All language subtitles for Commentary 1 Simon Pegg and Director Co-Writer Edgar Wright-eng

-Hello!
-Hello!

Welcome to Hot Fuzz.

I'm Edgar Wright,
the co-writer and director of Hot Fuzz.

And I'm Simon Pegg,
and I play Nicholas Angel,

and I am also a co-writer of Hot Fuzz.

-You're watching Hot Fuzz from Universal.
-And there's the world.

This was an idea
to have the history of police sirens,

So Hackenbacker,
who are our amazing dubbing people,

came up with, basically,
police sirens through the ages

lo take us into the first shot.

This was shot... Where was this shot? In...

-It was near City Airport, wasn't it?
-Yeah.

It was some kind of abandoned building
that had never been used.

Some people think
this is a Point Blank reference,

but the truth is that
it wasn't really written like this.

It was just, this location happened to have
an amazing vestibule like this,

So we decided it had to be the opening shot,

and Jess, our DP, made sure
that we caught it at magic hour.

Whammo. How did you do
that thing with the face?

‘Cause that is the face that...
That is simply the shot replicated, isn't it?

Yeah, we put your face from the shot
into your badge,

-So on the day, you had a little bit of green...
-l remember.

This is whizzing through
a lot of locations very quickly,

but a lot of this shot
was shot on the first three...

We did a little pre-shoot
before we started shooting.

-To basically kind of...
-This was Hendon, wasn't it?

-That was Gravesend, and this is Hendon.
-That's it.

Simpson Hall. This is where
people really get their graduations.

There is such a thing
as the Silver Baton of Honor, isn't there?

-Yeah, the Baton of Honor.
-It's true.

That was the first shot.

No, that was the first shot,
and the other one was afterwards.

That's right.

But a lot of this montage was done
very early on. That's at Hendon.

-I actually did that.
-Yeah, you did do it.

The shot of you
with the camera attached inside.

You're so fast.
I'm getting an embolism already.

I think I did actually claim to do that
in the other commentary as well,

but I just wanted to make sure
everybody knows that I did

by doing blanket commentary coverage.

-What, the skid?
-Yeah.

It was great fun.

I'm sure we mentioned this before,
but that's Garth Jennings,

the director of Hitchhiker's Guide
to the Galaxy and Son of Rambow,

playing the crack addict.

We have an agreement
that we appear in each other's films.

-Jackson.
-Peter Jackson there in...

-Jackson.
-Peter Jackson there in...

I felt a bit bad that his cameo is so fleeting.

He watched it the other day, and I sent him
an e-mail to warn him how short it was

and said,
"Think Hitchcock and then think quick.

"Think quickcock. It's a quickcock cameo.”

"Think cutting room floor.”

He e-mailed me afterwards to say
that when he saw how short the bit was...

He wound me up by saying
that he walked out of the film

and wandered around at a loss
and then came back

for the scene with the flowers
on the grave at the end.

He walked around for five hours
and came back for the end.

Yeah, and he said,
"Some excellent credits followed."

Isn't there a Sergeant's position
here in London?

Now...

-Can I remain here as a PC?
-No.

We always had this idea,

I'm sure we mentioned this
on the Shaun of the Dead commentary,

that Martin Freeman was like the other you.

Yeah, with more hair.

And we wanted to play on that
a little bit more here by having him as...

That you're the officer on the street
and he's the pen-pushing college boy.

Who took the desk job route...

-The desk jockey.
-The desk jockey.

We had a number of casting ideas
from the outset,

and these first three,

very early on,
we wanted to get to play these parts,

just because it was
this sort of continual trumping,

-if you can forgive the phrase...
-Yeah.

That sounds a bit wrong.

It sounds like
we got chronic flatulence, but...

It was the idea of literally having
the top brass.

As cameos go, it's a good way

of bringing out the big guns,
that they kind of...

And what's funny,
when Coogan agreed to do it, he said to me,

"So hang on.
So Martin Freeman is my junior

"and Bill Nighy is my senior?"

I said, "Yeah."
He goes, "I can live with that.”

So Coogan.

It was...

-That's a great frozen smile, that.
-I know.

It's also great just having them there for...

We had them down for two days,
basically, and shot all of their scenes.

Yes, I do.

And one of the most exciting things
for me about making this film

was having such a great mix
of actors together.

There is a lot of stars in it,

and the accusation may be
that it's kind of celeb-heavy,

but from my point of view, it's like having
the best ensemble you could ever have.

Absolutely. We kept getting asked,
in some of the initial interviews,

"But how did you get these people?”
and, "Is it some sort of club?"

And, you know,
we fought hard to get every actor.

You never just take it for granted

and assume people are gonna do it
‘cause they like you.

I mean, Bill we wrote to him and said,

"It's not a huge part,
but we really want you to do it

"because it's a significant part.”

And, you know, everybody...
You don't just get a script and do it

because the people that are making it
are your friends.

You do it because it's good, right?

Also, better to have a whole cast
of great British actors

than be forced to put
an American actor in the part,

than be forced to put
an American actor in the part,

crowbarred in, playing a funny FBI agent.

Which you're sometimes asked to do.

No, absolutely. It does happen a lot.
It's surprising.

Bill Nighy had a thing
where he said he read the script

and he said, "I'll only do it
if you write me one more joke."

And that was his...

-"Of course I can. I'm the Chief Inspector.”
-Cue twitch.

Now, here, who's this lovely lady?

This lovely Oscar-winning actress,
of which...

This is Cate Blanchett,
who, you may or may not know,

is playing the part of Janine, uncredited,
which was very nice of her.

She came down for the day.
She gave her fee to charity.

And I couldn't help but feel on the set

that, by showing only her eyes,
we were only using 8% of her talent.

There's 8% of Oscar-winning talent
on show there.

You do realize
how much she does use her eyes,

because they're very emotive.

Absolutely. We were all slightly transfixed
by Blanchett's peepers.

Well, I spent an entire day between shooting

Just sat upstairs chatting.

And I've been a huge fan of hers
for a long time,

So it was quite a fun day for me.

-And you have a mask fetish, as well.
-I do.

-I'm very into masks.
-It was like double Christmas.

It's like reverse molestation.

I don't know where I'm going with this.

We can edit this out later.

But she was absolutely lovely,
and it was a real treat.

It was like Jim'll Fix It for me that day.
I got to spend the day with Cate Blanchett.

That's Joe Cornish in the background,

and earlier on we had Robert Popper
from Look Around You fame.

-And also... Who's with Joe?
-That's Chris Waitt, but that's my voice.

I feel awful that I...

Because we needed to re-dub it,

for speed, I ended up re-dubbing it,
and I felt bad.

Chris hasn't stopped crying, has he, since...

-Since I re-dubbed him.
-Since he came to the premiere.

-Since I re-dubbed him.
-Since he came to the premiere.

This is...

Who did that shot?
You weren't in the copter, were you?

No, the helicopter stuff was all shot
on the same day.

We tried to maximize our budget

by shooting all of the helicopter stuff
on the same day.

So in one day,
they shot part of the car chase in Hatfield,

they shot stuff on London all the way down
to Wells, and then they shot stuff in Wells.

So we really got the maximum
out of one helicopter.

Weirdly enough,
they drove the helicopter to Wells, though,

on the back of a truck.

Hang on. We haven't talked
about that whole montage.

It's gone. It's gone.

-This was all done in pre-shoots, right?
-Yeah.

This was all done
before principal photography.

I always liked that idea... I was a big fan
of directors like Jeunet and Caro,

who show sequences, storytelling,
in really quick cuts.

There's a lot of people
that I admire like that.

Jean-Pierre Jeunet and Darren Aronofsky
have that great thing of...

And Scorsese, obviously.
He's the granddaddy of it.

Some interviewer once asked me,

said, "Oh, did you steal all your montages
from Snatch?"

And I said, "No, I stole them
from Martin Scorsese like Guy Ritchie did."

-Fair enough.
-Fair enough.

There's a little thing there
where you see the swords on the wall

that Bernard eventually uses against Angel
in the final battle.

So there's scene setting going on.

Yeah, we were very anal
about that kind of stuff, of having little...

It's almost like playing a video game
and having those little objects, items,

that you can pick up and put back
and are things that are significant for later.

And pray, silence, please,
for the queen, Billie Whitelaw.

Sir William Whitelaw.

Willie Bitelaw, as my wife called her
one day by accident.

Billie Whitelaw is amazing.

A living legend, as they say.

And it was so fun having her on set.

And she was constantly threatening
to retire, before and afterwards.

Pretty much with every single shot,
she'd be saying,

"Darling, this is my last shot in the movies."

And I'd be going, "Don't say that.”

-She's hilarious. I love it.
-"Don't say that.”

On the making-of documentary,
she says, "I never really enjoyed acting.”

