In the most basic terms it was about how when we experience art without critical awareness we consent to the ideas being promoted, either intentionally or unintentionally, by the filmmaker. For instance, if you watch a racist comedian and laugh at his jokes, you are consenting to the prejudices inherent within them. Similarly, if you watch a movie which perpetuates conventional ideas about race, gender, etc., you are consenting to them and not affecting change in any way.

You grow up watching certain films or admiring certain filmmakers, and to write a love letter to one and have them validate it, it's extraordinary.

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.

I've only played two sort-of slackers, in Spaced and in Shaun Of The Dead. They're different people, but they have the same kind of everyman quality, particularly as a twentysomething.

I defy anybody to not look cool with the guns. My granny could look cool doing that!

American audiences tend to be more expressive than British ones.

This idea of popular culture became something that belonged to us rather than something that we looked at from far away. We realized we could be part of it and create it, instead of just being consumers only.