Wes Anderson deserves an award for sheer persistence of vision.

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

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.'

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 tire of franchises, remakes, and endless sequels.

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

'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.

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.'

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 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.

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.

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.

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.

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.

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.

Whenever I'm writing a script, I'm scoring myself by playing the right kind of music.

When I am not working, I try to watch more than one film a day if I can.

Sometimes, some things have to settle, and you have to think about the intention of it.

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.

If you're on a road trip, you need driving music.

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.

I use music to focus, like an internal motor.

I think, 'Scott Pilgrim,' it was something where the general audience didn't necessarily understand straight away what it was.

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.