He has worked extensively in television, most recently writing for the new series of the award-winning BBC drama  Waterloo Road.

His play Modern Life is Rubbish was nominated for a New York Innovative Theatre Award and has since been turned into a short film starring Rafe Spall and Rebecca Night.

In 2007 Philip joined the elite BBC Writers Academy, and went on to write for a number of long-running BBC shows. He is also developing several feature film projects, including one for Liberty Films, producers of the acclaimed sci-fi film Moon.

Philip's feature-film version of Modern Life Is Rubbish was included on the prestigious 2010 Brit List, which lists the best as yet unproduced screenplays in the entire country.

What made you want to become a writer?

I began writing stories when I was very young. In pre-school, I used to write these epic sagas about Transformers. One time in assembly, I was asked to read one of these Transformers stories out in front of the school. It was so interminably long that it took up the entire assembly. No-one stayed behind to hear how it ended.

In my teens I became obsessed with Quentin Tarantino, and then at University I really got into David Mamet in a big way. They both really inspired me. I loved reading their scripts - both had such extraordinary dialogue. Then I started trying my own stuff.

What was the first play you had staged and can you describe what you felt seeing it for the first time?

The first thing of note that was on, was an early play I'd written called Coffee, Cigarettes & Paranoia. I directed a rehearsed reading of it at the Royal Court and I'd managed to get a German actor in it called Joerg Stadler, who had a major part in Saving Private Ryan. He'd been in a bunch of other movies, and he had this great scene in Spy Game with Brad Pitt. It was pretty surreal for me as a novice, to be directing someone who'd worked with the likes of Steven Spielberg and Tony Scott! But it was a great experience and it led to me getting my first literary agent. 

You've written for TV, film, and theatre, what takes longer to write?

It depends. In my experience thus far, writing TV drama episodes takes the longest in terms of man hours, simply because of the amount of rewrites that are required, which can often be between six and ten drafts for a one hour episode. In the US, it's my understanding that the writing of TV drama takes a matter of weeks (sometimes days) for one episode. In the UK, it can be several months. With the film commissions I've done, a lot of the work goes into the planning stage - if you get the story outline right, the actual writing doesn't need to take that long. 

Where do you draw material from for your plays and films?

I tend to be quite confessional as a person, and as such a lot of the inspiration comes from my own life, particularly for my plays. They are not necessarily directly autobiographical, but more a reflection on issues I may be processing or grappling with at any one time. With the film work I've done, I'll often be approached by a director or a producer, who already has an idea, and it'll be my job to bring it to life in script form.

Have you ever suffered from writer's block and how did you overcome it?

Without wanting to tempt fate, I don't believe I've ever had writer's block so far. I hope I never do. In TV writing, the turnaround is often so fast that you simply don't have time to have writer's block. Of course, there are always obstacles to be overcome when writing, but I think a lot of writers suffer a form of creative paralysis that comes from being overly self-critical of an early draft. I always try to just follow the old maxim of 'don't get it right - get it written'.  Just get a first draft down - get it finished. It may well be terrible - but that's when the next part of the process begins. Writing is rewriting. I've found that this method has managed to stave off writer's block...so far. 

Tell me about Fragments.

It was a collection of four short one-act plays that I had written. A Theatre Company called Equal Measure got in touch with me, with the idea of doing an entire theatrical event solely consisting of my work, which was incredibly flattering. It went on at the Riverside Studios last year and was a sell-out success, which was even more flattering. They've since done another one for a different writer which I believe was also very successful, and I think they want to make it a regular thing, so it was cool to be there when it first started.

You have worked with the Old Vic, what was Kevin Spacey like?

I first met Kevin Spacey a few years ago, wearing my other hat as an actor. I found him to be completely inspirational. I had been invited to participate in a workshop of David Mamet's Speed-The-Plow (which is one of my all-time favourite plays), which Kevin Spacey was running. This was incredibly special for me, because the first role I ever played on stage was that of John Williamson in Mamet's Glengarry Glen Ross - which was the part that Kevin Spacey played in the film version. So for me, to be doing a Mamet play, with Kevin Spacey, on the hallowed Old Vic stage...was a dream come true. He's been a hero of mine since I was a kid, and still is. 

How difficult is it to be a professional writer?

I think it's a hard field to break into. However, there are ways. It takes a lot of determination and self-belief, because - unless you are incredibly lucky and/or talented - you will probably spend several years having everything you write rejected, which is what happened to me. As a result you develop a thick skin. But you just have to keep going.

What are you currently working on?

I'm currently working primarily in film. I wrote a short film called Modern Life Is Rubbish, which starred the brilliant Rafe Spall, and thankfully it was a huge success on the international film festival circuit, so much so that the director Dan Gill and I, secured funding to develop it into a feature after it was screened at BAFTA. It's a bittersweet romantic-comedy about the music industry. So I'm working on that, as well as several other film projects - some are commissions, some are my own original ideas. I'm developing a new alien invasion movie which I'm really excited about, as well as a gangster film and a sci-fi cop thriller. So my slate is quite diverse. I like trying to breathe fresh life into genre cinema.