And I watch that and I just think,
"But you're one of the greatest actresses

“this country's ever produced.”

And she said, "I don't like acting.”

-The reluctant thesp.
-She is. She's wonderful.

I have a great story about her
in Twisted Nerve, but that's for another time.

-It's too long for this commentary.
-Different commentary.

I can say it on the end credits.

The end credits are about five minutes long.

-Remind me about the Billie story.
-Okay.

-This is Wells. This is my hometown.
-Here we are.

Well, it's weird. It's a village in the film.

It is my hometown,
and yet, technically, it's a city,

‘cause Wells is the smallest city in England.

‘Cause of the cathedral, I guess.

Only beaten by St. David's in Wales,
which I'm sure pisses them off no end.

Absolutely.

That's in the UK. Look at the hoodies.

Here's XTC on the soundtrack.

First appearance of Nicholas Frost.

This was the Royal Standard
in Beaconsfield.

Didn't they say something
like it was Britain's oldest pub?

It is Britain's oldest free house.

What does a “free house" mean, exactly?

It means that...

Do you know, I can't honestly give you
a proper definition right now

without sounding like a fool.

Guys, anybody listening out there
knows what a free house is,

please ring in on the Hot Fuzz phone line.

I think it means, like, a free house.

You know, like,
you're able to enter and drink.

I think it isn't attached to a brewery,

I think, is what a free house is.

A lot of pubs, they're attached to breweries.

-Shall I shut up?
-You're watching Hot Fuzz.

Okay, we have to do that joke several times.

Look out for the...

You know what's funny? One of the ADs,
when we were shooting this scene,

came up to me and said,

"Just wanted to say that the word ‘bypass'
is misspelt on the paper.”

I said, "Oh, yeah.
It's supposed to be like that.”

We wanted it to annoy people,

the kind of people who put goofs on IMDB,

-to be sitting there in the cinema with a...
-Going, "Ha! I've got them!"

"I've got them now!
They spelled ‘bypass' wrong."

"Those idiots."

I like the joke with the braces.

-That's Rory there.
-That's Rory.

-And Tom. Tom Strode Walton.
-Tom Strode Walton.

We used to call him Red Cloud
‘cause of his incredible hair.

-There he is.
-He's from my school.

We actually did auditions
in the Wells Blue School,

which is my old comprehensive.

I have to stress that it's a comprehensive,
‘cause Blue School sounds very posh,

and I am not a posh-o,
contrary to popular belief.

Get out.

Here's Rory.

Simon was very insistent
that I pitch that up to make it sound higher,

which is a very similar joke to Brian
in the second series of Spaced,

but a very funny one.

Talking of which, there's Julia Deakin,
who's an old friend from Spaced.

Old in that we've known her for a long time,
not that she's old.

You're looking super-serious in this scene.
I like it.

I've got Marvel eyes, as you used to say.

Yeah, I used to give Simon the direction
of saying, "Marvel comics,"

meaning, "Do more expressive,
Steve Ditko-style eyebrows."

meaning, "Do more expressive,
Steve Ditko-style eyebrows."

-I was only allowed...
-Like Harry Osborn with his widow's peak.

It is Harry Osborn. Or is Norman?
Norman is Green Goblin.

-Harry is Hobgoblin.
-Hobgoblin, yeah.

James Franco.

Now, there's a big clue
as to what's going on in the film.

Yeah, we wanted to show...
We wanted to do a lot of...

When we were writing this...
We're a big fan of mystery films,

things like, obviously, The Wicker Man,
but even things like Chinatown,

where there are significant visual details
given to you early on.

I mean, lots of films like that,

like The Usual Suspects
or like The Last of Sheila.

Films which kind of give the game away
early on

if you're paying attention.

-Can I ask you a question?
-Yes.

Because we lost the Gabriel thread
from the main film,

which we'll talk about,

was there a reason you kept in the "G,"

or just did you keep it in
as a sort of red herring?

Yeah, well, also,
Edward mentions the graffiti,

and it comes up with the spray cans
and them rubbing out the signs.

Of course.

You start talking about...

Basically, you can't fit an anecdote into...
It fits into three scenes.

It's like, I look back at the screen
and already we're onto another...

Well, it is "fast, funny and furiously paced.”

Quote, the Daily Star.

I think that was the Observer.

You can't go wrong
with a cone on the head.

-We've all done it.
-William Bailey.

You must've put a cone on your head
at some point when you were a student.

Oh, so many times.

I used to think that national cones hotline

was especially for students to phone up
So they could rent them.

My pen's running out.

Bill Bailey is a man
that just exudes funniness.

I love your pen...

-Double-handed pen action?
-Double-handed pen action, like Ash.

But that's a really nice way
into this sequence,

which is basically paperwork
shot like a fight sequence.

When we were doing research,
a lot of the police said that the only...

We interviewed a lot of police,

and they all said that the only part of the job
they'd never seen dramatized

and they all said that the only part of the job
they'd never seen dramatized

was the paperwork.

So, having watched Man on Fire
and Domino

and seen Tony Scott's amazingly
over-caffeinated flash sequences,

I thought it'd be a good thing to do
some hefty form-filling done in that style.

I think the population of the British
police service will thank you for that.

Stuart Wilson there.

-This is...
-There's Lorraine.

This is all shot in the marketplace in Wells
in the day now, which looks beautiful.

Kevin and Nick, as we know,
and the first appearance of the man

-known as the Daltonator.
-The Daltonator.

It's...

Oh, yeah, this was the first take,

and actually,
it wasn't so brilliantly framed, this,

‘cause it looked like he was pushing you
out of the frame.

And we did a retake,
and then when I watched it back,

I thought, "Oh, but isn't that good?

“It looks like Simon Skinner
is literally trying to take center stage

"and push Nicholas Angel
out of the picture.”

What was your story
about having a neon sign

-pointing to him, saying, "Bad Guy"?
-Oh, yeah.

When you read reviews when people say,

"Oh, the bad guy is so obvious,

"you may as well
have a neon sign pointing at him,"

I wanted to literally do that.

I couldn't figure out a way of doing it,
‘cause the shot was moving.

I was trying to think about...

In chemists' windows,
you get those cross signs.

So, really trying to figure that out.

When we were writing this, me and Simon,

not only did we immerse ourselves

in watching lots of action
and thriller films again,

but also, we read Roger Ebert's
Big Book of Hollywood Clichés,

which is amazing.

-Essential reading.
-Essential reading.

And we made copious notes
of every single thriller cliché that we could

to make sure we could get them in.

So I kind of feel,
especially in the latter half of the film,

it starts to play like
"the greatest hits of thriller clichés.”

All the things you've heard
before and again.

Even stuff like the...
Which, in the dub, you did great,

is the feedback on a mike,
which I think is page one of the cliché book.

Feedback on a mike,
somebody waking up in a hotel room

and immediately switching their lights on
without any fumbling.

Hearing anyone that speaks into
a microphone in a public place

will automatically incur some feedback.

Well, this is a classic cliché.

Any superior who appears to be genial
is definitely gonna be a bad one.

-Yeah.
-A rotten apple.

See Hal Holbrook.

-See Hal Holbrook in Magnum Force.
-Magnum Force and...

-The Star Chamber, as well.
-The Star Chamber.

And there's something else
he does it in, as well.

Well, when Jim Broadbent read the role,
he said straightaway, he goes,

"Oh, this is like the James Cromwell part
in L.A. Confidential."

-We said, "Exactly."
-"Yeah, exactly."

Now, Jim approached us
at the BAFTAS in 2004.

My favorite line.

And said how much he'd enjoyed
Shaun of the Dead

and asked us if we'd consider using him.

And it was probably
one of the silliest questions

we've ever been asked, really,

for an actor that good to come and say that.

We were like, "Of course.”

And so we went into the writing process
of Hot Fuzz with Jim in mind.

Absolutely.

There's the hedgehog.

-"Riot room.”
-Coming back later.

Evidence room.

This was all shot in a building in...

Where was this?
This was near Bushey, wasn't it?

It was right near Bushey.

Yeah. This location was a real pain,
I have to say.

-It looks great.
-A lot of glass, wasn't it?

It had a lot of glass and it was really small.

We actually made a lot of this on location.

There was actually less stuff in the studio
than Shaun of the Dead,

which is great
in that it looks really authentic and real,

but it can be a real pain. But it's...

-Here's one of my favorite jokes. I like this.
-That's so funny.

I'm surprised... I'm quite pleased
we got away with a 15 on the film,

‘cause we really pushed it as far
as the C-word and the blood would go.

-That's a nice joke for a frame advance.
-Absolutely.

Freeze-frame that
and read all the things around Kevin's head.

-We really like...
-Samson.

Doris Thatcher.

