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.

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.

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.

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.

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.'

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.

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

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

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

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.'

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.

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.

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.

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.

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

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.

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.

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

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

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.'

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.'