Edgar Wright & Nick Frost

0:05And we're back! Just like the five Musketeers. Three Musketeers, isn't it? Well, nobody knows how many there were, really, do they? You know that the three Musketeers is a fiction, right? Written by Alexander Dumas. A lot of people are saying that about the Bible these days. Well, that it was written by Alexander Dumas. Don't be daft, Steve. It was written by Jesus. We're there, yeah? Let's do this! They haven't seen each other in 20 years. I'm free to do what I want! But tonight, they're returning to their hometown to finish the ultimate pub crawl. This is our chance to finally conquer the gold mile. Twelve pubs, twelve pints. And this time, they're going to make it to the last pub, the world's end. Go! What's up, free? What is it? Tell him. Peter Jackson. Yes. interview. I was watching this this morning.

0:51So when you get your little press junk and you see Peter Jackson on the list, what was that like? No, that wasn't on the R list. It was his idea, which is amazing. It was that he had, we had done it, he had very, very kind to us Peter Jackson. And he had done a screening. It was Martin Freeman's last day on the Hobbit. And we were coming to New Zealand because we didn't do any press of Martin, because he'd been busy. So we went to Wellington and did a premiere and went to the Embassy Theatre. Martin was there, me and Simon and Nick were there. Benedict Cumberbatch was there. All of the Hobbit actors were there. And then Peter watched it for the first time and then he said, oh, I'd like to interview you and put it on my Facebook page, which is amazing. So he didn't have to do that. And he genuinely like really loved the movie. And it's very sweet as well, like, because Peter, who is an inspiration to me and has been since Bad Taste and Brain Dead, like said,

1:39oh, you know, watching your film, it just made me want to do one of those movies again, like do something smaller and something more personal. So what better compliment is that? It was amazing. We went around and sat in a little sitting room and he came in with his shoes off and had a cup of tea and we just chatted. It was great. When you're talking to your hobie cast, you know, whoever you're sitting there being like, I've got to say, I've got to go. I'm in Tintin. Right. So we start, I think, I would imagine next year Tintin too. So that's with Peter in Wellington. Nice. In that you're talking about how the dinner scenes are the hardest to shoot. Because I want to sit around the table, you need so many angles. Why? When you're writing the script, do you realize this is going to be hard to do? I think so. You know, like, there's basically this film is all made up for difficult scenes. You've got fight scenes, which are incredibly intensive.

2:26You'll see the special effects, which are incredibly intensive. You've got car chase bits, which are intensive. And then dinner table scenes are just difficult because if you've got six people on a table, you need so many camera angles to make it kind of visually interesting or just cover everybody. You know, you've got six great actors, so you have to cover them and stuff. So it's just time consuming. So it's something that, like, within, like, movie making, like, a dinner table scene is usually something that people go, this is going to be a long haul, you know. 36 setups. Yeah. And you've got, like, 12 of them, in this room, at least. Oh, yeah. Pretty much, yeah. But it's also, like, those are the scenes where I, as a sort of, like, you know, kind of as a director, like to kind of sit back and observe the actors. You've got these amazing actors around the table and you just let them do their thing.

3:12Also, a lot of the time, too, we're not in a circle. You know, it's like an amphitheater style. You know what I mean? So then... Some people are sitting behind the camera. Yeah. If that's the most difficult thing on his end, what's the most difficult thing for you? What's the fight scene? No, it's the fear of not knowing my dialogue. That's the most difficult thing on any film for me, just that, and I'm great on lines. I never forget lines, but for me, it's... Is that true? No, he's really good. Yeah, I know. I never forget. You know, I'm a professional actor, so... But the worst thing for me is the fear of not knowing them. So I, you know, much to my wife's annoyance and to her credit. Every day, I'm up doing lines an hour before I get picked up and I spend an hour when I get into bed at night learning lines.

4:00I do three hours a day at weekends every day, just to make sure that I am... Do you run lines with the wife? No, I tried that once and we ended up having a giant fight, so we stopped doing that. But, you know, also, I'm... Because he tries to run lines on a romantic scene. Yeah, yeah. But no, she... You know... In his part? But she kind of interjects every two seconds, and I say, no, actually, it's there, not there. It's like, no, look, just let me get on with... Please stop interrupting. Becky so sucks the wedding. No, we're not doing that now. We're not doing that now. But also, you know, I'm an executive producer on the film, too, so I need to know everyone's lines. I need to know what everyone's doing and know absolutely everything we do on any single day. So, you know, that's important.

4:47I'm on that. Is it easier just mentioning every single day? Is it easier, from both your perspectives, making everything take place on one day? I think the all-in-one-night thing does add to the process, especially if you can do it in order, which is sometimes tricky, but pretty much the film is shot in chronological order. Where the...? Yeah, near as damn it. And, like, especially with, like, a film where people are getting steadily drunk throughout, that really helps. Also, the costumes are getting more and more disheveled and their makeup. So, that's fun to do. I think it's just like, there was a big part of showing the dad as well that the stronger dad takes place over a very tight period of time, and so does this one. So, I think it adds to the filming of it, for sure. I think, from my point of view, too, it's great, because it only means one costume change.

5:33So, you're in the same thing, and that's it. You put it in in the morning, and you're there, you're done. As an actor, do you feel more like the character when you're actually going through the motions in order? I don't know. You left to ask another actor that, but for me, it doesn't matter. It doesn't make a difference. It's about, you know, when the camera starts rolling, you have to be that. So, I don't mind any more order it is in. How much did you shot Cuban for your salsa dance movie before doing this one? How much did the choreography from a film like that correlate to the choreography in a fight scene? Massively. Really? Yeah, it would have been difficult. Not difficult, it would have been different if we'd done it the other way round, but I finished Cuban a week before this started. It rehearsed, so the kind of finale of Cuban is like a four minute free dance that I had to learn and do it in front of 600 of the world's best salsa dancers.

6:21So then having to fight 10 robots in a pub was easy compared to that. You know. It's nice. I'm going to let you go. So we do something called Five Questions. Five quick questions, one more dancers. You can both answer them the same with the first. Pigeon. I know. Sorry. I like that. That's good. The first one though is one for each of you. Yeah. Next script or improv, and your film or digital? Script. Film. Leonard McCartney. McCartney. I'm going to say McCartney too. Your favorite beer? Stella Rottwa. Perhaps Blue Ribbon. Yes, right here. My hips would be here in North America. I like that. We don't really do this here in North America, but in England, I hear there's a lot of pub sports. So what's your pub sport of choice? Drinking. Pub quiz, film quiz, trivia quiz. Trivia, I like that.

7:06In one word, the world's end. Great. Alcoholicost. I'm going to change once a bomb again. I like that. Thanks so much guys. Thank you. Cheers. Amazing.