If you go back to your home town or you're reunited with school friends, its always slightly bittersweet because as much as there's nice things in terms of seeing them again, the town has changed without you, and you're no longer a part of it.
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.
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.
Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.
I tire of franchises, remakes, and endless sequels.
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.
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 use music to focus, like an internal motor.
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.
Whenever I'm writing a script, I'm scoring myself by playing the right kind of music.
I think the premise of somebody trying to recreate a night from their teenage years stuck with me as something potentially very tragically comic.
Sometimes, some things have to settle, and you have to think about the intention of it.
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.
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.
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.
When I did 'Hot Fuzz,' I tried to get Barbara Steele in the movie, but I was told she had retired.
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.'
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.
When I went to college, I discovered the Sega console, and 'Sonic the Hedgehog' became very dear to me.
I think, 'Scott Pilgrim,' it was something where the general audience didn't necessarily understand straight away what it was.
