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.

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.'

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

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

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.

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.

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

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

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.

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.

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

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.

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.

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.

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

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

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.

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?'

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.

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

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.

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.

I loved the idea of somebody literally fighting for love.