Simon Pegg and Nick Frost

Simon Pegg and Nick Frost

According to Simon Pegg’s upcoming memoir, Nerd Do Well, he and Nick Frost were introduced in London by Pegg’s girlfriend, who waitressed in the same Mexican restaurant as Frost; he wanted to be a stand-up comic, and Pegg was intermittently working as one, so she brought them together. And they instantly bonded. After a handful of standup gigs, Frost decided the comedy stage wasn’t for him, but their close friendship continued, and they’ve worked together repeatedly over the years, co-starring in various projects co-written by Pegg, including the British TV series Spaced and the Edgar Wright-directed movies Shaun Of The Dead and Hot Fuzz. Now they’ve scripted their first film together: Paul, the story of two British science-fiction/UFO geeks (played by Pegg and Frost, naturally) who meet a real alien while on an RV road trip across America. Just before Paul’s release, The A.V. Club spoke to Pegg and Frost about bonding over droid noises, debating the merits of baby-boners over tit-burgers, taking Twitter personally, and why the story of Paul is the story of their relationship with filmmaking and America.

The A.V. Club: Given how long you guys have been friends and working partners, why did it take you this long to write a movie together?

Simon Pegg: Laziness.

Nick Frost: We never really thought about it at all. I think what’s happened in our lives and relationships currently is, we don’t live near one another, we live in different parts of the city. So writing a film and then going off and shooting it gave us potentially six months to a year to hang out together, which we don’t get to do—

SP: Thanks to our wives.

NF: [Laughs.]

SP: Also, our lives had taken precedence.

NF: Our friendship was important. That’s what we did. I don’t think it struck us ’til after Hot Fuzz and Shaun Of The Dead, “Maybe we should write something together.” We never thought about it. We had written stuff before. We had written sitcoms that we got bored of doing. We did get one that was commissioned and almost went into production, but we kind of got bored of that too, and we never did it. So I think for both of us, Paul was our chance to complete something and prove to ourselves that we could do that. 

SP: Also, the working structure that we set up from the very beginning—with Spaced, it was myself and Jess [Hynes] with Edgar [Wright] as director, and that became Jess, Edgar, and me as writers. That suddenly shifted because Edgar was going off to do Scott Pilgrim, so it kind of left an opening for us. So it wasn’t that we’d taken that long to do it, it was the first chance we had. And it was an idea we’d had a long time ago, and had been sitting on our collective subconscious since Shaun Of The Dead, when we came up with the idea of Paul. So when Edgar went off, Nira [Park], who’s both of our producers—Edgar’s and ours—said “What should we do?” and we said, “I dunno.” And she said, “Let’s do Paul. I’ve had that drawing you did seven years ago on my pin board. Let’s do that.” And that’s how it happened.

NF: Even though I didn’t write Shaun Of The Dead and Hot Fuzz, I never felt left out of the creative process. I think that if I did, I would have pushed a bit harder, but I was always included. On Fuzz more than Shaun Of The Dead, and then obviously I wrote this, so I never thought, “Oh, I should be writing too!”

SP: “I will prevail!”

NF: [Laughs.] Exactly. No, I just knew they would give me the script at one point and say, “What do you think?” That was enough for me. I was happy with that.

AVC: In a lot of interviews, you’ve referenced that drawing, which was the earliest genesis for Paul. How does that relate to the drawing we actually see in the film, of the alien flipping the bird?

SP: It’s the same! Except it was a much cruder… It was just a line drawing, but the same thing, with him giving this finger. [Extends ring finger.] Right from the off, he had a kind of attitude—he was very, very human. What evolved eventually was the idea that he’s the most human character in the film, everyone else is an outsider, everyone else is an alien, really, and it takes Paul for them to become human beings in a Ferris Bueller-y kind of way. That picture was the genesis for the movie. It stuck—it’s what stayed with us forever, this idea that Paul had been on Earth for a very long time, had become a naturalized American and decided to go home, but carried with him this sort of… Seth described him as a Neil Young sort of character, which is what we liked.

AVC: How did Seth Rogen get involved as Paul’s voice? Did he affect how you ended up writing the character? 

