Quotes from Edgar Wright

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.

The man-child in American comedies is always glorified; they never really show the darker side.

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.

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.

Some actors don't even read the stage directions at all.

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.

I think the premise of somebody trying to recreate a night from their teenage years stuck with me as something potentially very tragically comic.

'The Driver' wasn't commercially successful at the time, but when I was a teenager, I had no knowledge of that.

Television was essentially my college.

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.'

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.

I found, after the experience of making 'Shaun Of The Dead' and then returning to the blank page - because 'Shaun Of The Dead' was the first screenplay I ever wrote properly - the experience of returning to the blank page and having nothing in the drawer was intensely painful.

When we made 'Shaun of the Dead,' it was our first feature, and we were just lucky to make a film, full stop.

Every time I watch a Clint Eastwood film, I'm in touch with my feminine side, I've developed a searing man-crush on Clint Eastwood.

When you're struggling to get a feature film off the ground, there's no big overarching tenure plan or anything like that.

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.

The making of documentaries for 'Humanoids From The Deep,' 'Galaxy Of Terror' and 'Forbidden World' are absolutely fascinating.

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.

I find just in terms of free time I'm always envious of people I know who... listen to music, watch films, play games, read books. I have to pick. And I find frequently that if I've got Sophie's Choice, I'll try to keep up with music and keep up with films. So my book reading and comic reading and game playing is terrible and infrequent.

I am always watching old films and trying to fill gaps in my knowledge.

It's interesting that some people reading the comics see Scott Pilgrim as a blank slate in that they like to imagine themselves as Scott Pilgrim, so it's interesting that there are two kind of schools of thought about the character. One is, like, Scott Pilgrim is awesome. The second is Scott Pilgrim believes himself to be awesome.

I'd like to do some things over again. I never want to repeat anything that went well, though - I just want to do better at slightly different things.

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.

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.