Edgar Wright

I knew it.

Yeah, yeah.

I don't know whether I should be flattered or it's just predictable that, like, Shaun basically said, he likes movies, and Will said, egg right.

Yeah.

I'm not easy to pinpoint.

So that's how it came up.

Oh, thank you.

I think it's important to have... I mean, I'm not a parent, not yet, but to have horror films that you can show to kids...

I think my parents would allow me and my brother to watch things that were like sci-fi related but something like Halloween or Friday the 13th would be off the table but Alien and The Thing were okay because they had a sort of fantasy sci-fi element What about The Exorcist?

I mean, I would.

I mean, you have different... In the UK, as you probably know, the ratings are different.

So you can't do the thing that you do in the States where a parent or guardian could take you into a PG-13 or an R. Right.

Like a 15 is a 15 and an 80 is an 18.

So when I was... There used to be a cinema around the corner from my house where I grew up and probably from the age of like 12...

to like 15, 12 to 13, I was trying to get into 15 rated films and doing that thing where you would be so dumb.

Like, I mean, I remember the films I got into and I remember the films I didn't get into.

Like, I couldn't get into Aliens.

I couldn't get into The Fly.

You know, the two things I would do to pretend to be older than I was was...

Affect a deeper voice, and also wear hair gel, wear product in my hair.

I thought that was something adults did.

But sometimes it didn't work.

One time, though, I'll tell you the first 15 I ever got into was Gremlins was rated 15 in the UK.

Because in the US, it was one of the first PG-13s, right?

And me and my brother, I was 10 and my brother was 12.

We went up to the cinema manager with a copy of the novelization of Gremlins.

and said to the manager, hey, we've already read the book, so we know what happens, so we're not going to be scared, so you should let us in.

And it was a matinee, and it was pretty quiet, and the manager looked around and said, get in there.

And it was honestly the most exciting screening of my life, because at any moment you thought somebody's going to come in and say, you shouldn't be in here, you're not 15.

Oh my God.

That's great, I love that.

It's not as big as it is in LA.

But then if I have one bugbear about Halloween...

is that in Los Angeles, it seems to go on for three fucking months.

Yeah.

I know.

I mean, Halloween starts at the end of August.

It's ridiculous.

You know what I've done?

You know what?

When I've been living in LA sometimes, I used to resent the fact that you'd need to get more than one costume.

Halloween would be like a four-day weekend, and it's like, I'm going to do one costume this year.

Yeah.

I think my favorite one I ever did, and this will appeal to you guys because this is also, this was, in the way that you showed Shaun of the Dead to your kids, this was a film that was dear to me when I was too young to see it, is I went to a Halloween party in L.A.

as David Norton from American Werewolf in London.

Oh, God.

Really?

Oh, wow.

This is a real deep cut costume.

Oh, wow.

Did you tell Willem Dafoe that when he was on?

Wait, who's Bobby Peru?

What was that from?

Willem Dafoe's character.

Yeah, Willem Dafoe's character from Wild at Heart.

Oh, yeah, yeah, yeah.

Terrifying.

Terrifying teeth.

Yeah, very much.

I mean, my brother, he's two years older.

I think we went through that difficult period as teenagers where I think from the ages of like 14 to 17, we hated each other's guts.

And then we got thick as thieves again immediately afterwards.

And he's worked on all of my movies as well.

So he's amazing.

So it's really great to have that relationship.

But there was a period where we hated each other.

I think it was... My parents were both artists and art teachers, and I think they got me and my brother interested in cinema early on.

And they were very supportive parents, because I'm not from a rich background or anything, and I had no connections within the industry, but...

my mum and dad, like, you know, would just kind of, like, encourage us to sort of go for it, even though there was no clear path to being in film.

Yeah.

So I think that the thing was of starting with, like, a Super 8 camera and just making, like, amateur films and sort of just fucking around.

Like, but I think the... And so it was that thing of, like, knowing I wanted to be in film but not knowing exactly how to do it.

And the only way you could really...

like force yourself into doing, it was just making films with your friends and watching things and trying to figure out how they did it and doing the zero budget version of it.

Yeah, I mean, I remember making... I won a video camera on the BBC when I was 16.

I'd entered this competition that was part of Comet Relief, and I won, and I won a video camera, which I previously wouldn't have been able to afford.

But as soon as I had that, it was kind of like my, you know, kind of...

school went out the window a little bit and I was just this amateur filmmaker making films in free periods.

