Simon Pegg Quotes

I decided to go and see another film, just to take my mind off Star Wars, and noticed that a film called The Matrix was playing in the same theatre. Two hours later, I re-emerged into the street full of the excitement and satisfaction that The Phantom Menace had failed to inspire. The Matrix seemed fresh and cool and visually breathtaking; making wonderful, intelligent use of CGI to augment the on-screen action, striking a perfect balance of the real and the hyperreal. It was possibly the coolest film I had ever seen. Ironically, fraternal directing team the Wachowskis faltered quickly with their sequels, killing their baby in just three years. Credit to George Lucas, it took him twenty-five to murder his.

Zombies don't run.

Rory is very established in England, which you are seeing right now with Bond. But his father Roy Kinnear was a very, very beloved comedy actor here in the UK. And Rory actually even looks a bit like his dad. And so it makes a lot of sense to me that Rory has such good comic chops because it's in his blood. He's very, very funny as Sean.

I used to lie in bed in my flat and imagine what would happen if there was a zombie attack.

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.

Also, if you watch the film once, there are lots of things that you won't get because there are punch lines in the first act, the setup to which isn't until the second act.

If one of your best friends is making a Star Wars movie, you're not gonna not abuse that privilege. I defy anybody to say otherwise!

I would often sit in the corner of the room wearing Dad's massive headphones, carefully replaying the records time after time. It was something I did frequently throughout my childhood with music, comedy and film, inspiring my own creative imagination, the headphones rendering the experience intensely personal, as though it were all happening inside my own head.

The revolution of video had a massive affect. We grew up in a time where suddenly you could own films. Before, they had a theatrical run, and then perhaps they'd come back, or you'd catch them in a retro cinema.

That's what we wanted to get across in that moment, particularly when Shaun goes to the shop when he's all hung over. He doesn't notice any of the zombies around him just because he never had before, so why should he at that point?

It wasn't until a year later, when a young woman with Danish pastries on either side of her head knelt down in front of a walking dustbin to record an important message, that love truly came to town. - p 16 [re: Princess Leia]

A young lady by the age of seventy was walking up the road..

Doctor Who was a big part of my childhood so it was a great honour to be in it.

A biological agent, I'll buy. Some sort of super-virus? Sure, why not. But death? Death is a disability, not a superpower. It's hard to run with a cold, let alone the most debilitating malady of them all.

Now there's a whole generation of filmmakers who grew up making their own films with video cameras, and have dined entirely on a diet of popular culture. It's been reflected in a lot of their work. It's self-reflective, it's quite knowing, but it's very literate.

I think at its best the American sense of humor is the same as the British sense of humor at its best, which is to be wry and ironic and self deprecating.

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 was always Luke because I had blond hair, and my mate Stu was Han. Han was the cool one. The Jedi were never the cool ones.

Bill Hicks wasn't just a comic, he was a crusader against humanity's relentless capacity to underachieve

The worst and the best that the internet ever did was give everybody a voice.

Films that rely on their cast to be funny are often episodic and feel like a series of loosely connected sketches rather than a satisfyingly structured script.

Remember when only a few people had mobile phones. Generally regarded as an object of derision, you would occasionally see business types clutching those ridiculous grey bricks to their faces and mutter to yourself 'what a prick.' Nowadays, an eyebrow hardly even flutters when we see a ten-year-old child happily texting away. You probably wouldn't notice anyway; you'd be too busy downloading an app that could definitively pinpoint who it was that had just farted in your tube carriage.

That's always important to us, is being truthful. Not guessing, not making any assumptions. Just coming at it with knowledge.

It is an extraordinary thing to meet your heroes and find them to be everything you hoped they would be.

I love my job very much, and I don't think I would change it. In fact, I know I wouldn't, because I can't do anything else.

In England, we don't have any guns whatsoever.

I lived in the cultural equivalent of Tatooine when I was a little boy. I didn't live in London, I didn't live right in the middle of where everything was happening, I lived on the very edge of it.

The only spoof I think is the title, which was just we thought of very early on and it kind of stuck.

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.

You look at shows like The Simpsons or Larry Sanders or Curb Your Enthusiasm or Seinfeld, they're really sophisticated shows that we all love back home.

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.

The nuts and bolts of shooting a film and writing a film are still really difficult. But what makes it easier is the fact that you know you're going to go to work with your best mate.

