When I went to college, I discovered the Sega console, and 'Sonic the Hedgehog' became very dear to me.
There are lots of films I wish stopped at installment number one. I like 'Back to the Future Part II' and 'Part III' enough, but I still like the ending of the first one better.
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.'
When I was younger, I used to love Tim Burton's 'Batman.' I was, like, 15, and even then, I was aware, 'This is really the Joker's film.' It's like, the Joker just takes over, and Batman, you really don't learn too much about him.
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.'
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.
Comics have years to explain this stuff, and in a movie, you have to focus on one thing. So it's about kind of streamlining, I think. Some of the most successful origin films actually have a narrower focus.
I guess a lot of comic-book adaptations strive for realism. Christopher Nolan is making Batman seem very real and very serious.
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.
I think, 'Scott Pilgrim,' it was something where the general audience didn't necessarily understand straight away what it was.
'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.
Whenever I'm writing a script, I'm scoring myself by playing the right kind of music.
Not everybody fantasizes about robbing a bank, but I think most people have that fantasy of being in a high speed chase.
The worst thing you can do after a test screening is slash it for the lowest common denominator.
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.
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.
