Edgar Wright Quotes
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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.
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I definitely went through a period when I was a teenager when every girl was 'The One' and every break-up was the 'Worst Thing That Had Ever Happened.'
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I just remember watching 'Brass Eye' and being so utterly blown away by the scope of it and how much it managed to cram into an episode.
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I was at art school that had quite a celebrated film course as well. I tried for that film course when I was 18, but they said I was too young. I tried this audio and visual design course instead. Two years later, I reapplied for that higher course, but they said I was still too young and to try in five years.
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'Scott Pilgrim' is something that was a little bit more difficult to put in one box. But, to me, that's not necessarily a bad thing about the movie.
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The idea of fighting your new girlfriend's ex-lovers, 'Street Fighter' style, is the ultimate geek wish-fulfilment.
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I love the Zucker brothers' films - 'Airplane!,' 'Top Secret' and 'Police Squad!' - are my formative experiences.
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Comics have years to explain this stuff, and in a movie, you have to focus on one thing. So it's about kind of streamlining, I think. Some of the most successful origin films actually have a narrower focus.
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I think the premise of somebody trying to recreate a night from their teenage years stuck with me as something potentially very tragically comic.
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Usually if I find a film that's challenging, that I'm intrigued by, I want to watch it again knowing what the ending is. I found that with something like 'The Godfather Part II.' I think it took me three watches to fully experience it in the way it was intended.
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Television was essentially my college.
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I have this theory about science fiction movies in that, when the space race sort of died, a lot of people sort of lost hope.
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When I was younger, I used to love Tim Burton's 'Batman.' I was, like, 15, and even then, I was aware, 'This is really the Joker's film.' It's like, the Joker just takes over, and Batman, you really don't learn too much about him.
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I'm very happy with my life and career, but I do find myself having serious attacks of nostalgia, and I don't quite know why. Even though I've got to travel the world and do amazing things, I still want to go back to my teenage years and change little aspects of it. It's strange, but it does continue to bug me.
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I think you write the film that you want to see, and you try and do it honestly, and you can't control people's responses, really.
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I think, 'Scott Pilgrim,' it was something where the general audience didn't necessarily understand straight away what it was.
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You cannot put 50 years of the Marvel universe into a movie. It's impossible.
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I'd rather try and cram in another two gags than leave a pause to say, 'Hey, wasn't that bit funny?'
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My parents used to talk about Sergio Leone films a lot. And I got really into them. I love Clint Eastwood. I love the camera angles. I love the music.
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It's a very rare and fortunate position to be able to make movies with two of your best friends who happen to be really amazing actors and writers.
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Occasionally, you'll get a 'District 9,' a film that is politically charged, but there is nothing going on beneath the surface with a lot of horror films. They are not about anything.
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'Don't Look Now' is a masterpiece. I think it's the best-edited movie of all time. I adore it.
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Maybe directors who are more interested in realism and naturalism come from cities, where they see things on their doorstep every day. But growing up as a kid in a very pretty but ever-so-slightly boring town, where not a great deal happened, encouraged me to be more escapist, more imaginative, and more of a daydreamer.
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When you're struggling to get a feature film off the ground, there's no big overarching tenure plan or anything like that.