SP: Eventually—

NF: As performers as well as writers, after each day, we’d perform what we’d written just to see how it would work, because something you write doesn’t always translate. And whenever we did Paul, he was always very gruff and old. We’d always imagine Rip Torn, and we said “Rip Torn!” a lot in the process, but then we got to a point where we were potentially going to cast people, and Universal had paid for this, and they had a certain list of people they wanted to use, and we had a certain list of people we wanted to use, and the only person on both lists was Seth. What he lacks in age, he makes up for in amazing character in his voice. 

SP: He’s got an old voice.

NF: He does have an old voice. We were saying the other day, he’s got Benjamin Button’s voice. So by the time he’s 80, he’ll have—

SP: [High pitched squeak.] A child’s voice! [Normal voice.] And when we knew Seth was playing the part, when we knew it was going to go to somebody younger, we then started to adapt the character slightly, so that he had a slightly more youthful spirit. We kind of figured his species live about 300 Earth years, so he’s still relatively young, even though he’s probably our equivalent of 30 or 40 years old. Seth being involved certainly helped us shape the character, and then once we started working with Seth, that helped—his own input and take on the character helped us develop it.

NF: We had like a week, 10 days in L.A. before we started that pre-shoot where we had a big room in a hotel, where we had me and Simon, [Paul director] Greg Mottola, and Seth and Carla [Gallo]—do you remember? We went through the script and… pre-hearsed it. There’s the word.

SP: You’ve invented a word!

NF: We pre-hearsed the film, and Seth brought a lot of himself to it then. He’d call us funny things, and we’d laugh a lot, and then we’d go off and change the script slightly. You can’t—and this goes for all the other actors in the film—you can’t work with people who are the crème de la crème of America’s comedic talent and not allow them their input. It would seem completely ridiculous.

AVC: How much of the film was on the page when you started shooting, and how much came out of improv or decisions on the fly?

SP: We like to come to set with a script. We don’t like this thing of writing on the fly, because it’s terrifying. 

NF: We like having our evenings off.

SP: Yeah. On Shaun, me and Edgar are the same—we came to the first day of shooting with a completed shooting draft, and Shaun Of The Dead and Hot Fuzz were by and large what you saw on the page. With Paul, we wanted it to be a bit more organic and conversational, because one of our big questions at the top was “Can we possibly have a CG character who feels as though he’s just there, chatting, feeling conversational, almost improvised?” So we came to that first day, which had a very completed script, which had beats in it that needed to be hit, and by and large, that’s what you see in the movie. But everyone had a chance to naturalize it up a bit. We’d do a take where we’d get what we had in the script, and then we’d do a take when they could just bring stuff, or add stuff. All of them are great improvisers: Kristen [Wiig], Bill [Hader], Jason [Bateman], Joe particularly, the young guys, and they’re used to improvising on set. When people like John [Carroll Lynch] and Sigourney [Weaver] and Blythe [Danner] came on set, they come from an older generation of actors who are used to doing what is written, so they were happy to just read what we’d written, so that was fine. But with the other guys, it was like, “Let’s play around a bit.” Particularly when [Wiig’s naïve but foul-mouthed character] Ruth starts to swear, it’s like we’d sit around—me, Kristen, and Nick—just making up swear words, discussing the relative merits of baby-boners versus tit-burgers. What a job.

AVC: With Hot Fuzz, you mentioned in an interview with us a few years ago that you sat down and watched 138 action movies as research. Was there a similar movie-reviewing process here? 

NF: Not really. I think Simon and I came to this with quite a rich sci-fi palette from which to draw anyway. The only time we’d watch films was when we got stuck a little bit in the writing room, and we’d been looking at each other for two hours and we hadn’t written anything, and we’d say, “Let’s watch Communion,or something. And it works a lot of the time. You’ll watch it and you’ll see some things, and it will jog something, and you’ll turn it off and say, “Right, so how about this?” and it fires it off. So that’s what we did on that front. But we did the RV trip. We had a big RV, and we drove the route that the guys drive in the film, and I think that was the single most important bit of research we did. We knew a lot—well, not a lot, relatively speaking—about the East and West Coasts here, but the interior was new to us. And if we were going to do a road trip [in the film], it was important that we have the opportunity just to sit in an RV and watch it pass us by. 