                                        

As well as the film stuff, I've been writing a lot of TV for the BBC, and I'm now being asked about creating my own original series, which is very exciting. I've also just written a brand new play called The Rules Of The Game, which I'm about to workshop with Paines Plough at the Bush Theatre. It's a dark drama in the tradition of Neil LaBute, another of my favourite writers.

As a writer how much influence do you have for castings for your plays?

Again, this varies from project to project. Usually the director and I will have a discussion about casting, and I'll have some influence on the decisions made. However, ultimately, it's important not to step too much on the director's toes. Once the script is written, it becomes their vision. 

Do you like to be in the rehearsal room?

I love to be in the rehearsal room. For me, that - and the performance - are the most joyful parts. I love working with actors and I love being involved in the creative process. However, again, it's important to only do this sparingly, and only if the directors and actors are comfortable with your presence. Often, a playwright in the room makes actors feel nervous, and it can be unhelpful. It depends on the project - I did an amazing, part-devised piece with PapaTango Theatre company, in which I developed the script in collaboration with the actors and director, so it varies.

Who have you enjoyed working with?

I've been blessed to have worked with some extraordinarily talented people in my career so far. Stuart Fenegan, the producer of Moon, hired me for one of my first film commissions, which was a fabulous experience, and that led to me meeting a brilliant director called Charles Barker, whom I've since collaborated with on numerous other projects. I've worked with Hamish Jenkinson, the creative director of the Old Vic Tunnels, who is a real visionary genius, and a brilliant young producer called Matt Wilkinson, who I met when he was at Working Title. One of my best creative experiences was with a fantastic up and coming director called Frederick Sandy - you may not have heard of him yet, but you will! My mentor at the BBC, John Yorke, taught me more about writing than I thought possible and I'm eternally grateful to him. I've also been lucky enough to perform alongside some fabulous actors - as well as my experiences with Kevin Spacey through the Old Vic, I was in a short film called KODA, in which my parents were played by Michael Maloney and Jenny Agutter, two British legends. And I'd love Rafe Spall to be in everything else I do, I think he's an incredible actor. But one of my most fulfilling working relationships is actually with my fabulous agent, Tally Garner at Curtis Brown - without her support, skill and guidance, I wouldn't have got this far so quickly. I think a good rapport with your agent is vitally important.

Who would you like to work with?

Theatre-wise, it's the usual suspects really. I love The Old Vic and I really hope I can do more work with them, and also at The Old Vic Tunnels, which is a fabulous new space. The Bush, The Royal Court, The National...and one day I'd love to have something produced at The Donmar, which is one of my favourite venues in London. I'm also very inspired by the Steppenwolf Theatre Company in Chicago, and Atlantic Theatre Studios in New York. In terms of cinema, I think Neill Blomkamp is the most exciting new director to hit the scene in a long time, and I also think Duncan Jones is a brilliant new talent. But Michael Mann is probably my favourite film-maker. There are so many actors that I'm desperate to work with in my lifetime - too many to mention. But at the moment, I'm a huge fan of Sean Penn, Sam Rockwell, Patrick Wilson and Timothy Olyphant. Also, I'm actually keen to do more TV comedy - we have such a great tradition of it in the UK. 

You have been on the judging panel for Writer's Avenue's The Final Stage, what did you think about the event?

I thought it was a great event, and I was extremely flattered to be on the judging panel. The notion of 'judging' any art form is always a little problematic, however I think we all reached a reasonable consensus, and the play which eventually won was an exceptional slice of writing. 

What advice do you have for new writers struggling to get a foot in the door?

Don't give up. And don't allow your own self-doubt to get the better of you. Just keep going. 

If you weren't a writer what occupation do you think you would be in?

Well I also act and direct, so hopefully one of those! At the moment, I've really caught the acting bug again. I also thought about being a film critic, so maybe that. I think I'd have to end up somehow connected to the arts. When I was younger I wanted to join the Police, but I would have been the worst cop in the history of the world. I used to want to be Beverly Hills Cop. Then I realised it would be much better (and safer) to just write about it!

Can you recall an embarrassing moment as a teenager?

I don't think I can recall an episode from my teens that wasn't embarrassing.

What is your guilty pleasure?

At the moment, it's watching early Arnold Schwarzenegger action-movies. The one-liners are priceless.

What item can you not live without?

I'm a huge fan of the TV show Friends, which it's also not fashionable to like. In the show, Joey has a stuffed penguin called Hugsy which he calls his 'bedtime Penguin pal'. My girlfriend managed to find me one on eBay at some considerable cost. I've now become worryingly dependent on it.

You travel back and forth from the US quite a bit, what do you like about it?

I love it over there. I think it's fantastic. I love the attitude there. The positivity. People are friendlier. I love the food and the customer service. The little differences. But overall, it feels like a culture when it's okay to be positive and upbeat and ambitious. In the UK we have a different attitude. I'm very proud to be British, and I love London, but I've always felt drawn to America.

What do you like about London and dislike?

What I dislike is the pollution, the expense, the bad weather and the negativity. What I love is the variety of culture that's constantly on offer. I go to a lot of theatre, and also see a lot of stand-up comedy, as well as movies, and London has the best of everything. Also, going down to the South Bank, especially at night, is always magical.