We might not know we are seeking people who best enrich our lives, but somehow on a deep subconscious level we absolutely are. Whether the bond is temporary or permanent, whether it succeeds or fails, fate is simply a configuration of choices that combine with others to shape the relationships that surround us. We cannot choose our family, but we can choose our friends, and we sometimes, before we even meet them.

I don't know about doing a sequel. I think you can retroactively damage a product by adding to it.

I will be forever grateful to Dora Brooking, for not only spotting my light bulb but also helping me turn up the wattage.

American audiences tend to be more expressive than British ones.

I just love listening to the laughter.

You know what, despite my complaints about The Phantom Menace and Episode II, when Episode III comes out I'll be first in line. I genuinely love it.

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.

[The USA in the '70s] The country's cinematic output was appropriately bleak, reflecting the moroseness and self-hatred that riddled the national psyche. Anti-heroes such as Bonnie and Clyde, Travis Bickle, Popeye Doyle and the Corleones dominated the box office and the public wallowed in a morass of guilty introspection. There was never a country in more desperate need of a blow job than the United States of America: enter George Lucas.

We suddenly saw how people reacted in the event of massive social upheaval, and the way that the little problems in your life don't go away. You don't stop being frightened of spiders just because the world's blown up.

I'm simply saying that our deepest thoughts, desires and preoccupations manifest themselves in art, whether we intend them to or not. That's what art is for; it's not cerebral, it's emotional.

I loved playing Shaun, he's not that different from me.

Maybe I'm wrong; I might not believe in fate but I do believe in causality and who's to say fate isn't just a sort of social mathematics that brings like-minded people together.

When men write women, they tend to write women the way they want women to be, or the way they resent women for being. They don't really - they seldom nail it. It takes a woman to write a really good female character. I like that.

Being a geek is all about being honest about what you enjoy and not being afraid to demonstrate that affection. It means never having to play it cool about how much you like something. It's basically a license to proudly emote on a somewhat childish level rather than behave like a supposed adult. Being a geek is extremely liberating.

(on the word "fuck")

'Oh, come on, Mum,' I sighed at her protest. 'It's just an old Anglo-Saxon word for the female organ which has been adopted by an inherently misogynist language as a negative epithet. It's the same as "fuck", it basically means the same as copulate, but the latter is perfectly acceptable. Why? Because copulate has its roots in Latin and Latin reminds us that we are a sophisticated, learned species, not the rutting animals that these prehistoric grunts would have us appear to be, and isn't that really the issue here? We don't want to admit that we are essentially animals? We want to distinguish ourselves from the fauna with grand conceits and elaborate language; become angels worthy of salvation, not dumb creatures consigned to an earthly, terminal end. It's just a word, Mum; a sound meaning a thing; and your disgust is just denial of a greater horror: that our consciousness is not an indication of our specialness but the terrifying key to knowing how truly insignificant we are.'

She told me to got fuck myself.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

I've appeared in those kind of films and have great fun doing it, and I'm always up for a challenge. I think with things like Mission: Impossible and Star Trek, those things are such an ensemble, it's not like I'm Ethan Hunt. I'm Benji. I'm the guy that does the computer business. I know my place.

It's a fun world to exist in, and I relish doing those movies as much as I do the smaller ones. They're always immense fun. I don't know if I am - unless we do a Benji film, I don't think I am an action hero really.

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.

Plainly it isn't an exact science, despite it being a complex interaction of micro-decisions and corresponding thought; perhaps it doesn't always work and we pass by some potential soulmates like the proverbial ships in the night, never quite connecting. Then again, perhaps the system is tenacious and continues to run like a computer program on infinite loop, so that if at first you don't meet, you are drawn back together for another try.

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.

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.

There are some incredible television shows. It seems a sort of succumbed place to be. At the moment, I'm quite happy sort of flitting from place-to-place. I wouldn't want to relocate from where I am right now in terms of where I live.

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.

The trouble with addiction is that you can park the car but you can never switch off the engine or stop yourself from hearing the revs.

Chris Martin's a good friend of mine. I'm actually Apple's godfather. He's an old friend and we've been mates for quite a few years now.

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

I think the jokes would have been a bit broader and a bit more obvious in terms of the day-to-day of country life.

Being a geek means you never have to play it cool about how much you like something.

As a kid, I was a huge fan of movies and acting. My mom was in the sort of community theater, and I always hung around down there, and I was a massive fan of everything I'm kind of involved in now. But fairly ordinary and cheeky.

Like behind the car or in the pub, to do a scene, a proper nice dramatic scene, it's always a treat. And they're usually shot as one, so you've got a big chunk of dialogue to learn, and you feel like you're working.