But I would make things like, I didn't have a steadicam, so I would make a fake cradle with a ceiling tile and string and run around with it.

No way.

To answer your question, though, Jason, I tell you, a lot of filmmakers that were really big to me beyond, like, you know, Steven Spielberg and George Lucas, but there was a particular time of, like, when I was sort of growing up in the 80s of people that meant a lot to me were like...

John Carpenter, Joe Dante, John Landis.

And then when I was in my, maybe you're at 15, I think there was the year that I saw Raising Arizona by the Coen Brothers and Evil Dead 2 by Sam Raimi in quick succession.

And those were real mind blowers to me in terms of like, oh my God, look how much fun these guys are having

in film yeah it was so infectious both of those movies one of which is a comedy one of which is a comedy horror but they have a lot in common and those guys were friends as well and colleagues but like just what they did with the camera and how they got like just magic and infectious enthusiasm out of every frame those were like i gotta see evil dead too um is it well significantly better than evil dead one

Oh, it's just, you haven't seen the second one?

Oh, it's fun.

It's a blast.

It's kind of like they just decided let's remake the first film and put more Three Stooges in it.

Is that what it was?

Yeah, that was the thing for Comet Relief.

I think I had seen something.

It was a film program in the UK.

I guess it was probably film, 91 at the time.

But they had a thing about the lack of wheelchair ramps in the cinema.

So I did an animation about it for Comet Relief.

So that was when I was on TV when I was like 16 years old.

And one of the things, there's a funny thing about that.

And actually you can find the clip on YouTube.

One of the weird things, imagine being on live TV for the first time and they accidentally told me the night before that I'd won.

And then somebody, a researcher said, oh, he's not supposed to know that.

So then imagine having this pressure being on TV as a 16-year-old.

Then they say, tomorrow, when you're on the show, pretend like you haven't won.

So when they say that you've won, you have to act like you're really surprised.

That's a lot of pressure on national TV.

So if you see that clip, you'll see my amazing acting of like, who, me?

Oh, I love that.

Well, I was, yeah, I had basically, I got my break into the industry.

I had made a film when I was 20.

I went to art college for two years, and then I made a really low-budget film called A Fistful of Fingers that was shot on 16mm, which cost, like,

30 grand total.

It got released at the cinema in the UK.

I say cinemas, it got released in a cinema, a one screen.

But through that, I got into TV.

It was first through Matt Lucas and David Walliams.

They were doing a cable show and I was directing that when I was 21.

And then a couple of years later, I worked with Simon Pegg and Jessica Hines for the first time.

And then Spaced, I was 24 when I did Spaced.

Wow, that's amazing.

I realize now, I knew it at the time that it was really special, but now I really just, I feel so thankful that like, I can't believe I was directing like a show that was on network TV when I was 24.

And actually, I remember, well, I got to say, actually, I want to say thanks to all of you.

Will, I remember when I first came to L.A., you and Amy, you were both so generous to me and just would sort of take me.

And the first time I met both of you, actually, was at a dinner that Will brought me to.

But I want to reference space because I remember something that you did because I came and visited the set of Arrested Development.

It must have been a season three episode.

I don't remember which one it was, but I remember Bob Einstein was in it and I went on set.

But I remember, Will, you did this prank that when I came to... So Spaced was this sitcom that I did on Channel 4, which is...

one of the main channels in the UK.

And it was out on DVD, but you couldn't get it in the States yet.

So kind of like comedy nerds like yourself would get kind of copies of it and have to have a region-free player.

And I came to the Arrested Development set and I went to Will's trailer.

And Will, you had inside of your trailer, you had the DVD cover of Space photocopied and plastered absolutely everywhere.

And then you turned around and you said, oh, I didn't know you were coming.

That's great.

Which says everything about you.

It's an extremely silly thing to do, and I really appreciate it.

I've been an Anglophile ever since.

I want to say one thing that, like, this has never been mentioned on this podcast before.

I don't think so.

But Jason, in the UK, in the sort of mid-'80s, they actually showed, and I was a fan of, It's Your Move.

It's true.

And I remember specifically, and I've mentioned this to you before, the episode that I remember, and this would be a real deep cut Halloween costume.

There's an episode where you have to pretend like a rock band is coming to school.

The dregs of humanity.

The dregs of humanity.

He remembers that.

