Edgar Wright Quotes
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Usually, if you read a script by somebody else and there's a dense page of stage directions, people just skip through it or speed read it.
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'RoboCop,' when that came out, was like the best comic book movie ever, and it's not based on a comic book.
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There are lots of films I wish stopped at installment number one. I like 'Back to the Future Part II' and 'Part III' enough, but I still like the ending of the first one better.
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The making of documentaries for 'Humanoids From The Deep,' 'Galaxy Of Terror' and 'Forbidden World' are absolutely fascinating.
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I love horror, sci-fi and action, or I wouldn't make these kinds of movies, but those designations are Trojan horses to make these personal comedies.
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We were shooting 'Hot Fuzz' in my hometown of Wells, Somerset, and I remember looking at the dailies and going, 'Wait, there's a Starbucks in the shot. I don't remember that being there!' We had to digitally remove it; the same thing happened with a McDonald's in another scene. I had this sensation of, 'What's going on here? Where am I?'
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I remember seeing 'Gremlins' and having my mind blown and seeing 'Ferris Bueller's Day Off' at 13, and it was this hugely aspirational experience.
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Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
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When I went to college, I discovered the Sega console, and 'Sonic the Hedgehog' became very dear to me.
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When I was at school, I used to end every school day with fountain pen ink all over my hands and face and down my shirt.
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When I was a kid, I just figured we'd be living on the moon by the year 2000.
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By the time I got to Bournemouth Art College, I'd been so inspired by Sam Raimi and Robert Rodriguez and their tiny, no-budget films that I decided to do a feature-length version of 'Fistful Of Fingers.'
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Critics should think about how the opening weekend audience might want to discover some surprises for themselves.
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I've always been fascinated by horror films and genre films. And horror films harbored a fascination for me and always have been something I've wanted to watch and wanted to make.
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If you have ever driven around London and seen the amount of one way systems... they basically rubbed out all car chase crime. In fact, if you get bank robberies in the U.K., they're using scooters.
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The sci-fi movies I grew up with, the metaphor was very rich, and they used to really mean something: David Cronenberg's films, or John Carpenter's films, or the Phil Kaufman and Don Segel versions of 'Invasion Of The Body Snatchers,' or George Romero's early zombie films.
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I'm a big believer in keeping the stage directions really tight.
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I would say 'American Werewolf in London' is like an unconventional buddy movie: even if the buddy dies 20 minutes in, he still remains throughout the picture, and their partnership is one of the best things in the movie.
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When you write something, at first you might feel very defensive and protective of every single thing, but after a while, you just see what works and what doesn't. Sometimes you do test screenings, and an audience tells you that, or sometimes you eventually just go, 'Let's cut the joke out.'
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I am always watching old films and trying to fill gaps in my knowledge.
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I think it's good to have pressure on yourself. The worst crime is to get kind of really complacent.
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We need to make more original movies, and audiences would do well to support original movies for the future of the medium.
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Mel Brooks is an interesting one because he started out making films about stuff that he was totally affectionate about, like musicals, westerns, horror films, Hitchcock films. And then, as they get further on, and you get to 'Spaceballs,' then it's just kind of contrived.
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I always liked movies like 'American Graffiti' and 'Gregory's Girl.' 'Gregory's Girl' is particularly perfect because it really captures that summer holiday bubble of teenage utopia. Even though it's got a happy ending, there's a feeling that these characters may never see each other again.