SP: Also, Hot Fuzz was a comment on action movies. It was probably the closest thing to a parody—we’re always accused of being parodists. We’re not, really. But Hot Fuzz, we had to learn the beats of the action films so we could replant them in a different context, so we had to gen up on the clichés and on the recurring themes of those films so we could create this synthesis in the setting of this British village. Paul isn’t a comment on science fiction. We’re not trying to satirize science fiction or say anything about it, it’s just the setting of the film, it’s just what the film’s about. So all we needed was our schooling in the films of Steven Spielberg and science-fiction films, which was prodigious anyway. So as Nick said, what we needed to learn for that, the 138 things we watched for Paul were miles in America. And a lot more than 138—it was more like 2,000 miles.

AVC: If you aren’t comfortable with “parodists,” how do you feel about “satirists”?

SP: “Satirist” is good. I like that. Sounds cleverer.

NF: [Laughs.] I was thinking exactly the same thing.

SP: Shaun is a satire, and Hot Fuzz is a parodical satire, I suppose. This, there are satirical elements in this, we’re satirizing a few little bits and bobs, playfully.

AVC: It seems to me that Paul is more of a satire on geek culture and the idea of being a geek, and how that interfaces with the real world. Is that something you set out to do?

SP: Yeah, as much celebrate it, though. In terms of the geek-culture thing, we are kind of those people, we’ve grown up loving those things—I mean, I am a geek. I love comic books and science fiction, and I’m not afraid to say it. I go to Comic-Con for fun, not just for work, and so does Nick. We thought it would be great to see [their Paul characters] Graeme and Clive in their natural habitat before we saw them out of it, which is why we start the film at Comic-Con. It’s not a comment on Comic-Con at that moment in the film, it’s like this was a very convenient way of seeing them at rest. They’re more at ease at Comic-Con than they are at home in the UK, so it was like putting them somewhere where they are totally at ease, totally happy and comfortable, then wrench them out of it into this crazy adventure they have. 

AVC: It’s striking how you never offer a sense of what their ordinary lives are like. Was that something you considered doing at any point?

SP: There were notes, like “Do we need to know more about them?” 

NF: There were longer versions of the script where we do set them up, but eventually we thought it was enough that you knew what they did and the closeness of their relationship. If you were to take everything else away, that was the important thing. 

SP: And there is a point in a film like this when you do quite literally have to cut to the chase. One thing very important to us is making sure that you have rounded characters that you care about. There’s a strata underneath the jokes, which you can always have when the jokes stop. You don’t have to constantly keep trying to be funny. You can allow the story and the emotional weight of what’s going on to take over for a little bit.

NF: If you believe in the characters as well, and if you trust them, anything they do can be comedic without them saying stuff, because you know them and you have an invested interest in them. So it no longer has to be funny. You don’t have to try as hard, because… We were always talking about those movies that survive only from joke to joke, and once those jokes start to fail, or a joke doesn’t hit, then you have nothing, because you have no character or no story.

SP: So there’s a balance between setting the characters up and getting on with the business of the film. So yes, there were ideas about showing more of them and getting more of an idea of who they were before the film, but eventually, those things are sacrificed on the altar of pace.

NF: [Laughs.] We drop little things on the way, though. That thing about “Eggy” and “Sausage” [their characters’ nicknames for each other] so you know they have that closeness where they—

SP: —where they went to Belgium together once. They’ve been friends since they were kids. That’s all been woven in subtly. 

AVC: Were the scenes set at Comic-Con actually shot at Comic-Con?

SP: Yes and no. The exteriors were San Diego, but all the interiors of the film were in Albuquerque, with actual Comic-Con merchandise.

AVC: Given that Comic-Con is such a zoo, it would seem impossible—

SP: And a fire hazard.

NF: Greg asked as well. We did check, and I think the fire marshal of San Diego said—his words, not mine—“No fucking way.” Also, from a geek perspective, if I was at Comic-Con and my con was disrupted by 150 people shooting a film, I’d be mad.

SP: We didn’t want to piss off the home crowd. Also, practically speaking, it would be tough, because you’d have to get clearance from every single extra. So luckily, we had a lot of people who were Comic-Con attendees who came in costume and were able to flesh out the background. And we shot it literally just after Comic-Con finished, so everyone that was at Comic-Con, or a good deal of them, came down to Albuquerque and restaged it.

NF: Not just the attendees, but Image Comics came down. Oni Press came down. 

SP: Sideshow Collectibles…

NF: Lots of people came down and brought all the stalls they had at Comic-Con to Albuquerque. 

SP: To have people like Ryan Ottley and Robert Kirkman and Andy Koontz sitting around for four days doing nothing in the background—and they didn’t even make the cut of the film—is a lot to ask. We’re very thankful. Not just to them, but to everyone that came out. 