He remembers that.

well I'd like to pitch that next Halloween the four of us should go as the dregs of humanity to a party and have to explain it to every single person there saying we're doing a bit from It's Your Move yeah

Come on, It's Your Move.

And how that came about?

Nick had never acted before, and there was a...

What's the version of SAG in the UK is like the spotlight, which is like the kind of actors union.

And there was another actor called Nick Frost in the union.

Because Channel 4 weren't really going to take a chance on somebody who had no credits.

So we said, oh, yeah, no, he's been in all these other shows.

No, really?

We pretended he was the other Nick.

So apologies to the other Nick Frost.

No fucking way.

It's true.

And he could keep his name.

Yeah.

I think, I'm not sure.

Maybe the other Nick Frost changed his name.

He worked at a Mexican restaurant, which is not really a thing in the UK, as you probably know, called Chiquitos.

I remember he'd never acted before, and he would do this thing, and he kept doing this on Shaun of the Dead, that I would sometimes give him a direction, and Nick Frost would walk up to me and whisper in my ear and say, please remember, I am not an actor.

That's great.

And that continues to this day.

Yeah, I mean, it was... I owe it all to a newspaper editor in my hometown, Mike Mathias, who had some... I think he had just come into inheritance, so he had some tax loss money.

So we made the whole thing on 11 grand, and then we raised another... Maybe it was the whole thing cost 22 grand, actually.

Wow.

It was like sort of shot it over like 20 days on 16 mil.

It was all starring like my...

school friends and my college friends it didn't actually occur to me that there might be actors around in fact the only actor that's in it who's um and if you from ted lasso james lance is in the movie and the only reason that he's in the movie is that he um his mom heard that in the local paper that some kids are making a movie and he said oh i'm an actor and i said oh sure you could be in it that was how the casting worked so that's great it was it was very it was like um

78 minutes long with credits.

Here's a good story.

I had to pad it out.

The movie, as you all know, having made, directed, and written, is that you usually have the assemble edit.

For Tracy, the assemble edit is when all of the takes of the movie are put together.

So usually an assemble edit might be hours and hours long.

But the assemble edit of Fistful of Fingers, the whole thing with every single shot was like 75 minutes long.

And it meant that I couldn't really cut it down.

There were some bits I wanted to cut out.

Yeah, so here's what I did.

There was at least one that I really wanted to cut out.

I mean, now I would probably cut another 25 minutes out.

But at the time, to cut some bits out, I basically created a scene in the dark.

In the middle of the movie, there's a scene where it's a western, so there are cowboys around a campfire, and they blow out the fire.

And so I thought, I could just put a whole scene in black here to pad it out for two minutes.

So I just put black film, and they just talked for two minutes in the dark, and that was my way of padding it out.

Long end credits, long opening credits.

Tim Bervin.

Naira Park, who you all know Jason as well, did all of the movies.

Yeah, and it was straight after, I'd say after the second series of Spaced, we started writing Sean.

I mean, it was funny, it was never meant to, it's funny it's called the Cornetto Trilogy because a Cornetto for...

The American Listeners is a brand of ice cream in the UK.

In Europe, in fact.

In most of the world, except the States.

Is it three layers?

It's just... No, it's not.

Yeah.

The only reason it came up as a trilogy is when we did Shaun of the Dead, which mentions Cornetto once, we got free ice cream at the premiere, and I said to Simon when we were writing Hot Fuzz, hey, we should write Cornettos into the second one so we can get free ice cream again.

That's great.

He says we met at the Battersea Art Centre.

And I know the truth is we met at the Riverside Studios.

We met, he was friends with, there was in the, like around that time when I first moved to London, like, you know, 30 years ago.

And there were a lot of people on the scene who have all now become huge, like the Mighty Boosh guys.

And, you know, Simon and Matt Lukes and David Walliams and the League of Gentlemen guys.

They were all sort of coming up around the same time.

And I met Simon backstage at a comedy gig.

And I'd seen him doing stand-up on TV.

And he's from the same area as me.

We're only like...

we grew up like 50 miles away from each other.

So we're both from the West Country.

And I'd seen him on TV doing a stand-up set about regional TV.

So I went up to him and said, hey, I'm from the West Country too.

So I think he remembered me as who's that weird kid who came up, who's that weird kid with the beard.

And then you guys, and then what happened?

Oh, the lights are turning off in my room.

