The editing process, to use a slightly grim analogy, is like the slow suffocation of lots of babies. It's like, which finger do you want to cut off first?

There are things that are about the entire genre, so it's weird when you look on Wikipedia and people say, "The scene where Angel grabs his fist is from Superman II," and you're thinking, "Ummm, no it's not." Or, "There's a shot from Matrix Revolutions." I'm thinking, "I've only seen Matrix Revolutions once, and will never watch it ever again."

I came from another county. I spent 15 years in Wells, but I was treated like an outsider. It was like, "Oh, you're not local."

Everything that I've done so far has had a bigger budget than the last, but I've never ever felt the benefit of the bigger budget because the ideas always exceed the budget.

It's funny, my agent came up to us and said, "That line, when Nicholas says, 'I'm gonna bust this thing wide open,' what film's that from?" I said, "I think it's from every film." It's just like you get into that kind of mode of generic dialogue, it's fun to do.

I used to stay up all night playing 'Resident Evil 2,' and it wouldn't stop until the sun came up. Then I'd walk outside at dawn's first light, looking at the empty streets of London, and it was like life imitating art. It felt like I'd stepped into an actual zombie apocalypse.

Just concentrate on the performers. Make sure you get the performers, and that's it. That's all we need to do." And I was thinking, "Well what if you do both? Of course the performance is important, the writing is really important. But what if you could have the perfect marriage of making it look really slick as well?" I think that's kind of what I tried to develop as a style, and Spaced was the first TV show I did where all the elements came together.