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

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

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.

Growing up, there were TV shows that were very funny but very traditional. Classic things like 'Fawlty Towers,' obviously, and 'Blackadder' were pretty traditionally shot. And then there were the ones that start to break the mold or be really ambitious. The ones that spring particularly to mind would be 'The Young Ones.'

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.

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.

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.

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 loved the idea of somebody literally fighting for love.

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.

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.

I like watching films that can play in any language because they're essentially silent.

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.

We were shooting 'Hot Fuzz' in my hometown of Wells, Somerset, and I remember looking at the dailies and going, 'Wait, there's a Starbucks in the shot. I don't remember that being there!' We had to digitally remove it; the same thing happened with a McDonald's in another scene. I had this sensation of, 'What's going on here? Where am I?'

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.

When I was a kid, I just figured we'd be living on the moon by the year 2000.

Critics should think about how the opening weekend audience might want to discover some surprises for themselves.

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.

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 at school, I used to end every school day with fountain pen ink all over my hands and face and down my shirt.

I had a chance to do 'Ant-Man' in 2011.

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.

I love horror, sci-fi and action, or I wouldn't make these kinds of movies, but those designations are Trojan horses to make these personal comedies.

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.

'RoboCop,' when that came out, was like the best comic book movie ever, and it's not based on a comic book.

I'd rather try and cram in another two gags than leave a pause to say, 'Hey, wasn't that bit funny?'

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.

Usually, if you read a script by somebody else and there's a dense page of stage directions, people just skip through it or speed read it.

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

I love the Zucker brothers' films - 'Airplane!,' 'Top Secret' and 'Police Squad!' - are my formative experiences.

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.'

If you have ever driven around London and seen the amount of one way systems... they basically rubbed out all car chase crime. In fact, if you get bank robberies in the U.K., they're using scooters.

Not everybody fantasizes about robbing a bank, but I think most people have that fantasy of being in a high speed chase.

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

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

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.

There are lots of films I wish stopped at installment number one. I like 'Back to the Future Part II' and 'Part III' enough, but I still like the ending of the first one better.

I grew up on Marvel and, like, '2000 AD.'

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 grew up on 'Battle of the Planets.'

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.

You cannot put 50 years of the Marvel universe into a movie. It's impossible.

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.

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.

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

When I did 'Hot Fuzz,' I tried to get Barbara Steele in the movie, but I was told she had retired.

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.

Television was essentially my college.

The worst thing you can do after a test screening is slash it for the lowest common denominator.

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.