A Quote by Edgar Wright
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've only played two sort-of slackers, in Spaced and in Shaun Of The Dead. They're different people, but they have the same kind of everyman quality, particularly as a twentysomething.
In 'Shaun of the Dead,' it's not Shaun's fault that there's a zombie apocalypse - he just has to get through the day.
Even though I didn't write 'Shaun Of The Dead' and 'Hot Fuzz,' I never felt left out of the creative process.
What 'Shaun of the Dead' and 'Hot Fuzz' and 'World's End' do is smuggle a different movie under the guise of a zombie movie or a cop or alien invasion movie. Even though they all have action and carnage, they are really films about growing up and taking responsibility.
Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.
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.
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.
The problem with Hot Fuzz and Shaun of the Dead is that they worked brilliantly in the UK, the US, and Australia; internationally they haven't worked so well because people don't know the films as well as in the English speaking languages. So when it comes to putting the budgets together it's quite challenging. So those are the problems you have.
The Shaun Ryder in the Happy Mondays isn't the real Shaun Ryder. It's a caricature. Always has been.
One of the most fun characters I played on a television series, which didn't last long... was a show called 'American Gothic' that Shaun Cassidy created. I would have loved to have done that show forever. That character was so funny yet demonic. It was really good writing and a really good idea. I loved all the people on the show.
The costume designer, her name is Anne Hardinge. She's done "Shaun of the Dead" and "Hot Fuzz." She's really comedic costume designer, which was right up my alley. She was a joy to work with. She was like fabulous Geena Davis. She was just floating with her red lip and kind of fabulous.
I love 'Shaun of the Dead.'
One of my favorite comedies is 'Shaun of the Dead.'
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.
If you have one good series, you know, it's a blessing. Two good series is unusual. Three is a phenomenon, but right now, I'm working with these wonderful women on 'Hot in Cleveland,' and Valerie Bertinelli, and Wendy Malick and Jane Leeves are like, it's like the buddy-ship we had on 'Golden Girls' and 'Mary Tyler Moore.'
Shaun Pollock is actually the best role model for me as a very good attritional bowler.
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