-She's our only policewoman.
-She's not a policewoman.

Much like Spaced and Shaun,
me and Simon are such big fans

of TV shows like The Simpsons
and films like Raising Arizona,

we really tried to make it something that
you can't quite take it all in, in one sitting.

So hopefully this is the kind of film
that people will watch more than once

and spot things second time around.

-I think in the age of DVD...
-Duh-Vuh-Duh.

...of Duh-Vuh-Duh,

you owe it to the audience to make a film
worth watching more than once.

I think it's important,

and I think there are certain things
in this film

that you won't get until you see it twice,

because the punch line
comes before the setup.

So when you watch it again,

you have the wherewithal to get it,
do you know what I mean?

It wasn't until the second time
that I watched it

that I realized that
that was Edward Woodward.

It's amazing.

-The great Edward Woodward.
-The great Edward Woodward.

One of the nice...
Actually, do you know what?

It sounds clichéq,
and I think I've maybe even said it too much,

but what a great group of people this was.

It was a real pleasure to sit round

while Edgar was feverishly trying
to set the shots up,

for us to sit around
and just chat between setups.

The anecdotage was insane.

But the thing is,
my only regret of the whole film

is that I got half-anecdotes.

-I know, you did. You didn't get to hang out.
-It's, you know...

Edward Woodward would be
about to tell me an amazing story

about Christopher Lee on The Wicker Man,

and then it'd be like,
"Oh, ready for the next shot.”

And I never got the end of them.

I need to do a little tour of Ken Cranham
and Edward Woodward's houses.

I think on the commentary that Edward does
with Ken and Paul and Tim,

I think you might get a few full anecdotes
in there if you listen in.

I think that's...
You can set your TV to Thespevision.

Or Thesperama would be audio,
wouldn't it, of course?

They were just up for it.

It's important, because we're asking
a lot of them, in some respects,

because we wanted them to be
sort of omnipresent a lot of the time.

So some days they'd come in
and they'd simply be background.

And it's a lot to ask of actors

that are that capable
and that experienced and that renowned

to just set the scene.

And I think you handled everybody
really well,

‘cause they understood
exactly what you wanted them to do.

I'd like to apologize to Ken Cranham
and Maria Charles for this scene,

because at the end of the scene,

when they talk about the farmers
and farmers' mums,

you originally saw a shot of Paddy and Rafe
looking at Ken and Maria,

and they were basically standing in the back
of Simon's shot for the whole time.

And we did a close-up,
and then it just worked better without it.

So, in that particular case,
I owe Ken Cranham a drink. I'm sorry.

I'm sure he'll be very keen
to have that with you

-and discuss your neglect.
-Oh, no. Unfortunately...

Ken has the most amazing laugh
of any actor.

It's deep and dirty.

He doubles over when he laughs.

This was a tough scene to do.

-One of the first scenes we wrote, as well.
-Yeah, yeah.

I think the Janine scene
was the first scene we wrote, wasn't it?

Janine and then maybe
the Arthur Webley scene as well.

Yeah.

Well, I tried to do a lot of things here.
I really like that kind of thing,

what they call diegetic sound,
of sound that's going on in the scene.

The soundtracks, things happening and...

There's lots of nice little things,
not just with the fruit machine,

but if you hear back there
when Danny's ears prick up,

you hear the cash register
in the background.

-I like doing things like that.
-You're great at that.

You're the king of scoring
with the fruit machine, I've got to say.

There's some classic moments in this
with that.

Fruit machines, cash registers, it's all good.

-I love all of that stuff.
-The stuff with the farmers' mums is...

Oh, yeah, there's...

No, I like all that.

I think I've probably had my lot
of fruit machines after this one, though.

I think I've probably had my lot
of fruit machines after this one, though.

-I'm gonna move on.
-I think it's a layer of detail

that you don't always see,

and that's one thing, I think,
that's good about being a writer-director,

is that you are, you know...

And because you're so present in the edit
with Chris, as well,

you get to intercede
at every single level of the film.

Do you know what I mean?
You're stamped all over it.

Well, the thing is,
when we make these films...

If you ever read the screenplays to the films,
they've got all the lines,

but there's very little detail
in the stage directions,

mainly because it's just too long.

And so it's great
when you're editing and dubbing,

‘cause you can add so many other layers,

either new ideas that you had
or ideas that you've had for ages,

and it's like it all comes together at the end.

We actually skimp on stage directions
in order to fit more dialog in

-and get the page count down.
-I know.

The kind of things that we do
to get the page count down.

Little writer's cheats.

I don't think there's a single writer

that hasn't changed the formatting
to make it seem shorter.

I know.

What an amazing, amazing buffet of talent
in this scene.

-Anne Reid.
-Oh, get on.

The Whitelaw.

I think all of the boys
have a crush on Anne Reid, don't they?

She's absolutely lovely.

Lest we forget, she's had Bond in her time.

She did have a little bit of a tryst with Bond.

I must stress that
that's in the film The Mother,

-the Roger Michell film, and not in real life.
-Yes.

Well...

Do you know what I heard
from Roger Michell the other day?

-He saw the film and really loved it.
-Oh, really?

‘Cause he sees Anna Maxwell Martin,
if I can say that,

-and they both saw it and really liked it.
-Good.

Personal information,
broadcast to the world.

-/ love...
-Stuart Wilson here.

Paul Freeman, Ken Cranham.

There's a second-viewing thing,
is Jim in this scene, I think,

when you watch it knowing he's bad.

-Particularly in that shot.
-Yeah, yeah.

What we really wanted to do with the NWA

was not only cast British institutions,

amazing actors and character actors,

but also, there was an idea
that a lot of these people

have essayed great baddies in their time.

And we really wanted that idea
that you would watch the film and think,

"Oh, there's a lot of significant actors
playing these seemingly insignificant parts,”

and for it to seem slightly suspect.

And so, if you're a film fan,
you can definitely spot straightaway that...

Well, Stuart Wilson
can't be just playing a doctor,

and Billie Whitelaw
can't just be playing a hotelier.

And Anne Reid can't not have any lines.

And, of course,
she has all the lines in that one scene.

So we really wanted to have this thing

where it felt like
a really winning hand of baddies.

-Look at those pecs.
-Nice.

They're very much inspired
by things like Murder on the Orient Express,

where you have
a star-studded cast of potential suspects.

Which I think you're...
Yeah, what you said about...

It's actually an aid to understanding,
as well.

Yeah, I think when you watch
a lot of those film noir films

and mysteries and stuff,

anything from The Big Sleep
to, I don't know, Oliver Stone's JFK,

you have very famous people playing
small parts so that you could follow it.

Yeah, exactly.

That was Johnny Borrell, wasn't it,
there behind me?

Johnny... It does look like him.

It does, doesn't it?

I think all of Razorlight
are in there somewhere.

Now, I just wanted, before we move on...

I was really pleased with,
"Have you got it in you?"

‘cause it was just a slightly inappropriate...

-Yes, no good for a school.
-For a school, no.

That would not go down well
in the current climate.

No. No.

I love this piece of music.
This is a rarity that you found, isn't it?

Oh, it's on that album, Velvet Tinmine.

There's an album
of glam rock no-hit wonders.

And when we were writing...

A lot of the time,
a lot of the music that we use in the film

is stuff that we were listening to
whilst we were writing,

and I think this one came up
on my iPod Shuffle.

And there's something
about the glitter-stomp-glam rock thing

that really goes with policemen
plodding along.

Do you think it's because of the siren
at the beginning of Blockbuster

that makes that connection?

There's definitely that, but I also think,
weirdly, that that kind of pace,

it seems intrinsically British,
of lolloping along.

it seems intrinsically British,
of lolloping along.

-Do you know what I mean?
-Yeah, it's true, it's true.

-It's like the beginning of The Bill, kind of.
-Absolutely.

Stephen Merchant, Adam Buxton,
we've both seen there, and also...

This bit, that's one of my main regrets
for this film, is that...

We did a couple of re-shoots,
and we had a Killer idea for that swan joke.

And it's one of my few regrets about this
that we didn't get to shoot it.

-We tried, didn't we?
-It was going to be a woofer.

Then Nick grew a beard
and he couldn't shave it off

-'‘cause he had to do Hyperdrive.
-I know, Nick...

-Yeah. Oh, well.
-Should we say what it was?

It was just going to be a series of honks.

It was going to be Danny and Angel
honking in time.

Also, Angel finally succumbing
and trying a honk.

This bit here is a nod to those urban films

like Training Day, like...

If you look at something like Training Day
or SWAT.

or those kind of films
where they have the slow-motion shots

-of potential perps.
-Yeah.

And this also came from the research,
is that...

We got a lot of things out of,
particularly the Met cops in the city...

-Street smarts.
-Street smarts.

