For me, it’s invigorating, coming onto a new set introducing myself to the crew so I can determine everyone’s energy to work at 100% every day. Depending on my role, it is accepting that others have their method of doing things and not interfering. What goes right on one set may go wrong on another. It’s the ebb and flow of filmmaking.

Writer’s block has always been a challenge for me, sometimes appearing as a wall that would even shock Roger Waters. That all comes down to preparation, time, and pressure; I have my process of research, treatment, beat sheet, and then writing. If I have prepared, I have a whole folder of documents that I can refer to when I find myself staring 1-on-1 with the blank white page. Sometimes time gets in the way; if you’re working towards a deadline, I may have to alter my process to get to the writing stage a bit sooner. Other times, there’s pressure, whether that be self-imposed, forcing myself to sit down, concentrate and write or from a producer, to meet the clients’ expectations and have something award-worthy in the first draft. Other times it’s a triple-whammy combo of all three, and in those times, I might question my abilities, or I might freeze, or I can do what I usually do and just keep going. Even when it’s tough, just keep going; words on a page are better than no words at all, get something down and mold it into its proper place when things slow down. Once I find that right headspace and I start writing and I can’t stop, that’s when I know; writer’s block will never stop me.

We’d love to hear more about your work and what you are currently focused on. What else should we know?
My business is building worlds that some can only dream of, filling them with characters, history, and emotion as a screenwriter and producer. I came out of NYFA with the know-how and the determination to succeed in the film and TV industry. I didn’t just want to find work, I wanted to have my name on something, and it’s been challenging; some may think I bit off more than I can chew. But, I have a big bite and an even bigger appetite. I don’t just find work to convince myself I’m in the industry; I find work and make it to send a message, to be a positive light, and a driving force for change. As challenging as that has been throughout the last few years, the TV show that I’ve created, written, and produced is hopefully on the verge of being picked up for cable television, ready for the pilot season in 2021.

The show is titled; Caretakers, we follow the misadventures of an oddball custodian at a pharmaceutical company on the verge of breaking the language barrier between animals and humans. It’s been a long time coming; through hard work and sweat, battling through many hardships in 2020, going from pitch to pitch can be disheartening, but every time I learn something new. Staying true to the message and story we want to tell, the professional insight I get only hones my abilities as a writer. The team I work with on Caretakers are honestly amazing, Andrew Scully and Cinnamon Hoobler; we challenge each other. We push each other to go that little bit further; on every pitch and every time we develop a new draft of the script.

Because of them, my abilities in writing and producing are increasing exponentially; I’m getting stronger and more determined. Taking my experience from this, my passion project, to other writers’ room opportunities. I am confident to be part of a team and showcase my abilities as a professional writer. I am being approached to join writers’ rooms as a lead writer to adapt the story for viewers not only in the US but in the UK as well; my writing experience for both markets is becoming invaluable to some. I only hope as my TV show gets picked I can continue with producing new and even more exciting projects; the opportunities that will come from this, for my team and me, will be like the opening of the gates to Valhalla.

Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
When I was first learning to act back in secondary school, I was shy and bullied, and back in 2005, “cliques” were still kind of a thing, and the drama clique had already been established long ago. However, I saw drama and acting as a release, my whole self into something, and I met Steve Eagles, epic name aside. He mentored me in understanding Shakespeare, not just learning the words but understanding the meaning behind them. Understanding the works of Shakespeare isn’t just for stage and writers; Shakespeare has inspired art, music and even been modernized in TV and Film; understanding Shakespeare should be an integral part of any filmmakers’ journey. I wouldn’t be where I am today, writing for TV, and Film if it wasn’t for Steve Eagles’ guidance, even though I don’t act anymore, I think he’d be incredibly proud to see where I am now.

When I first moved to LA, I was a bit lost, my classmates were great, but we got along about as well as Aerosmith in the ‘70s. I then met my friend, Alvaro S. Gonzalez, because of my constant butchering of his name; I have since been demoted to calling him Sebastian. But he and I became partners in crime. He opened my eyes and took me on a deep dive into comedy, I thought I wanted to keep going with horror and psychological thrillers, but Sebastian, deep down, knew I was funny, I could make people laugh with just a reaction to something. It wasn’t long before we started helping each other, guiding each other with our ideas, pushing each other to become better writers. It wasn’t only his help and guidance in the industry as to why I mention him here. He helped me conquer the giant that is LA; we explored the best parts, went to events. He made LA feel like home within just a few weeks of moving. He got me out of my apartment and showed me how much more there was to LA than just filming.

This next one is a bit of a double bill because, for the better part of two years, we’ve been a team working on Caretakers. Together we are building this behemoth from the ground up; they are Andrew Scully and Cinnamon Hoobler. We were the original writer’s room for Caretakers and the production team for Caretakers and things are greatly expanding beyond our wildest dreams with Caretakers. These two persevered with me after filming the original web series; they helped me see that the idea is so much more. We had an actual shot at making the next best comedy TV show. As the showrunner for the whole thing, I had to trust them wholeheartedly in their positions, and they had to trust me as well, to make tough decisions. I’m so lucky not to be doing this alone, we’re going through this storm together, and we’ll come out stronger. These two beautiful people are not only fantastic in their positions within Caretakers, but as we go further into the production of Caretakers, we’re expanding into new roles and helping each other learn and grow.

Also, of course, my parents. Their constant support and guidance in anything I chose to pursue has had such a positive effect on my life.

Contact Info:

• Email: [email protected]
• Instagram: https://www.instagram.com/edhalstead/
• Other: https://www.imdb.com/name/nm9123980/?ref_=pro_nm_visitcons

Image Credit:
Jose Rodriguez, Charles Ancelle, Alvaro S. Gonzalez, Aidiye Aidarbekov

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