It’s a joy, to work with Ed. My God, I tried to break him. The scripts for Years and Years started out nice and domestic - a house, a flat, a street, okay, we can do that - but escalated as the series went on. Within weeks, I was sending Ed pages that said ‘Concentration camp! Japanese laboratories! Slums in Calais!’ Without any extra money, naturally. But he met every single challenge with a smile and huge imagination. I think the end result looks rich, gorgeous, detailed and bold. I’m immensely proud of the show, and of everything that Ed and his brilliant teams devised.
Ed Turner is a joy to work with. At once effortlessly practical and hugely creative. What he achieved for us on the budget we had was nothing less than astounding. I’m looking forward to our next collaboration!
Ed is a fantastic designer and a joy to work with. We’ve collaborated on low budget and high end drama and he approaches all projects with the same creativity, flair and enthusiasm regardless of budget. He is wonderfully creative and collaborative and has a phenomenal eye. I look forward to working with him again soon.
Ed is a wonderful creative collaborator. Creative, flexible, and able to squeeze the most out of limited production funds. Most important, Ed has a playful attitude, free of ego, that both speeds the design process and makes it fun.
Ed Turner is a very talented Production Designer. We have just finished shooting Marcella 2 with him - he proved to be one of our best creative hires. The series bought in over 50 new cast and each episode features in excess of 30 locations or sets. Part of our brief was to create distinctive yet believable architectural/designed spaces for our victims/suspects to inhabit, in a bid to build both character and tone. Not only did Ed embrace that and set about finding interesting and characterful locations to shoot in but then went about designing and dressing them in ways that made the very best use of them for both camera and budget.In the current climate working to a budget and making the spend go further is a given but what’s more impressive about Ed is that when directors change their mind (or as I like to think come up with better ideas) or when a schedule changes or a location blows out and suddenly the designer has to turn something seemingly unsuitable into the thing that is immediately shootable - Ed comes into his own. Turning around sets and dressing them often with alarming speed always with panache and authenticity. Of course lighting and camera are imperative in the “look” of a show while Design remains the great unsung hero. I feel the same way about Ed - inspiring collaborator, great Designer.
A pleasure to work with Ed and his team. Ed has enormous energy and commitment to his work, balanced with pragmatism when needed. A good sense of humour and calm manner. He has a clever eye for the details that ‘sell’ the bigger picture, and has delivered high quality sets for Poldark which directors have enjoyed shooting on. A big thank you to him for all he delivered.