Things like people wearing hot coats
on warm days,

clearly concealing weapons or drug dealers.

-Yeah, yeah.
-It's all true.

Groups of three people.

When we were on patrol in Lambeth,
the officer that took us out

showed us all sorts of things
that were going down

that you wouldn't really spot
unless you knew what was happening.

Yeah, we'd be going past the Tube station
and he'd say,

"Three guys outside, two in the front,
one in the back.

"Two In the front are taking the money,
one behind's got the drugs.”

I don't know why I'm doing
a Somerset accent,

‘cause he was from Brixton.
I'm sorry, I'm getting all confused.

Here we are in Hounslow.

Yeah, this was not the Somerfield's in Wells.

This was an empty Safeway in Hounslow,
which we redid as a Somerfield's.

There's me. That's my tiny cameo.

Was that you?
I didn't even know that was you.

I used to be a shelf stacker at Somerfield's,

and when I did my little cameo
as a shelf stacker,

I wore my uniform for the rest of the day,
if you remember.

I do remember that.

-Of course.
-I felt very comfortable.

You seemed too comfortable.
You had a little tie on as well, I remember.

Well, it was a nod to...
Tarantino does that thing

of wearing the costume
specific to the scene.

I never felt more at ease as I was
back in my shelf stacking uniform.

Listen, you know your place, mate.
That's the main thing.

-I know.
-You gotta get back there,

to Gateway, as it was then.

I think I'll do a couple of films
then will be going back there.

-Look at him. Look at him work.
-I know. [I love that.

He looks so regal.

Tina Richardson, our assistant editor,

when she was digitizing in the rushes,
She said,

"Timothy Dalton looks like a cartoon fox."

He's like Foxy out of Foxy Bingo.

Do you remember
we had that little argumentative discussion

about whether or not
I should have my hat on?

Because it was like this little collision
of what was cool and what was real,

-do you know what I mean?
-Yeah. But I think it's a good...

And we compromised quite well, I thought.

Presumably...
What do police officers do in foot chases?

You can't run along with your helmet on
or your cap.

You can't run along with your helmet on
or your cap.

Maybe they just carry it.

How many times did I do that
to get that skid?

-It's on the outtakes.
-Of course.

They put K-Y Jelly on the floor
to make it able for me to skid,

and it was also slightly false footing.
Pardon the pun.

You can't go wrong with Supercop,

which Jackie Chan fans will know
as Police Story Ill.

Now, who was our friend there
in the Shopmobility with the dog?

Malcolm and Jock.

-And Jock the dog.
-He managed to get in a lot of shots.

There's Graham Low.

He's an old friend of mine from school
who was in a lot of my amateur films.

Tosser!

-Does he say "tosser"?
-He does say "tosser," yeah.

I got him to do that in ADR.

This was great, shooting this.

This is the high street in Wells,
and this is where I used to walk to school.

This is how I used to walk to school,
down this thing, down this little alley.

But not running like that.

This is called Lovers Walk, believe it or not,
and believe it or not even more,

that is where I had my first Kiss,
down that alley.

-With me.
-With you.

Now, this is a joke you wrote
a long time ago, isn't it?

It is. I wrote this joke for another film
and I always thought it was a good one,

a film that never got made
about a pub crawl.

I always thought... "You mothers."

That's kind of like
a Raiders of the Lost Ark-type shot.

Yeah, the running up to the camera.

With the scene with Marion in the basket.

Here's our little callback
to Shaun of the Dead.

And Simon...

-Not Simon.
-Not Simon.

-I can't do that.
-That's still pretty...

It's a great changeover.

That is Nick, though.

I asked Nick to look behind here
So he could take the lap of victory.

He said, "Well, why would I look behind?
Shouldn't I keep on running?”

I said, "If you don't turn round,

“nobody will know it's you that's done it."

-Batman.
-Batman Begins sound effect there.

Now, Marcus Carter,
who gets a mention later in the film,

who's an old friend of my brother,
this is outside his house, as I realized.

He e-mailed me the other day

to say he was looking forward
to seeing the film.

-There's Elvis, the swan.
-Man.

This is Gabriel and the hoodies.

Gabriel Weaver.

There was a whole thread
about the fact that Gabriel Weaver,

who is the head of the hoodies,

is the grandson of
Edward Woodward's character, Tom Weaver.

We were really running out of time
shooting this scene,

and the sun was going down.
It was quite tense.

I wish we'd have taken his cap off, actually.

It would have made so much more sense

for you to have whipped his cap off
at the start of the shot.

One of those annoying things
that at the end of the day, I go, "Oh, no!"

More Jon Spencer on the soundtrack.

Ben McKay, there,
is playing a very sheepish felon,

but he's actually a very nice guy.

I like the fact
he's always got his tongue out.

He has.

What do you mean,
he doesn't wanna press charges?

Your reaction shot here is gold.

I love that. It's like a triple take.

It's like he appeared out of nowhere.
That's why I like it so much.

Like he appeared in a puff of smoke.

Well, this is the thing. Simon Skinner,
the inspiration for that character is...

I used to work at the Somerfield's,
and my boss, who was absolutely lovely,

and sadly no longer with us, he...

-Who we initially named the character after.
-Yeah, yeah. He's Mr. Stockwell.

His name was Mike Stockwell.
He was a lovely, lovely guy.

And he was really...

I used to really admire him

‘cause he held himself
like the mayor of the town.

He was the manager of the Somerfield's,
and yet...

So he didn't look a lot like Dalton,

but I like the idea of, like,
Dalton was really...

You know, he's like the king of the town.

He can walk in anywhere.

He can just walk into the custody suite
as he wishes.

-Yeah, exactly. He's got full access.
-Yeah.

I must just mention, going back a little bit
to the scene in the supermarket,

we watched Get Carter
as part of our research,

-and that scene is directly a homage.
-Oh, yeah, with John Osborne

-and his gangster's moll.
-Yeah.

We really liked the fact that John Osborne,
who plays Mr. Big in Get Carter,

has a moll sitting on the edge of his sofa.

So that's what Alice Lowe was playing,
the Somerfield moll.

That said, you would get check-out girls
who would loll around,

-and the assistant manager.
-Really?

-And Alice Lowe, as well...
-Maybe eating some biscuits

-that have gone out of...
-Some damaged biscuits?

Some damaged biscuits.

Alice Lowe is great as Tina, the shop girl.

She doesn't say much,
but she's got that look of disdain,

which she carries off so brilliantly.

And I don't want to be sexist,
but Alice has amazing pins.

You sexist.

What's that noise? That...

-Is that their speeding thing?
-That's the speed gun thing.

-The shortest car chase ever.
-David Threlfall.

-This...
-What a guy.

Look at his gloves.

He really... I think this look was his...

He had to have longer hair for another part,

and at first I thought that, as a solicitor,
he should have shorter hair,

but he said, "No, I should be rakish.
I should be a bit of a ponce.”

And I said, "You're right.”

So he came up with the cardigan look,
and the hair is just brilliant.

He's very funny, as well.
He was a hoot to work with,

‘cause he used to make me laugh
during takes.

Not on purpose,
just because he was just very funny.

Lucy Punch is doing a lot of business
in the back of shot.

-Yeah, it's great. Yeah.
-She's twirling her hair.

She's really trying to distract the eye,
and it's working.

She's being bored.

Yeah, she's trying to use
her feminine wiles on Angel,

-who's not having any of it.
-And the audience.

And thinking,
"How can I upstage Threlfall in the shot?

"I'll twiddle my hair and look cute.”

There's a great line that David does
in the am dram, which is actually cut out,

when Skinner asks where his wife is

and he says,
"Oh, she's at home with the dogs.”

-"She's at home with the dogs."
-It was a great way that he delivered it.

This...

For some reason, shooting in this lay-by

-was really lousy, wasn't it?
-Yeah.

I think we had
a lot of weather problems this day,

and it felt like...

We were all in a pretty foul mood.
I was as well.

-And Nick and I, in the actors' commentary...
-Look, that's my hands.

Oh, yeah.

That's Oscar's amazing flick book.

Me and Oscar,
when we were both at the Blue School,

we used to do flick books
in people's homework diaries

and sell them for a quid each.

You're both very adept artists,

obviously, Oscar particularly,
but you're both good at drawing.

Oscar used to do
endless stick-man violence flick books.

All of his flick books would be
stick men drawn with black ink

-but with red biro blood.
-Nice.

So it'd just be constant stick-man violence.

Well, I mean, if you have the double disk,
go to the flick book extra overleaf.

Absolutely, yes.

Nick said that that was twatty of Angel,
to do that.

I like the fact that he's twatty.

-I kind of like the fact that...
-He is a bit of a twat.

I like the fact that he's a bit unlikeable.

