QUOTES by Edgar Wright
Find most favourite and famour Authors from A.A Milne to Zoe Kravitz.
The making of documentaries for 'Humanoids From The Deep,' 'Galaxy Of Terror' and 'Forbidden World' are absolutely fascinating.
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A lot of recent comic book adaptations have gone two ways: either they're striving for some kind of realism, like 'Iron Man' or 'The Dark Knight,' or they're very stylised and gritty, like 'Sin City' and '300.'
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The idea of fighting your new girlfriend's ex-lovers, 'Street Fighter' style, is the ultimate geek wish-fulfilment.
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There have been recorded cases of people learning how to fly a plane after playing a flight simulator, but there's never been a case of someone learning to fight by playing 'Tekken.'
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Usually if I find a film that's challenging, that I'm intrigued by, I want to watch it again knowing what the ending is. I found that with something like 'The Godfather Part II.' I think it took me three watches to fully experience it in the way it was intended.
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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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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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Car chases are as painstaking to make as they are fun to watch. They take a lot of time, and you have to keep the energy up.
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When you're doing a car chase movie, you're sitting in car waiting for places or grips or stuff for quite a while.
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It's funny: sometimes with 'Spaced,' people would try and read too much into something I'd done, with the references meaning something more than they do.
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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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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.'
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I guess a lot of comic-book adaptations strive for realism. Christopher Nolan is making Batman seem very real and very serious.
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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.
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I think the premise of somebody trying to recreate a night from their teenage years stuck with me as something potentially very tragically comic.
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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.'
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Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
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We need to make more original movies, and audiences would do well to support original movies for the future of the medium.
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I definitely went through a period when I was a teenager when every girl was 'The One' and every break-up was the 'Worst Thing That Had Ever Happened.'
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I was never a DC kid - I went through a phase from, like, 11 to 17 where I would try to buy as many Marvel titles as possible. And '2000 AD' was kind of the sort of sci-fi/punk of British comics.
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When I went to college, I discovered the Sega console, and 'Sonic the Hedgehog' became very dear to me.
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'Scott Pilgrim' is something that was a little bit more difficult to put in one box. But, to me, that's not necessarily a bad thing about the movie.
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The first TV show I worked on was with the guys from 'Little Britian,' Matt Lucas and David Walliams, who did a show in 1995 I directed, 'Mash and Peas.'
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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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The sci-fi movies I grew up with, the metaphor was very rich, and they used to really mean something: David Cronenberg's films, or John Carpenter's films, or the Phil Kaufman and Don Segel versions of 'Invasion Of The Body Snatchers,' or George Romero's early zombie films.
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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.
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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.
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I've always been fascinated by horror films and genre films. And horror films harbored a fascination for me and always have been something I've wanted to watch and wanted to make.
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I remember seeing 'Gremlins' and having my mind blown and seeing 'Ferris Bueller's Day Off' at 13, and it was this hugely aspirational experience.
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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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Whenever I'm writing a script, I'm scoring myself by playing the right kind of music.
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Sometimes, some things have to settle, and you have to think about the intention of it.
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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.
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For 120 minutes, 'Birdman' floats from comedy to surrealism to high drama to quiet brilliance. I felt so inspired by watching this movie. It reaches for the sky and never comes back down to earth.
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I think, 'Scott Pilgrim,' it was something where the general audience didn't necessarily understand straight away what it was.
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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.
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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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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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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.
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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.
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