The trouble with improv is that it is often about being funny in the moment without any real consideration for the bigger picture.

I think that the joke and the ghost story both have a similar set up in that you kind of set something up and pay it off with a laugh or a scare.

It's hard, really, to make any physical movement that hasn't been done in another film. If you grab someone's hand, it doesn't mean you're referencing other films with grabbing hands...

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.

We are never more creative than when we are at odds with the world and there is nothing so artistically destructive as comfort. Princess Leia taught me that.

Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.

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...