I have to get the motion sensors on in here.

We're shooting the... Wait, so you guys... We can pab this out for two minutes.

No, we...

Oh, somebody's coming in.

There we go.

Somebody's switching the lights on for me.

Thank you.

It's motion sensors.

I'm in a conference room.

I'm actually mixing The Running Man right now.

It is not finished.

It's out on November 14th, and it will be finished by then.

uh simon yeah he was i i started doing tv and i did this tv show on on like the i guess the british version of comedy central the paramount comedy channel at the time and there was a show called asylum and i got asked to direct it and simon peg was in and he brought jessica hines who co-wrote spaced and co-created spaced onto that so i was working with them for the first time

So I'd already met him.

And I knew then, it's funny when you meet somebody that you think, I'm going to, I thought even then, and this is eight years before we made the movie, I was thinking, I'm going to make a movie and he's going to be in it.

I knew then that Simon was like a great comedy leading man.

And it was just about then finding the idea of what that was.

You're doing this podcast.

Yeah.

It's very fancy to say, guys, I'm going to go and do Smutless right now.

Well, Sean has seen the movie.

It's a complicated beast.

I'm sure.

I was hoping you were going to say Bambino.

I was hoping that you did.

I did.

But it was something that actually, you know, tinnitus suffers, or tinnitus as we call it in the UK.

Aluminum, aluminum.

Aluminum, aluminum.

Risotto, risotto.

No, I had it when I was young and...

But I didn't, you know, like the thing that the character does in the film to sort of like tune out the tinnitus with music was not something obviously that I could figure out when I was, it was happening when I was probably like eight or nine, but it was, yeah, I did used to have that.

So it was something when that kind of idea came back around

And knowing people, obviously, a lot of people in the music industry have tinnitus.

So it was, I had had experience of it, but not anymore.

I mean, hopefully not again.

Well, I think probably just, you know, my parents' vinyl.

Like, in the days before, like, we were all old enough to remember the days before, like, computers and...

you know, when there's nothing on TV.

I mean, I used to kind of like, and I'm sure like a lot of people, like put the White Album on and just watch it go around.

And watch the vinyl go around.

So I've always been a huge music fan.

I think it's probably why I don't play an instrument.

And I think it's one of, if I have a regret, it's that I don't.

I mean, I guess I could still start.

I'll never be a pianist like you, Sean.

Although if I would like to play the piano, that would be the instrument I'd like to play.

I can't do it like you.

I think I have the kind of movie music version of Synesthesia where I kind of just imagine it.

Like Baby Driver sort of existed in my head for maybe like 20 years before I made it where it was that song that opens the movie Bell Bottoms by the John Spencer Blues Explosion.

I would like hear the song and I would see the scene.

And then I don't know if you guys have this as, you know...

when you're writing is you can see the movie in your head and the difficult part is writing it down.

So I think Baby Driver is one of those films that I kind of saw in my head and at some point I had to figure out what it was and how I could make it into a film.

Fermenting in my brain for a long time.

And the music was always the thing that inspired the sequences.

And it's something that like in a lot of the movies I've made is that like a song will sort of trigger the entire thing.

What about directing videos?

Yeah, I've done music videos.

The sad thing is that the budgets for music videos started going down 25 years ago and now it isn't a thing in the same way it was, which is a real shame because obviously there are some

like music videos, like Michelle Gondry.

They're like works of art.

They belong in a museum.

They're incredible.

So I have done some, not as many as I'd like, but I've done ones for Beck and Pharrell Williams.

And I'd like to do more, but they're difficult things to make because...

They, you know, if you're doing it for a budget, yeah, it's like a lot of pulling favors.

And you can only do that so many times in a row.

I think I did two low budget music videos in a row, right after Shaun of the Dead.

And I realized after the second one is like, ah, you can't ask people to work for nothing twice in a row.

Not as much as I'd like to.

But I mean, I think also the thing with that is also if you've got a crew that you really like is to keep them working.

Yeah, yeah.

You know, and so that's a nice thing is it may not even be working with new crew.

Sometimes it's working with the crew that, you know, as you know it, like it can be like three years between movies or four years between movies.

So if you have a team of people that you like working with, doing commercials and music videos is a great way to all keep working together.

Yeah.

I mean, I think that's the thing, because I write as well.

I'm always envious of directors who can kind of do a film a year, because at minimum it's like three years between movies for me.

