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.

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.

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.'

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.'

'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.

When I went to college, I discovered the Sega console, and 'Sonic the Hedgehog' became very dear to me.

I tire of franchises, remakes, and endless sequels.

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.

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.'

We need to make more original movies, and audiences would do well to support original movies for the future of the medium.

Wes Anderson deserves an award for sheer persistence of vision.

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.'

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.'

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

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 guess a lot of comic-book adaptations strive for realism. Christopher Nolan is making Batman seem very real and very serious.

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.'

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.

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.

When you're doing a car chase movie, you're sitting in car waiting for places or grips or stuff for quite a while.

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.

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.

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.

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.

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.'

The idea of fighting your new girlfriend's ex-lovers, 'Street Fighter' style, is the ultimate geek wish-fulfilment.

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.'

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.