Edgar Wright Quotes
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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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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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If you ever watch police chases on, like, helicopter cams, they very quickly become nightmarish when you start to see the police coming in from the edge of the frame. I always find that terrifying.
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My favorite film of all time is 'Raising Arizona.' I watched it again as soon as it was over. I had it on VHS, rented it, and I watched it and said, 'I want to watch that again, right now.' I think I did the same with something like 'Goodfellas,' which is a completely different genre.
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I first saw Walter Hill's second film, 'The Driver,' as a teenager, late at night on the BBC, quite possibly sitting too close to the telly. Given that this 1978 slice of neo-noir takes place almost entirely in the dark streets of a deserted downtown L.A., it's really a perfect midnight movie.
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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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In a lot of action films, a lot of guys are driving muscle cars or vintage cars, whereas in reality, a lot of getaway drivers would actually choose, like, commuter cars and find a way to blend into freeway traffic as quickly as possible.
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You get some directors, and I can never understand it - there's a thing they call the 'video village' where all the monitors are, and you've probably seen it on set visits - I hate that! I never, ever like sitting in video village. I get either my own monitor or a hand held monitor, and I stand right by the camera.
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Tony Scott, Walter Hill, Michael Mann - I'm a big action fan, full stop. And even though Michael Mann is the more celebrated film-maker than Tony Scott, I love them both in different ways.
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There are plenty of movies that you need to chew on a bit. Movies that you return to and see something different in the second time around.
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Once people realized that, 'Hey, we're going to be left on Earth here, and everything is going to hell quickly,' sci-fi soon became about our own self-destruction.
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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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The man-child in American comedies is always glorified; they never really show the darker side.
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All of my films have been very dialogue-heavy, and that's great. It always makes it more of a challenge to market in other countries.
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I had a chance to do 'Ant-Man' in 2011.
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We got offers to make sequels to both 'Shaun of the Dead' and 'Hot Fuzz,' and they never really interested us because we like having these endings where it seems very final but could hint at some kind of future adventure that you'll never see.
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I'm a big fan of films that I grew up on and would watch obsessively, over and over again. If I didn't feel like I got everything on the first watch good, I want to see it again immediately.
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I use music to focus, like an internal motor.
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One of the reasons for me that there's no 'Spaced 3' is that I don't think you can pretend to be 26 for ever.
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I'm very happy with the response for everything I've done, but, you know, sometimes you get things like, 'Oh, 'Spaced' Series One wasn't as good as 'Spaced' Series Two.' Or 'Shaun of the Dead' is not as good as 'Spaced,' or, 'Hot Fuzz' is not as good as 'Shaun.' Or, now, 'The World's End' is not 'Shaun of the Dead.'
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I think where the criticism of videogames come from is where videogames are just Xeroxes of films, and when you get a film adaptation of that game, you've just Xeroxed something twice. I think that's where a lot of the criticism comes from - there are ultra-violent games that are already based on a million films.
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Some people are brilliant on the first take, some people are brilliant on the fourth take, and when you are doing a group scene, you kind of have to figure that out.
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I remember when we did 'Shaun of the Dead,' and when we were trying to get it off the ground in 2001 before we actually made it, a lot of people just didn't want to know.
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I know it's become an ongoing thing about whether videogames are art, and I think there's plenty of examples of things that use the form in a fascinating way. Things that are more surreal or artistic, like 'Katamari Damacy' or 'Vib-Ribbon.'