AVC: Simon, your upcoming memoir is largely about your interface with nerd culture, and your relationships with Star Trek, Star Wars, and so forth. Nick, do you consider yourself a geek to the same degree? We’ve heard a lot about Simon’s relationship with geek culture, but maybe less about yours.

SP: Too much. [Laughs.]

NF: Yeah, if “geek” means you like something a lot, then absolutely I am. I’m a film geek, Simon’s a sci-fi geek, but I think it’s kind of easy to pigeonhole someone as that. I am a geek in terms of, I love Close Encounters and I love Star Wars, but other things… Doctor Who, I don’t really care about at all, I couldn’t give a fig about it. I love cooking, I have a dog, I walk a lot. I had a life before geekery, so to speak. I played sports at quite a high level, I did things, I liked going out and getting pissed all the time. 

SP: But how did we bond?

NF: We bonded over a noise a droid made in Star Wars, so I am a geek, but I’m a different kind of geek, I think. Maybe it makes me more of a geek, the fact that I try to shun my geek background.

SP: That’s it.

AVC: How did you bond over a Star Wars droid noise?

SP: [Makes bleep-bloop sound.] The noise the little mouse-droid makes when Chewie roars at it and then it runs away in Star Wars

NF: We’d known each other for like three weeks or something, and we were out with a group of friends having a curry, and Simon made that noise. I’d never known anyone else who knew what that noise was, and it spoke to something in me, personally.

SP: I think what it was—and this is me hypothesizing—but it was probably, I moved the salt across the table and made that noise. [Mimes scooting a salt shaker around like a fleeing droid.] But the fact that Nick recognized it means that something in him loved it when he saw Star Wars, to the point where he remembered it and no one else at the table did, and that defines you as a geek. The capacity to acknowledge things at that level of detail and retain it, that’s what geeks are. They see the beauty in tiny, tiny things, and then chat about it. 

AVC: Nerd Do Well features a section about your film education, and how you still unwillingly see films in terms of deconstruction theory. And you talk about how you incorporate that into your writing, addressing the Oedipal conflict in Shaun Of The Dead and so forth. Did that kind of reluctant academic thinking come into play with Paul?

SP: Yeah, definitely. Everything you approach after you start looking at films that way, you can’t help but… It was interesting in this case, because we were making a much more commercial film. We were having to broaden our comedic style a little bit, and accept that in order to make this film at all, it had to be more commercial, it had to be slightly more broad, we had to let more people in on the joke. The comedy had to be a little more inclusive, it couldn’t be so niche, and in that respect, we had to adapt our style. Initially, in the script, Paul had these great long Quentin Tarantino-esque monologues about sexuality and religion, and about his thoughts on the universe, and it was a little way of commenting on society from the complete outside of it. That stuff started to fall away when we realized we were making a comedy chase movie, not an intellectual thesis about contemporary culture.

One thing the film student in me has realized is that possibly, looking back, without even realizing it, we’ve made a film about our experiences in America, and about how we—when Steven Spielberg stepped out of the shadows and said hello [when Pegg and Frost first met him], he wasn’t this extraordinary thing, he was just a regular guy, as ordinary as we were. He just happened to be Steven Spielberg. And that, in some respects, is who Paul is. Paul is this mythological creature who is revealed to us, and we realize he’s just very, very normal, and not magic, and that’s a good thing. From the very beginning, when we did Shaun Of The Dead—before we’d met all these film people and were exposed to this world that we so idolized for a long time—Paul was always going to be an ordinary guy. He was always going to be this very human alien. But I think maybe because of everything that happened in the intervening years, this film is very much the story of me and Nick coming here to this fabled land, which we’d watched from afar our entire lives, and almost being disappointed, but not in how ordinary it was. It wasn’t a land where everything was made of gold.

NF: And people only ate cotton candy and cheeseburgers. 

SP: [Laughs.] Yeah. Everyone that we’ve met that we love, all the directors we’ve met, like Tarantino, and Peter Jackson, Steven Spielberg, who we got to work with as well, have just been, thankfully, mortal. They’re just people, and it’s really heartening in a way, because you just think “Fuck, that’s great.” It’s way too mythologized, this industry. It has so much importance put behind it by people who aren’t directly involved in it, and when you get to the heart of it, you realize that it’s just people making movies.