And usually when you've finished a movie, you kind of think like, oh, we've got this great team, we should just keep going.

But it never works out like that.

I've never rolled straight into another movie.

Because you're writing everything you direct, yeah.

And I need a nap.

Yeah, so far, I mean, that's not to say that I wouldn't change.

And, you know, I don't write a lot.

I mean, Baby Driver is actually the only thing I wrote on my own.

Everything else I've written with co-writers, which, you know, like... And I love that, and I like doing that.

But I wouldn't rule that out.

You know, I think it's that thing where you... I mean, it's really difficult as well with, like, something like Shaun of the Dead was a film where to just read the script...

Without knowing how I would direct it or how Simon and Nick would perform it, I think, you know, some actors passed on it because they were just sort of baffled by it.

Or studios passed on it because they couldn't quite see it.

The way that you guys... Yeah, you had to see Simon and Nick doing it.

And you had to see their tone of their naturalistic comedy performance.

Because you could take exactly the same screenplay and make it really broad and silly and it would be an entirely different movie.

So it was a thing with that film in particular.

And it helped that we had space and we could show people space and say, hey, this is kind of what it's going to be like.

But it wasn't an easy sell for everybody.

Right.

Yeah, yeah.

Oh, yeah.

I mean, I think there were shows, some of them before my time and they get repeated.

I mean, I felt the shows that were really like the groundbreakers.

I mean, obviously, Monty Python was before my time, but it was repeated a lot.

So that would be something.

Like Fawlty Towers?

Fawlty Towers.

I mean, the ones that were on TV when I was...

you know, like things like 40 Towers and... Are You Being Served?

Are You Being Served was always on.

But I think the first one that made a really big impact on me, which is more of a culty show in the States, was The Young Ones.

which was only like 12 episodes, which was so punk rock.

It was only 12 episodes?

Yeah, it was like one series in 1982, one series in 1984.

Every episode ended with them dying.

It was such a sort of like... I love that show.

It was like a total hand grenade of a show.

And I remember I was too young to see it the first time at school.

But all of the kind of the cool kids at school were talking about the young ones.

So when the second series came around, I was all over it.

Remember, nature sows the seed.

I want to see it.

It was incredible, that show.

And it really stands up.

They used to have bands on every week.

Yeah, yeah, yeah.

I think it was like that on British TV as well when it first came on.

I mean, it was the start of something.

I mean, alternative comedy, as they called it in the 80s, was like huge.

And there were like shows that haven't traveled over to the US that...

I mean, I guess in that pre-Cable Age where things started traveling over 20 years ago.

But prior to that, there'd be things like The Day Today and Brass Eye and Alan Partridge.

Brilliant.

Those shows were huge for me.

Oh, yeah.

I think writing comedy on your own is a very lonely business.

I think writing with a co-writer and pinging things off each other or just reading it aloud, I think that's a big thing, is just reading the script aloud to each other.

And, you know, you get to the point where you could almost perform it like a play.

I think, you know, Baby Driver I wrote on my own, but that was more of an action film.

And it was the most difficult script to write because you're constantly looking for...

you know, affirmation from somebody, like, please, somebody read the pages at the end of the day.

But, you know, obviously with writing with Simon Pegg or Michael McCall or Joe Cornish, you know, like... You have immediate feedback.

Hanging off each other.

No, I...

I mean, I'd like to write something else like that.

And me and Simon keep talking about writing something else together.

I wish you would.

And I think it really just comes down to just being in the room together, really.

It's just like we've got to do that and just hash it out and have fun with it, you know?

And you're in the ones, the only scene in the movie that Glenn Powell is not in.

I know, right?

I know.

The walking green light has arrived.

But anyway.

It was great.

You were great.

I have to rectify something, Jason.

We have to work together because I've now worked with two of the three people on this call.

Because Will did a voiceover in my Grindhouse trailer, Don't.

And Sean is in The Running Man.

So Jason, I have to complete the set.

Nothing would make me happier.

It's your next move.

What's that character doing now?

Team Wolf 3 in 3D.

Let's do it.

How are you spelling three?

Yeah, it was one of the books he wrote under his pseudonym, Richard Backman.

He wrote like five novels before he got rumbled.

Maybe four novels before he got rumbled as Richard Backman.

It was his pseudonym that he wrote for non-horror stuff.

And so The Running Man was written in 1982.

And...