‘Cause it's like, you've got to be
a bit frozen to melt later on.

-Exactly. He needs to be redeemed.
-I know.

That became Danny's signature tic,
was his...

That became Danny's signature tic,
was his...

-His chimp laugh.
-Yeah.

Oh, I like this bit.
This went through various stages.

Originally it was Guys and Dolls
in the script,

and then we couldn't clear Guys and Dolls
‘cause it was too expensive,

and we thought about Romeo and Juliet

‘cause it obviously had a bearing on the fact
that Martin and Eve were having an affair.

And then it came up,
the idea of doing the Baz Luhrmann thing,

and then almost as quickly,
the idea of doing the Cardigans song,

which Jonathan Whitehead,
who does a lot of music for Chris Morris,

did the rendition of it, the cockney...

-Hilarious.
-Which is brilliant.

And also, obviously,
the costumes was one of the first things,

having them continually in the costumes
that you remember them from the film.

Yeah, it's the idea... Yeah, they keep
the fancy-dress costumes on.

The other thing I like
is when David Threlfall goes to the bar,

-he's still got his makeup on.
-Yeah.

It's like he's so vain
that he'd be in the dressing room

and he'd go, "Oh, I look fine. It looks fine."

-He'd rush out to meet his public.
-Absolutely.

Another hefty transition there with some...

We liked the idea of the cranberry juice
in extreme close-up,

is the idea that blood is about to be spilt.

-That's why it's all red.
-Oh, yeah, yeah.

-Red for impending doom.
-Splashing into the cup.

Also, the Romeo and Juliet thing
panned out really well, because when...

I remember reading the play

to find out what Skinner could say to Angel

when he appears at the scene,

and there's that great quote about,
"Never was there more woe..."

-Yeah, yeah.
-And it seemed to fit so perfectly.

Just to go back to Greg and Sheree there,
the thing about Straw Dogs,

being an extra in Straw Dogs,
is my brother's girlfriend, Nic,

she lives very close to the village
where they shot Straw Dogs,

and it always used to amuse me
that the people in the village in Cornwall

had fond memories of the shoot,

saying about, "Oh, you remember when
they did the Warner Brothers film here

"with Dustin Hoffman?"

And I think that film could not be nastier
about the area,

and yet everybody remembers it
with such fondness.

-And also, Dan Channing-Williams...
-Our third AD.

His girlfriend's mum at the time
was an extra in Straw Dogs.

There was somebody on the shoot

who knew somebody
who was an extra in Straw Dogs.

Greg and Sheree,
Trevor Nichols and Elizabeth Elvin,

-who played our stand-ins.
-Fantastic stuff.

And if you look carefully, you can see them

on a poster for Romeo and Juliet later on,

which I thought was a lovely touch.

Yeah, it's outside the newsagent
in the final scene.

This...

Now, this comes from a real anecdote.

I won't mention the names,
but my brother came home from school

when I was about eight
with some scurrilous gossip.

There was some gossip going around
the playground at the primary school

-that so-and-so had fingered so-and-so...
-No!

...up by the frog pond.
It wasn't the duck pond.

By the frog pond.

Now, I went home that night,

and when my mum and dad said,
"What happened at school today?"

I repeated back,
without knowing what it meant,

"So-and-so fingered so-and-so
up the frog pond,”

and my brother nearly spat out his tea.

I had no idea what fingered meant.

And what did Lesley and Chris make of it?

They went a bit white.
I didn't know what fingered meant.

I knew what a frog pond was.

I knew what a frog pond...
That's a different sexual practice.

I don't know why we said duck pond
instead of frog pond.

-Both sounds equally foul.
-It does.

-This is...
-I got frog-ponded at the weekend.

I love the fact that...

You don't really have stage doors
with red lights.

-No.
- like the artistic license of having...

I do like it when some people have
some kind of unfavorable thing

to say about the film,
they say, "It's just really unrealistic.”

It's like,
"Yeah, there's a killer standing in plain sight

-"under a red light.”
-I know.

-"under a red light.”
-I know.

Which is entirely for dramatic effect.

Oh, back there,
there's a nice thing that I like.

If you watch back in that scene,

in the shot where David and Lucy
are looking at the door,

you see a mannequin which is...

You know,
obviously a mannequin has no head.

So it's kind of supposed to foreshadow
the decapitated heads.

And also, everybody that dies...

-Predicts their own fate.
-...predicts their own fate.

Blower says, "We haven't got long,"
and Leslie says, "I'm just about to pop off."

And Skinner says about Ron,
"He'll be in bits in the morning."

-And...
-And "splat the rat.”

-Yeah, "splat the rat” for Messenger.
-Yeah.

I like that. I always like...

I don't know whether people gather that
when they watch a film.

-And, "Tim, your number's up,” as well.
-Yeah, yeah, yeah.

-I particularly like, "We haven't got long."
-Yeah.

Sergeant Angel?

This is the idea that you kind of...

It was weird, actually.

I always thought that I should've
directed you differently there,

that you should have
answered straightaway,

that you're not caught up in your thoughts.

I should have saved that one
for the next time it happens.

Yeah, ‘cause the next time,

-I'm slightly hung over.
-Hung over. I know.

Maybe there was a slight confusion
between the two.

Yeah, I really screwed up.

I can't believe
you messed this film up like that.

Really. It's all my fault.

Interesting to note
Just how quickly the police service evolves.

The radios that we're using there,

by the time the film came out,
were already...

The police were already using...

In fact, I think they were using it
while we were filming,

the sort of mobile-phone radios
which they do now.

Now, the Romeo and Juliet joke
didn't come up until editing.

That joke with Romeo and Juliet
and the fire came later,

and the truth was,
there was no other song that fit the bill

more perfectly than Mark Knopfler
singing here.

And we thought it was good karma,

after slating Dire Straits
in Shaun of the Dead,

that we should actually pay
for one of their tracks.

You didn't tell me that you'd done that
until I saw it,

and I thought it was really funny
‘cause it was a surprise.

But don't do that again.

I love that shot.

The lighting in your side shot...

"If you were a bit of chocolate,
you'd eat yourself.”

...IS amazing.

Jess Hall.
We gotta say something about Jess Hall.

Jess Hall... Well, everybody on the crew,

Jess Hall, Marcus Rowland,
our production designer,

Ben Gladstone, the location manager,
amazing stuff.

What I love in this scene is the fact that
the Andes' day planner is completely bare.

-Yeah, yeah.
-Thursday, Friday,

Saturday, Sunday, nothing.

Nothing behind, either.

When we were writing the characters,

we always had this idea
that they played at being detectives

‘cause they never really had anything to do,

which is why they threw themselves
So wholeheartedly into the role,

in terms of what they wore,
their tashes, you know.

Yeah, it feels like they're in fancy dress.

It feels like they've got some police outfits
out of their granddad's trunk

and they're just playing police detectives
for the day.

That's a great reaction there,
when Angel actually says something like,

"Why wouldn't they have tried
to apply the brakes?"

and it comes to them,
and they're like, "Huh?"

I like the thing as well, all the way through
in Bill Bailey's scenes and with the Andes,

is the idea of using a phone
to soundtrack deadpan shots.

You know, it cuts to the reaction shots,
you just hear a solitary phone going.

You know, it cuts to the reaction shots,
you just hear a solitary phone going.

You also notice
in the Sandford police station

that there's always just one phone ringing,

whereas in the Met
there's hundreds ringing.

Yeah, yeah, yeah.

Was this the first day
of principal photography?

First day of the proper shoot, yeah.

-And it was fucking freezing.
-It was terribly cold.

-It was.
-You can tell. It was so...

I almost thought... When we were shooting
this scene, I was thinking,

"I hope the sub-zero temperatures
are not restricting the comedy.”

-It was really cold.
-It was face-freezing.

It was kind of like that thing
where you feel your mouth has gone stiff.

There's a little bit longer of this
on the deleted scenes.

But I really like this scene.

And David Bradley and Karl Johnson
together, what a team.

I think we both agreed
that we'd have liked to have done

another round of translation
before the joke ended, didn't we?

Yeah, I think the bit in the deleted scenes,
we screwed it up slightly.

We basically left out one of the translations.

But it still kind of works.
I'm still happy with it.

-Nick Frost is incredible in this scene.
-I like this.

If you watch him behind me,
his little face is brilliant.

This is the Lethal Weapon trailer music
by John Alexander.

Not the score from the film,
just from the trailer,

which, to my mind, is like...

It's almost, you know, in the same way

that we use the Dawn of the Dead music
in Shaun of the Dead,

this particular percussive music
makes me think of action films.

-I think of the Warner Brothers logo...
-Me, too.

...at the start of Lethal Weapon
or I just think of the trailers.

Yeah, I really remember that music
from the trailer.