NF: Actually, it’s slightly more like you belong as well. You kind of think, “You’re a bit like us, and we’re a bit like you, so maybe I’m not a fraud! Maybe I actually do have a place here.”

SP: So that’s the kind of reading of the film I’ve come to afterwards. Someone said something, that I as my student self in 1992 could write a huge essay on how Paul is a reflection of the filmmakers.

NF: Now we’ve stolen their theory, and are steering it back as our own. So eat that, academia.

AVC: Some of the events in the film, like the bird hitting the windshield, or the encounter with the scary rednecks, are things that happened to you on your preparatory RV trip. And you see this film as reflecting your personal interests, and your journey through filmmaking and America. You’ve drawn on a lot of your personal lives for your art. Do you have areas of your lives that are off-limits, that you just have no interest in putting into your work?

SP: Yeah.

NF: Yeah.

SP: Perhaps family stuff, real life, day-to-day life—everything we’ve channeled into our work is the ephemera of our lives, really.

NF: I think it’s… I mean, I’m not talking about you here, but essentially, it’s no one else’s business. You know, we give what we give, and I think everyone has a private life that they’re entitled to. To give as little or as much as they want at any given time.

SP: Some things, you don’t want to work through artistically. Some things, you don’t need to.

NF: I think when there’s something that would be incredibly honest and raw from either of us, essentially, people don’t really give a shit. Some people do, but then I could put my heart out on the table now to you, and 10 of your readers would think “Oh, shut up.” And that would really upset me. So you have to really be careful at what point you give of yourself, and how much you want to give. 

SP: Yeah, it’s what you’re prepared to give away. What you’re happy to part with. Writing that biography was really difficult for me, because I tend to keep a lot… I always draw on the truth, because I think as a writer, you write your best stuff when you talk about what you know, and the minute you start speculating is the minute it’s flimsy. So it’s always good to draw from some kind of reality. But the memoir thing came up, and I kind of wanted to write sort of a photojournal of the film. And then they said “Why don’t you write something more personal?”, and I said “I don’t know…” Then we came to this conclusion of “I’ll write a kind of diary, like Richard E. Grant did in With Nails, which is sort of a diary of all his films, and I thought I’d do Shaun to Star Trek, or Spaced to Star Trek. It’s like a perfect thing, from a show about a guy who loves Star Trek to being in Star Trek, that felt like a great line of flight. As soon as I started writing it, I was like “This is fucking boring, who cares? It sounds like My Great Life, and no one gives a shit, nor should they.” So all the interesting stuff, I realized, was in the past, was the genesis of all those desires, and the journey from being a kid who loved Star Trek to being in Star Trek.

NF: We’ll save our meaty biographies for when we’re a lot older, and—

SP: —we need the money. [Laughs.]

NF: [Laughs.] And don’t really care about what people think. 

SP: But personal stuff, I don’t want to talk about. That’s why I love Twitter, because you can pretend to be personal, but really I never talk about my daughter and my wife on Twitter, particularly.

NF: I think for me, Twitter is the opposite. I was saying to Simon, you can put the most heartfelt tweet, not just 140 characters, but you carry on and on, you could do the most heartfelt tweet, and the first response you’d get back would be “Is there going to be a third series of Spaced?”

SP: [Laughs.] You let it bother you.

NF: And that, to me, it bothers me. Because you expect so much from people, and that’s really what some people care about. As they should: They’ve got their own problems. Why should they listen to me bullshitting and bellyaching?

SP: The phrase “water off a duck’s back” does not apply to Nick and Twitter. [Laughs.]

NF: No, it doesn’t.

AVC: A lot of the memoir is also about the many idols of yours that you’ve gotten to meet through your work. Do you have a mental list of people you’d still like to meet, or work with?

SP: Oh yeah, yeah, yeah. I read that now, and I think “Oh, shut up, Simon, you big name-dropper.” That was my publisher going, “Just tell the story, tell the story!” Yeah I’d still like to work with the Coen brothers.

NF: Edgar.

SP: Edgar Wright is amazing, apparently.

NF: Steven Spielberg again, I’d like to work with Spielberg. Peter Jackson, properly.

SP: Well, we’ve worked with Steven, but Peter was directing us via video link, so that would change. 

AVC: What was that experience like, working on The Adventures Of Tintin: The Secret Of The Unicorn  with Spielberg and Jackson?

NF: It was amazing.