The Schwarzenegger 87 version is a very loose adaptation of the books, which is one of the things that attracted me because I'd read the book as a teenager.

I think probably like a lot of people, Stephen King was a real gateway author for me in the sense of I was reading his books in my early teens.

And it was probably some of the first grown up books I ever read.

And

The Running Man made a particular impression on me.

And I'd actually read the book before I'd seen the Schwarzenegger film.

So I was aware that it was drastically different.

And so I was always interested in doing a new adaptation of it because I thought, well, this is a book that hasn't really been adapted.

And I also had a dream to adapt a Stephen King book.

And yeah, so it was... I mean, I...

It's difficult for me to talk about when I'm still making it.

I mean, you've seen the movie, Sean, but it's been such a kind of adventure.

It's also funny as well.

It has some...

One of the things why I want to say Glenn's in every scene except the one that Sean's in.

Sean's in a show that Glenn is watching right at the start of the movie.

He's a host of a different game show that's not The Running Man.

But Glenn is in every scene because in the book, one of the things that was really intense about the book is that you see the entire thing through Ben Richards' point of view.

And that was something that I thought, well, that's something that's not in...

other movies like this usually they cut away to the baddies or you go to kind of like another location or somebody else watching the show but we stay with Glenn and his you know like subjective intense experience and his point of view so it was and you know so Glenn was on set every day and he really brought it it was amazing but it was an amazing cast all around like in fact I was just talking to a friend of the show Josh Brolin who's in the movie and he said to say hi we love

We love Josh.

Coleman Domingo, Michael Cera.

Michael Cera?

Yeah, Michael Cera.

Your other colleague.

First time we've worked together since Scott Pilgrim.

Amelia Jones, Jamie Lawson.

Sean Hayes is in the movie.

Yes, sure.

What?

When do we get to enjoy this film?

November 14th.

Oh, just in time for Thanksgiving.

It's coming very soon.

It's...

I've never made a movie that's been finished so close to release.

And it's exciting and nerve-wracking at the same time.

But it's crazy that it probably will be finished in a week's time or something like that, which is wild.

Way too much.

It's too much.

No trouble sleeping.

Yes, lots of trouble sleeping.

I have to knock myself out with melatonin and edibles.

Yeah?

No, I think... And also, you know, as we all know, I'm still... I want to make movies for the big screen.

And for some reason at the moment, comedy has kind of like sort of, you know...

like not being made for like the sort of the cinema anymore, which is really strange, but I think things are cyclical.

I think it will come back.

I think so.

It's finding what that is, that sort of like, I mean, listen, you know, I'm going to flatter you both, but like, you know, Arrested Development was one of the,

biggest joke delivery machines on TV.

It had the kind of speed of a Marx Brothers film.

And that was the thing that I think when me and Simon, you know, like, would talk about that show all the time, you know, because also American shows at that time when they were network shows, 22 minutes long.

And like, you know, with like 22 minutes and like 500 jokes.

Incredible.

And I love those things.

I mean, I'm still like...

a huge comedy fan and, you know, the best comedy films that just like, you know, obviously when I was growing up, things like the Zucker Brothers films.

Zucker, Abraham Zucker.

I shouldn't leave Jim Abrams out.

But, you know, things like Airplane and Top Secret.

Those films are huge for me.

You know, the Python movies, the Marx Brothers, like, just like, I just, I don't know how many times I've watched Monkey Business and Duck Soup.

Duck Soup.

Oh, you know what?

I have never seen this show, but Bill Hader talks about it all the time.

And I didn't like a lot of the adult swim shows never made it over to the UK.

Oh, yeah, I have seen that.

Oh, God.

The worst advice.

It is.

I wish I had a great pithy answer for this.

I remember somebody said to me, I mean...

I say to people all the time is that because sometimes I feel that people make movies and that they're making movies to kind of fulfill a brief.

I think you, and I don't know if everybody ever says, but you have to be the cinema.

You have to make the movie that you want to see as a customer.

And so I'm always, and so I mean, I can't believe I'm,

telling you advice that I give myself or give them to other people.

But it is that thing, as I think that's the thing that I think about all the time, is I want to be the audience member.

And I think as a film director, you're always just chasing that thrill of the film that you saw or the film that you want to see, that if you didn't make this film yourself, you would want to be the biggest fan of it.

