Nira Park, who is my longtime producer and friend - I've know her since we did Spaced, the TV show - she gave me this script the last day of filming The World's End. She said, "Take a look at this. It's filming in London next year, and you might like to look at Jack." I trust Nira implicitly.

We realised that it was important to embrace this popcorn logic, that it works, that it's funnier when you fire 20 rounds from one tiny pistol. Then it becomes the joke, it's funnier when you pay less attention.

The main jokes in this film are about big things, love and life and zombies - we all get that.

I like to work in films, but I'd love to work in the technical side of film. I'd love to work with, say, Greg Nicotero [The Walking Dead] in kind of, like, special makeup effects. I'd probably say, "Good with clay and latex." Although I don't know what kind of job that'd get me.

We've kind of grown up in a post-Star Wars era, and what Star Wars did to cinema, in terms of an explosion of that kind of blockbuster culture. It's thrown up a generation of geeks. With the evolution of computer games and the Internet, that's all impacted on us as a generation, and affected the creative element of that generation enormously. So whereas the different schools of filmmaking...

I was the naughty kid that the teachers liked. I bullied a kid in the 1st year when I was in the 2nd, who then hit puberty like a plane crash and grew into a gorilla who bullied me when he was in the 4th year and I was in the 5th. That's Karma.

I mean, yeah, I'm sure that Python and the other things have paved the way for a greater understanding of the British sense of humor, but I don't think it's all that different than the American sense of humor.