I think we spoke about it
when we were writing the film.

It was more memorable
than the actual soundtrack.

Well, when I was a projectionist,
before I was sacked,

in the three months before I was sacked...

-And why were you sacked?
-Because I was rubbish. I was inept.

But I must've seen
the Lethal Weapon 2 teaser trailer 400 times.

A crane shot here, amazingly,
to go over this hedge.

But I think that's a pretty amazing stunt.

It seems simple,
but you can write those things in the script

thinking, "They jump over a hedge,”

but actually doing it in one shot
is quite difficult.

Yeah, and also a little optical illusion there,

because there was a ramp on the other side
for us to get up,

and the hedge was higher anyway,
wasn't it?

Was that to facilitate the crane shot a bit?

Also to get you high enough to clear it.

I like the kicking the sea mine. That's funny.

Now, if you notice, in the Bill Bailey shots,

the joke which you can see very briefly here,
lain M. Banks.

Basically, one of the twins
is reading lain Banks

and other one is reading lain M. Banks.

That was our way
of distinguishing between the two.

And so that was a little sight gag

that we thought up
and put in for people to...

I'm amazed that people spot that, actually.

-I would've...
-A couple of people have.

Well, it's on so fast.
I'm amazed that people spot that.

It's pretty crazy.

This was a tough one to shoot,

just ‘cause of Nick
being the funniest man in the world.

just ‘cause of Nick
being the funniest man in the world.

If we could've afforded it,
we would've painted out Nick's tattoo,

-‘cause it doesn't seem like...
-But you know what?

I was thinking about this the other day.

I think it's something...
I don't imagine Danny...

I think he's probably had

quite a troubled teenage life,
do you know what I mean?

I can imagine him
hanging around Glastonbury drinking cider

before he shaped up
and joined the force with his dad.

Do you think maybe he had
Ozric Tentacles-style hair at one point?

I think so, and I think he had a tat done
one festival year,

and once it's done, it's done.

-I'll have a pint of lager, please.
-Yeah, Roy.

"Yeah, Roy."

Another little reference
to Shaun of the Dead.

-All my good work.
-And Public Enemy.

Yeah.

I love the lighting on the Andes here.

It's like proper moody cop show.

I have to say, I learnt...
Having done 10 or 12 films or whatever,

Jess Hall really defined for me
what a DP does.

He paints with light.

Well, he did, and as actors,

we were there to be painted on,
if you know what I mean.

And then you took over when it came to,
obviously, moving the camera

and directing us as people.

What we really were trying to go for on this

is we wanted to make it look really glossy,

‘cause those Tony Scott films,
they look amazing.

And Jess had done a lot
of great commercials and music videos,

and he'd done this film called Stander
with Thomas Jane.

And I think, particularly in the pub,
the lighting is just beautiful,

especially for... The pub there was tiny.

It was even smaller
than the Winchester set on Shaun.

But look at the lighting in this scene.
It looks beautiful.

No removable walls, for a start,
and a smaller square footage as well.

Two things to talk about here.

We'll talk about
David Arnold's amazing score later,

but Uncle Derek is my real uncle.

In Shaun of the Dead,
we name-check Jill and Derek,

and they're my real auntie and uncle.

Now, in the first draft of the script,
it didn't have the C-word,

and then that came in during rehearsal.

So when we went to Birmingham
to show the film, I had to forewarn them.

And I said to my cousin... I said to him,

"Just to say,
you get name-checked in the film,

"but also, you get called a rude word."

And my cousin was saying,
"Well, how rude is it?"

I said,
"What's the rudest word you can think of?"

She goes, "Not a c-n-u-t?"

-I said, "Yeah."
_ "Yes. n

But he was remarkably cool about it,
and he thought it was very funny.

-There's my first smile, proper smile.
-Yeah.

-Your first smile at 45 minutes.
-Christ.

I love the fact...
Both of you look really wet-eyed in this.

You're tearing up. It's great.

I think the line about...
When Danny says about this...

Traffic collision.

It's so lovely, ‘cause he's learnt from Angel,
in terms of the dialect,

and Angel's learning from him here.
It's a very sweet scene, I think.

Well, it's like they're starting to have
a transference. I like the idea that...

You know, the arc of the characters is like...

Nicholas Angel gets to kind of let loose
and relax a bit,

and Danny is going the other way.
He's really...

It's almost like Simon's character
is the first person that's ever inspired him.

And even though he's doing it
in a slightly copycat way,

he's learning by just repeating
what Angel is saying.

I think it's sweet.

Now, look out here.

Timothy looked at the camera,
and I was gonna digitally remove it,

but I thought it was so funny that I put
a cash register noise on, so check it out.

He looks right at the camera.

He's gonna hate me for this,
but I put a till noise on it.

Look out. Here we go.

Dalton looking straight down the barrel.

It's like he's being complicit
with the audience.

I know. It's almost like
a tiny breaking-the-fourth-wall moment.

Now, just going quickly back,

there's a bit of digital blood
in the ketchup moment, right?

There is, yeah. There's quite a lot of digital.

Double Negative are so good
at the digital blood

that I ended up putting more and more on.

-You can never have enough splats.
-That's not digital beer, though.

No, but it goes between
two different takes here.

When it goes over to Ron,
that's digital piss, though,

-amazingly.
-Is it really?

‘Cause the piss ran out
before the end of the shot,

-and so we had to put in some...
-Is there a little Ron in shot there?

-'‘Cause I'm sure you see a little bit of pink.
-There isn't.

I think that's either his thumb
or the end of the nozzle.

-But not his nozzle.
-Not his nozzle.

This is Dave Bassetft's house.

Yeah, we spoke about this in the other one.

Living next door to Denis Wise, as well,
the Chelsea player.

Oh, yeah.

I was always pleased
this got a big old laugh.

Now, Ron Cook... I think he is...

I'm all right.

He is the king of the pratfalls.

He's great. And he's great
at playing a sozzled drunk, as well.

If he's like...
I think Ron Cook is the UK king of pratfalls,

and David Cross from Arrested Development
is the king of the fallies in the States.

There was a nice line there in ADR
when he said, "Oh, I'm dying,"

-but it never really worked.
-Oh, yeah.

I like this being like the end of the first date.

For some reason,
this scene always reminded me...

I call it the Bridget Jones scene.

Don't know why.
It's just the, "Well, this is me.”

That's a snog on the first date.

The little pleasantries.

It's very much framed like the scene
outside the Winchester, as well,

isn't it, in Shaun of the Dead,
when we sing White Lines.

-Oh, yeah, yeah.
-The two profiles.

This is a nice...

Now, what was the first film
to use a bathroom cabinet shock?

-Don't say American Werewolf in London.
-I probably would've done.

Do say Repulsion, Roman Polanski.
There you go.

-Crikey.
-Maybe it was done even before that,

but Repulsion was the first film to use the
the-killer's-in-the-bathroom-cabinet-mirror.

We've done that twice now,

‘cause there was a little play on it
in Shaun with Pete's shadow in the mirror.

It's a faithful, faithful technique.

We ripped off John Landis without realizing

we'd already ripped off Roman Polanski,
‘cause in the film he...

Anyway, this is a nice scene.

And David Arnold's music here...

Here's the thing with David Arnold's score,
which is amazing,

is we basically had to try and really...

We couldn't really afford to do

a really full, orchestral, expensive score
for the whole thing.

However, David's plan,
which worked brilliantly,

is that we did two days of orchestral stuff
at AIR Studios,

and it builds into these moments,

so David said, "We can't afford to do
a really expensive score for the whole thing,

"but if you pick your moments,
it will really start to soar when it needs to."

I think it works a treat,
‘cause it was electronic for the first half,

and then in moments like this when it's...

The score in this scene is just brilliant,
and your performances are so funny.

-It's great.
-It was very early on in the shoot, actually.

It was in the first week.

But it was amazing
watching him do this music.

Now, this is my DVD collection.

Your DVD collection? No, not yours.

Me and Oscar, my brother,
and Joe Cornish's DVD collection combined.

However, I must say
that at the end of the shoot,

quite a few of them had been stolen.

-No!
-Somebody stole my King Kong.

-Oh, my goodness.
-I had to re-buy it.

-This is obviously...
-'76 version, yeah?

-l have '76, ‘33, and I have the '60s.
-Yeah, me, too.

I have all three of them.

-I do as well.
-I quite enjoy the '76 version.

This is Point Break, of course.

Now, we got permission
from Keanu Reeves, Patrick Swayze,

and Martin Lawrence and Will Smith,
didn't we?

Also Patrick Swayze's stunt double.
You have to get licenses from everybody.

I always thought Point Break...

I remember, the first time
I ever saw anything of Point Break

was on Moving Pictures on BBC Two.