And I think that's something that's just, I haven't really answered your question, Sean, but I think that's always the thing that I return to, is just to sort of try and be sincere in the process of make the movie that

you know, that you would want to see.

Instead of trying to guess what they want.

Yeah, because I think that comes up.

I think you can tell those movies where people are kind of working in genres that they don't necessarily love.

I think you can tell.

I think when people, like, really love what they're doing, it's palpable and it's infectious, you know?

Well, you never, people always say like, I mean, even in comedies especially, they say like, oh, you guys look like you're having such a blast.

And you always say, well, you never have time, you know, on a schedule to...

standing around and high-fiving each other afterwards.

It's like even after the most famous bit in the film, like when the film comes out, you know, on the day it's like, okay, so now we're going to put the camera over here and now we're going to get this shot.

And, you know, Jason, you know this.

It's just you're always moving on to the next thing.

Yeah.

I think the times that you have that moment, actually, is when you're doing a scene in one take.

Because then I think what happens is the whole crew crowds around the monitor because like, did we get it?

Did it work?

And there are quite a few like, one is in the running man.

So those are usually the times when the crew really bond over something is like,

Baby Driver, the opening credits of the film is like a three-minute take with lots of choreography.

So everybody crowds around the monitor to see whether it works and whether we got it.

So I think those are the moments, I think, where usually everything else is you just shooting, shooting, shooting, and then it's the end of the day.

Well, it made me miss hanging out with you guys.

Well, get back to it.

It was in the middle of the pandemic and I was like, and then I start texting you, I was saying, oh, I miss you, but then I hear you every week.

It feels like my life and stuff.

You know what?

I have tickets to see, is this thing on?

Oh, you'll love it.

Unless I'm mixing, I'll be there.

But no, I actually got tickets ahead of time.

I was going to tell you that.

I'll see you in London.

It's incredible.

Let me put it this way.

The guy who got the film greenlit is on the call.

Heyo!

Bravo, bravo.

Wait, really quick.

Paramount were like, we're not sure about this at this budget level.

And they said, John Hayes is in?

Yeah.

Okay.

Oh, the lights have gone out again.

This must be it.

It's so nice to see your faces.

It's so good to see you, man.

I'll see you all soon in person.

Thanks for doing this, Edgar.

Love you, pal.

So good to see you.

Love you.

Bye-bye-bye.

I'm going to do the traditional slamming of the laptop.

As a kid, I used to lay awake and think, when was Santana gonna make it?

As a kid, I used to lay awake and think, when was Santana gonna make it?

As a kid, I used to lay awake and think, when was Santana gonna make it?

A monkey drank a bottle and learned to speak. A squid drank a bottle and became a freak. A lion drank a bottle and forgot how to growl. A horse struck a bottle and fucked a cow.

A monkey drank a bottle and learned to speak. A squid drank a bottle and became a freak. A lion drank a bottle and forgot how to growl. A horse struck a bottle and fucked a cow.

A monkey drank a bottle and learned to speak. A squid drank a bottle and became a freak. A lion drank a bottle and forgot how to growl. A horse struck a bottle and fucked a cow.

I drink whiskey because I like the taste. You think it's bitter, but I think it's great. I also drink whiskey and we smoke cigars. Don't believe me?

I drink whiskey because I like the taste. You think it's bitter, but I think it's great. I also drink whiskey and we smoke cigars. Don't believe me?

I drink whiskey because I like the taste. You think it's bitter, but I think it's great. I also drink whiskey and we smoke cigars. Don't believe me?

You got your cell phone ring set to sex in the city. You like a hot bowl of grits, only way more gritty. Straight dripping in turquoise, my Santa Fe queen. One short leg, you got the Santa Fe lean.

You got your cell phone ring set to sex in the city. You like a hot bowl of grits, only way more gritty. Straight dripping in turquoise, my Santa Fe queen. One short leg, you got the Santa Fe lean.

You got your cell phone ring set to sex in the city. You like a hot bowl of grits, only way more gritty. Straight dripping in turquoise, my Santa Fe queen. One short leg, you got the Santa Fe lean.

Storing our seed? Yo, I think he means sex. Man, I'm a virgin. We all are.

Storing our seed? Yo, I think he means sex. Man, I'm a virgin. We all are.

Storing our seed? Yo, I think he means sex. Man, I'm a virgin. We all are.

I believe that's an Akiva line.

I believe that's an Akiva line.

I believe that's an Akiva line.