SP: Great, yeah. Steven is a really down-to-earth guy. He doesn’t carry his mythology with him—well, he does, but he doesn’t mean to. But if you ask him a question about Close Encounters, he’ll go [Casually.] “Oh. Yeah.  Well, we were doing…” You know? There’s no like [Stuffily.] “Well, perhaps another time.” He’s just… It’s just a film to him that he made a while ago. Just because it changed our lives doesn’t mean it wasn’t just a project he did in 1976, or whatever it was. He was very happy to talk about stuff, and it was his idea to be in the film, to be in Paul. We told him about the movie, and he just thought the idea was hilarious, that he had the ear of a real alien over the ears. And he said, “Maybe I can be in it, maybe I can phone Paul, and he can get a call from me?” And we’re like “What? Are you serious?” [Laughs.] “What did you say? I’m sorry, could you speak into the mic?”

NF: We’d go in on our days off [from Secret Of The Unicorn] and sit around the monitor and watch him direct, and then when they were setting stuff up, have a chance to say “Hey, Steven, what about…” And he’d tell me. To see him be as enthusiastic, I’d imagine, over single shots that he captured in Tintin as he was during Jaws or Close Encounters or E.T. is incredibly addictive. You want to be around that kind of enthusiasm.

SP: It’s good—you think, “If I love my job as much as he does when I’m 60 or whatever, then I’ve succeeded.”

NF: When I’m 40, if I’m honest.

SP: [Reproachful and weary.] I’m 41, Nick. [Laughs.]

NF: [Laughs.] I’m not. I was talking about me.

AVC: What’s he like as a director of actors? What was his relationship like with the two of you when he was actually directing you?

SP: Oh, we’d get all gooey around him.

NF: Yeah, we would. 

SP: He called us his boys and stuff.

NF: [Spielberg voice.] “Are the boys here? Where are my boys?”

SP: “Where’s my boys?”

NF: [Wobbly, cracking adolescent voice.] “Yes, we’re here, Steven!”

SP: I think Nick said this, and I think it’s such a good point. I think the word “genius” is bandied around too much these days. I think Steven Spielberg is a genius, because he displays what genius is, which is an innate ability which doesn’t seem to come from learning or anything other than somehow knowing. He knows how to choreograph a scene, he knows how to move a camera, he knows how to get the right performance from you by saying “Maybe try it this time, but this way,” and you think oh yes, that’s how you should do it. 

NF: I think genius is relative, as well. Steven Spielberg is not Albert Einstein, but then Einstein could never have shot Close Encounters. He is amazing. We took ages rehearsing things, because I don’t think he has time to watch us rehearse, like you would on a small indie film where everyone sits around a table and does read. So we spent a lot of time with everyone sits around a table and does a read. So we spent a lot of time with the Cirque Du Soleil guys who were our movement coaches, trying to figure out and block the scenes and stuff, and thinking “Well, maybe they do it like this,” and then within five minutes of Steven getting hold of it, he’d say, as Simon said, “Do this, you’ll come in here, the camera will do that, and then we’ll do this,” and we’d look at each other and think, “Oh yeah, of course.”

SP: We did like a week and a half of rehearsal before you’d even met him. 

NF: Yeah, I hadn’t even seen him. 

SP: He never [directed] like “No, no, this is how you do it.” He’d go [Casual Spielberg voice.] “Why don’t we do this, and maybe this, and try that.” Like it was just a silly idea. And of course it was fucking brilliant.

AVC: What’s next for you two together, as writer-actors?

NF: If we can come up with a great story and people would like to see it, then you know, maybe Paul 2, potentially.

SP: Pauls.

NF: Pauls would be something we would consider, but we wouldn’t just do it because it was expected of us.

SP: If this film does well and we get the chance to get another one, I think this film is possibly the first one we’ve done that really does warrant a sequel. I think Shaun Of The Dead is a story and it ends, and it can’t go on from there, as much as you kind of like those characters, hopefully. It would be silly to carry on. Hot Fuzz is about Nick and Danny becoming Hot Fuzz; everything after that is kind of redundant. Whereas this, you could possibly have more fun with Paul and the guys, you could see them again, so there’s always that. We have another idea for a movie that we came up with a couple of years ago that we’re really keen to do. And with Edgar, well, the next thing we do together will be The World’s End, which we’ll write hopefully this summer, and fingers crossed, shoot next year.

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