They had a piece
about the making of the foot chase

which absolutely blew my mind.

That foot chase in Point Break
is one of my favorite scenes of all time.

We watched a lot of foot...

The three I remember watching for research
were, obviously, Point Break,

but also Raising Arizona and Narc, as well.

Narc's a good foot chase.
Also, Busting has an amazing foot chase.

-Look at that. There goes Dave.
-Oh, yeah.

Now, I want to know...

‘Cause a lot of that is digital.
There's some real flame elements.

What did Dave Bassett make of that
when he saw it?

He was probably glad.

Now, this line...

Whoever wrote this line in Bad Boys II
deserves an Oscar,

because this is the most...

This shit just got real.

In those films, when you have
what's called the point of no return

at the end of act two,

when the chips are down

but our heroes are gonna
face up to the final onslaught...

Whoever then reduced it to the line
"This shit just got real" is a genius.

But what had just happened in the film?

Because I think a lot of shit had been real
before that.

Hadn't they been chased by a car
that was throwing cars off the back of a car?

They'd already taken on the Ku Klux Klan
and the Haitians.

-And then it's real.
-And then it's real.

-Then they have to go to Cuba.
-Cocks.

This...

Look, there's Lucy, Tim and Lorraine
in the background there,

Just skulking around,
the killers at the scene of the crime.

-And Greg and Sheree as well.
-Yeah.

It's funny,
I like playing out these scenes in one shot.

It's a really good thing to do
for performances.

And then sometimes you can get in a pickle,

‘cause if you want to cut something out,
you're kind of screwed.

We haven't mentioned
our good friend Adam Buxton.

-Adam Buxton is fantastic.
-Playing Tim Messenger,

who came up with the little "hi-hi" himself.

This is Fire
by The Crazy World of Arthur Brown.

Look at him.

Now, if you listen to that on the ADR,
you hear Bill Bailey's...

He did a lot of radio dialog, and he has
this great line about Backdraft here.

"Like something out of Backdraft."

He did a whole load of stuff in the dub
which is hilarious.

I love the little bit,
which I didn't hear until the cast and crew,

when you hear the Andes ordering
a bacon sandwich when they go to the...

-"Can I have a bacon bap?”
-A bacon bap.

The idea with the Andes
and Danny and Angel

was that in a lot of films,
in most cop films, you get the other team.

You get it in Beverly Hills Cop,
you get it in Point Break,

Bad Boys, The Super Cops.

All of those films have the other team.

And in a way,
the idea for Danny and Angel is that usually

the leads of the film are cool
and the other guys are nerds

or sort of stuck-up or kind of...

So they're just antagonistic, are they?

They're kind of wiseacre...

But we liked the idea that our film
was following the nerd detective.

Yeah, they're kind of sticklers.
I mean, Angel is the ultimate stickler.

Maybe we should've called your character
Kevin Stickler. Sergeant Kevin Stickler.

And maybe we should say something...
Let's say it at the end.

But, obviously, Nicholas Angel
was lifted from a friend of ours

But, obviously, Nicholas Angel
was lifted from a friend of ours

-who worked on the film.
-Absolutely, absolutely.

We never refer to him as Nick Angel.
The real guy is Nick Angel.

And we just thought Nick Angel
was such a great name for a cop.

But Nicholas is never called Nick.

Only one person calls him Nick
in the whole film,

and that's one of the Andes at the end.

-Yeah.
-He's actually Nicholas.

Somebody on the Internet says
that you call Danny by Ed's name.

-That's bollocks, isn't it?
-No.

That sounds like
something out of the end of Star Wars.

You should stop reading the Internet.

But it sounds like the thing when they say
that Mark Hamill says "Carrie" at the end.

I know. I know.

Now, the spit roast joke,
we obviously missed there.

Olivia spoke about that.

I love the fact that she said,
"That's me just after a few pints."

Not even after a bottle of whiskey.

For some reason, this scene here
really reminds me of Tony Scott coverage,

the real long-lens shots.

If you listen, Rafe goes, "Police time."

He just repeats Paddy's joke,
which I found funny.

It was a beautiful day, this.

We had such bad weather shooting this film,

and then when it came to the féte,
we finally got some sun,

and it really worked out.

If you go back to Shaun of the Dead
and see Rafe's physical transformation,

it's almost as amazing

as if you watched Big Nothing and then this
to see my physical transformation

from potato to chip.

You get to waltz off...

I love Stuart Wilson.

-He's such a great actor. So...
-He's brilliant.

He's so brilliant and he's such a chameleon,
like David Threlfall as well.

Nick watched Lethal Weapon 3
the other day,

and I said, "Oh, did you like Stuart in it?"
He said, "Who?"

I said, "Stuart's the baddy. Jack Travis."
He goes, "No way!"

He hadn't even realized that Stuart
was the lead baddy in Lethal Weapon 3.

The thing I love about the actors in the film,
because they're so good,

whenever they're onscreen,
they absolutely give it 110%.

This is a great example of Stuart doing that.

The relish is fantastic.

This scene with the rifle range is really...

One of the films that we watched
when we were researching,

we watched Unforgiven again,
which stood up so amazingly well.

What an amazing script.

And we really liked the portent of,
in that film, Clint Eastwood's character.

You hear of him being a great Killer,

and he's kind of changed his ways,

and you're waiting
for the violence to break out again.

And we kind of wanted to do that.

Not with violence, but the idea
that Angel is an amazing marksman

but he doesn't really touch his rifle.

It's like he's off the drink, isn't he?

It's like he can't...
Well, it is like the Unforgiven.

It's like when he takes the drink,
that's when things go bad.

It's like as soon as Angel touches a gun...

Yeah, I like the fact when you touch the gun,
you look slightly soiled, don't you?

He gets a little shudder.

Here, there's a feedback cliché right there.

Also, that's another cliché.

If somebody
like Adam Buxton's character says,

“I've got something important to tell you.
Meet me in five minutes,”

it means they are going to die.

Big-time.

I had such fun shooting this scene.

It's probably my thing
that I'm probably proudest of in the film,

Just because we used a lot of crane stuff,
crane shots in this.

And I'm a really big Brian De Palma fan,

and I wanted to try
and even vaguely approximate

one of his big set pieces and stuff.

Obviously there's a nod
to The Omen, as well, with this.

The other thing that this makes a nod to,
just to show that we are all references,

is the film Death on the Nile

has that scene where Lois Chiles
and Simon MacCorkindale

are almost crushed by a falling stone.

And so this is our idea of rectifying that

by showing everybody what
they want to see, which is two people...

Well, somebody getting crushed
by a big stone.

I love the fact that you managed
to create tension by using a tombola.

I know. The tombola of doom.

Look, I love...

These shots, that's about 200 foot up
on St. Cuthbert's Church,

and I'm from Wells,
but I've never been up on that roof.

And up there,
doing those crane shots was amazing.

Just the view was incredible.

The music in this bit
that David did is brilliant.

The supreme irony that the church roof
needing repair is the very thing...

Hi-hi.

...that kills Messenger.

There goes the 12A.

That lovely little bit of theremin noise there.

Oh, yeah.

Well, that... We were really...

Yeah, the sound work in this
by Hackenbacker, as well, is incredible.

But...

Pretty much,
if you see the storyboards to the film,

it was storyboarded exactly like this.

However, it still came off a lot, lot better
than I could've ever hoped.

It was basically a combination
of physical and digital effects,

and both Artem and Double Negative
Just did an amazing job.

It looked good on the day
with the physical effect,

which was obviously a fake head,

but even then you could tell
it was gonna be spectacular.

I really like using the wide angle
to get all of the ensemble in.

You know, I really like having things
very posed and stuff.

It's worth mentioning, actually,
about Edgar and myself,

when we wrote the Fisher character,
Kevin's character,

he's always the last to cotton onto anything.

Oh, yeah. He's always the last to laugh.

Yeah, he's the last to laugh at all the jokes,
he's the last to notice Messenger.

He's just always one step behind everybody.

I just like him doing this serious scene
with the Spider-Man face paint still on.

-Yeah.
-Sergeant Spider-Man in full effect.

Sergeant P. Parker.

We wanted to shoot this at night

and we ended up shooting it day-for-night.

And it looks beautiful, actually.

I was really against the idea of shooting it...

It was pretty damn dark, wasn't it?
‘Cause the rain was coming down.

It was getting dark, yeah.
It was really heavy.

And everybody was in a foul mood
when they shot this, weren't they?

-Well, it was...
-It was cold.

It was cold, and also,
as we said in the other commentary,

sometimes you need to augment the rain
to make it show up,

so it was double rain.

Yeah, it was funny.

I like the fact that now
we're in wet-weather gear.

If we have action figures,
I want all the costumes we wear.

I like the fact,
A: they've got their sunglasses on.

