"Tracey always used to say to me, it's not depressing to talk about death, it actually releases you. To talk about what you are going to do and how it will feel. That's why she always said it's the greatest gift you ever have, knowing that you are going to die."

For most, death is something that comes at the end of a long life, a distant certainty that is largely ignored, often unspoken and unquestionably feared. However, for David Gledhill, this distant thought that niggles at the back of everyone's mind became reality, as the 15 year battle his partner fought with Cystic Fibrosis came to an end on the 17th April 2012, aged 47. Three months prior to this David had sat down at his desk to pen some ideas, and within 10 days, these sporadic thoughts formed the basis of a script.

"I remember I wasn't in a very happy place because Tracey wasn't very well and I was getting more and more scared about where things were going," he explains. "I couldn't talk to her about it because we both knew that she was dying, but neither of us wanted to say anything. I remember just sitting there at the computer and thinking about the conversations we were having. About her wanting me to carry on living after she died and the things I'd do."

It was these conversations, some of the last that David would have with Tracey, that have been so delicately woven into the first feature length film from himself and long time friend and director Kerry Harrison. The film title comes from the mantra that Tracey so defiantly lived her life by: We're Here For a Good Time, Not a Long Time.

When you begin to unravel the story of this awe-inspiring film, you start to understand how such an affecting and grief stricken reality was utilised, transformed and shaped. Into a film that acted as not just an artistic outlet for bereavement, but a coping mechanism for its writer. The film itself follows the main character, David, as he embarks on a journey in a camper van around the Lake District, a year after the passing of his soul mate. Interspersed with scenes from therapy sessions, the feature is a brooding analysis and imagining of how writer, David Gledhill, thought he would cope with the passing of Tracey.

"I think it was me writing how I'd like to be, and obviously the weirdness comes with Tracy dying and us making the film and living the same thing at the same time," says David. "But I then realised that they are quite different. Although, I did buy a camper van in real life and ended up selling it. It was all a bit of a disaster, I think I was trying to follow the film a little bit."

In November 2012 the pair took a crew of six people to the Lake District, just seven months after the passing of Tracey, to complete the daunting task of filming 22 locations in 12 days, with a budget of £10,000. All the while, David tried to cope with his emotions as his very own bereavement was unfolding behind the camera: "There are certain scenes, like the therapy scenes that we did before the Lake District. A couple of those were quite hard, I remember as I was watching the scenes being shot, I sometimes would try and go elsewhere in my head and try to completely ignore what was going on."

What's interesting is how David's real life experience and his character's in the film were starting to drift apart on set. He explains: "I could see that my experience of real bereavement was a bit more, probably complicated is the best word. So it started to feel a little bit easier because I could see that it was slightly different to how I was feeling. It meant that I could disengage a little bit." However, he still struggled to overcome some elements, like the moment his character meets Liz by the side of the road. "Anybody that knows Tracey quite well who has seen the film says Liz is like Tracey. I obviously wrote her as the person I would want to meet after Tracey, but she's kind of like Tracey," says David. "I don't think it was on purpose, I just think it was because Tracey was a dominant, gobby so and so."

Elements of Tracey's personality and her influence on David are evident throughout the film. Just the simple fact that David has opened up to discuss his own grief and vent it through the process of film making is something that can be credited to her. "I don't think there are many people that you would have those conversations with. I've had a few friends that have lost their partners and they are just like, 'you talked about it?' But that's all we ever did, and to be honest I didn't want to talk about it. It was like a joke where I would say, 'I don't want to talk about your death again.' But she would always reply, 'Tough fucking shit, we're talking about it!'"

For David, while still immersed in his own grieving process, it was vital to have the right crew around him. This meant that his old friend and professional photographer Kerry took the role of Director. "I always remember thinking Kerry was the only person I could do it with because he knew Tracey and he takes beautiful pictures. I knew it had to be beautiful because there wasn't much dialogue. The landscape almost had to be another character and I'm not sure that anybody else could have done that," he explains.

Prior to being asked by David, Kerry had moved into making a lot of short documentaries about artists with an acute awareness of how to work in a way that gave emotional and heartfelt results, but without the need of big crews and budgets. Coming from a musical background, and with Kerry having no real experience of feature length film making. It was very important for him to approach this project in a different way, one which felt right to him and at times completely ignored preconceived ideals of film production.

"We talk a lot about music and this idea that sometimes you get an amazing band that come from nowhere and they haven't got any money, they don't come from music college and they don't have this, that and the other. Yet they can create something that can appeal to people all over the world," says Kerry.

The pair likens the project to a debut album, both of them unwilling to compromise on anything at all, while producing the film with a tiny crew and a budget that would make most people in the film industry keel over laughing. "At first when Kerry was saying all of that - because I'm not as au fait with all the technical stuff - I remember thinking, well it sounds great," says David. "But we know a few people in the film industry that thought we were genuinely crazy." Many would approach such a project with so little money with slight apprehension, but for him, it just felt right.

One overarching theme throughout our conversation is a true love for the project itself. For Kerry, "It was the first chance in a long time that I could do something that really meant something. I read the script and was crying when I got to the bit on the shore, so I thought I have to give it a go. I can't be given an opportunity like that and say no. I might not have got one like that ever again."

David explains: "That's why we have been really relaxed about it because we have actually achieved the very thing we wanted to do, which is to make the best film possible, that we wanted to watch for that amount of money. It's never happened before to me and will probably never happen again."

Although the pair are happy enough to simply take pride in the completion of the project, with a relaxed approach to its release, their intentions for how they want the film to impact on people are clear. "I'm a very different person now from when I first met Tracey. She had a massive impact on me. And a very deliberate impact, as she told me later on. She always just said to me, 'You were a work in progress, I knew I had to put a lot of effort into you.' I think she's not very English at all in this way, that's why I think that is her in the script, trying to get people to talk about death," says David.

The pair believes that the very British way of dealing with death, to ignore it and clam up when the subject is broached, is the wrong way to approach it. "There were lots of people at the screening coming up and telling me about their experience of someone close to them dying and what it meant. That's good; that's a really good thing," says Kerry.

As our conversation draws to a close the realisation hits that Tracey's impact was evident in our discussion from the very moment it begun. At no point do David and Kerry touch on the morose, with Tracey's name being met with glee and laughter, as David takes pride in sharing her stories. Just as she had said, death doesn't always have to be depressing. Still, David never seems to find the words to sum her up, yet her character and its impact on both of their lives is felt strongly enough without the need for verbose adjectives. "I wouldn't have wanted to go through what I went through without making the film at the same time; it really saved me I think. It was such a nice thing to make," says David. "There was loads of stress, but it's honestly the best thing I've ever done in my life."

It may have been Tracey's death that inspired the narrative to this story, yet it was her life and its palpable influence on David that no doubt led to the completion of the project.

"Tracey had always said to me, you're still relatively young, you can still have a wonderful life and you can still be happy. And I never believed her, but that's started to happen with my life and I'm like, fuck! She was right."