Also, at the start of it, Paddy,
he's still got a cigarette. It's great.

The soggy fag.

And the fact that Nick's got a shower cap
on his cowboy hat.

Nice squeaky noise on the gorilla.

Oh, we didn't mention
in the shooting range scene

the idea of prefiguring the end of the film.

Oh, yeah, I said that in the other one.

Oh, right, about the cuddly monkey.
"Waltz off with the cuddly monkey."

-It's like Ed's plan in Shaun of the Dead.
-Yeah, yeah, yeah.

There's always something going on, Danny.

I have to say, I think Nick Frost's
performance in this film is so good.

And it makes me... I'm so proud.

Well, he did a nice thing in this scene.
We'd written this as a bit puppyish,

and then he said he didn't want to do that

‘cause it was too much
like Mike from Spaced.

And so he gets really angry
when you accuse him,

and I thought that was a great change.

and I thought that was a great change.

"You don't know when to switch off mate.”

Nice, with the old...

When you shot that,
did you mean it to seem like a ship?

-It's shot on the Steadicam.
-Because you shot it woozy.

Yeah, Steadicam has
that slightly floaty feel to it.

I love this shot coming up,
this one with the monkey.

-I don't why that makes me laugh.
-Wait a minute.

I always thought
audio flashbacks are so cheesy.

Now, the Sandford Citizen is actually
named after the Gloucester Citizen,

which was the local paper where I grew up.

Well, we liked the idea...
Because Sandford's a village, essentially,

it couldn't be a Citizen,
‘cause "citizen" is somebody from a city.

So we liked the idea that, even their paper,
they've got ideas above their station.

‘Cause, Wells, where we shot it,
has things on its brochures where it says,

"England's smallest city."

Whereas we had, on our brochures,
which you never see, it said,

"Sandford," it'd say,
"England's largest village."

They really slightly had ideas
above their station.

Well, here's another cliche,
is the library montage.

Looking for clues. He's on the case.

The last morning.
We'd been up for God knows how many...

-You'd been up for about 22 hours that day.
-Oh, that was awful.

We were so tired.

This is...

The music in this is so sentimental.
It really makes me laugh.

I think some people don't know quite how
to take this scene ‘cause it's so soppy.

“I won it for you."

But if you look at those films,
any of the most testosterone-driven films,

like Man on Fire and Con Air and Bad Boys,

they get so homoerotic

and the score is so sweeping
and sentimental.

I really like it.

Well, Bad Boys has got
a really sweeping score, hasn't it?

Well, they all have.
All of those films, the score is just huge.

Here we are
back in the town square in Wells.

In a second,
Nick says the line, "Affirmatron,”

-which we thought...
-We stole that out of SW.A.T., didn't we?

No, it's in the film Dark Blue,
the Ron Shelton film,

and we thought it was such a ridiculous line
that it deserved another airing.

There you go.

Much like "younglings”
from Revenge of the Sith

that crops up earlier on.

Yeah, yeah, a reluctant, but...

A line so awful,
it deserved a second innings.

And I think Peter Bradshaw picked up
on that, didn't he, in The Guardian?

-He did.
-We were quite pleased with that.

Somebody saw it.

-So...
-"Fingered.”

Maybe they were all accidents.
People have accidents every day.

Well, the idea with this
is that they get on the case...

We really wanted Nicholas
to be shut out of the investigation,

be the police officer on the periphery
who has to crack the case.

And so it's almost like he's trying
to link the murders on his own time.

Well, he's on the outside of the cordon
when the Andes are inside doing nothing.

Yeah, that was a vision
that we tried to get across,

which you see a little bit,
is the idea of that being,

again, that sort of slightly
Rosencrantz & Guildenstern thing

about being the people
on the edges of a big story.

Yeah.

Of course.

"Just about to pop off.” She is going to die.

Now we understand
why Anne Reid is in the film,

‘cause she has a wonderful monolog.

Again, not only saying "about to pop off,"

but if you see a close-up
of some sharp implements,

that means that somebody is going to die
very shortly.

So I would hope that thriller fans
would watch the film thinking,

“I know there's gonna be
a big bit of dialog here,

"but at the end of it,
there might be some blood and killings."

But the hilariously contrived line,
"I can never find my scissors," as well...

-I know.
-...which is just a way of explaining

why there's a massive pair of shears
on the desk.

I know. Here's the murder weapon.

She did such a great job with this.

And it's nice as well, though, ‘cause we do
a lot of tracking in, in other places.

But doing a zoom
is a bit more like a '70s film,

using the zoom instead of the dolly.

You know, you sort of make things
a bit more intense by zooming in.

It's not on a wide angle. It's... Sorry.

-Don't say... I wasn't yawning.
-No, no. I was boring myself. I'm sorry.

I know, also, you know,

that's something you learn
when you start doing the films,

is the difference
between panning in and zooming in

and what quality that gives to the film.

And I think you just summed that up.
Don't talk about it again.

You're watching Hot Fuzz.

But no, Anne Reid's...

But as far as I'm concerned,
Cousin Sissy can go and fuck...

That always got a good laugh.

I think we added, in the ADR,
we added an extra "fuh”

to really make the "fuck" work.

-"The fuck work."
-"The fuck work."

One thing I love is fuck work.

That was Mike Kelt
playing that particular hooded figure.

-That's right.
-This idea of the murder, we...

Nice stunt coming up here.

We re-shot this to make it a bit better,
this shot.

Nice. Nice stunt.

The idea with the murders, actually,

is that Nick essentially
gets closer and closer to it.

It's like the first murder happens kind of...

They're the last people to see them alive.

Second murder,
they deliver him to his door.

Third murder, he literally sees it,
and fourth mordor...

-Fourth mordor?
-The fourth mordor. Peter Jackson's back.

No, I just like the idea
he gets closer and closer to it,

and the last murder,
it happening right behind him,

is kind of like those giallo films
like Bird with the Crystal Plumage,

Dario Argento, the idea of being right there
when it happens

but not really having
all the pieces of the puzzle.

Now, one thing
that we stretched credibility with

is the idea that the NWA operative,
whoever this is,

and I kind of think it's Lurch,

would do it while Angel was there.

I know. They have a relay team, as well,
which is pretty impressive.

Yeah. It's almost like they're teasing Angel.

It's almost like they're so confident
that they even flaunt it in front of him.

That's what's so funny when you watch
a lot of these thrillers with murders,

is to really examine the logic
of how they pulled off...

If you look at those Agatha Christie films,

all of the murders is built
on this absolute split-second timing...

-Absolutely.
-...that could go so wrong.

These harebrained schemes.

The fact that the red nail varnish
went under the sofa.

-Yeah, absolutely.
-All this kind of stuff.

Or that they... Yeah, they put
some kind of nail varnish on their leg

whilst Jane Birkin's back was turned.

I love the idea that the Killers,
they had a whole relay team there.

It was really well thought out.

We had a term for it that we'd always use

and would gleefully employ,
which is, of course, popcorn logic,

which these films
always use a liberal helping of.

A lot of these films,
the logic does not stand up to...

Close scrutiny.

After five minutes
of leaving the cinema, you go,

-"Hang on."
-"Hang on."

I love the way everybody just laughs.

-I know.
-Sandford's such a happy place.

I love Nick's little look down

when you mention the peace lily there.
It's funny.

The interesting thing to note
about the peace lily is,

in the original draft of the film,

we had a character called Victoria.
We had a girlfriend part for Nicholas.

And the first draft of the film was too long

and, basically, we cut her out,

but we gave a lot of her dialog
to Nick Frost,

‘cause we thought, essentially,
Nick is playing the girlfriend role in this.

So all of the dialog about the peace lily

was written for a lady,

and it sounds so much funnier
coming out of Nick's mouth.

Absolutely.

The "M" word, Nicholas.

-"The 'M' word."
-In the background you see Jim's...

-Jim's pistols.
-His pistols. Also, his cape.

Like, his Batman cape. It's even lit up.

His baddy's cape.

“I know who did it."

“I know who did it."

You do your St. Ivel Gold voice there,
your deep...

Explain the St. Ivel Gold thing, Simon.

Well, that was a "Half the fat
and a buttery taste" kind of voice.

And Edgar would often say, "More St. Ivel,
more St. vel," from behind the camera,

much to the bemusement
of some of the crew and actors,

but I knew what he meant.

I'm slightly distracted by Alice's pins again.

-Hey, come on.
-And Dalton's pins.

Dalton's got great calves.
I haven't seen his thighs.

Dalton... That man is so handsome.

And he's so... You know.
The man is 62 and he's a stone-cold fox.

-That's no question.
-He causes lady-quakes wherever he goes.

When he's walking down Wells' high street,
he could have had the pick of the bunch.

I watched this with, I think,
my mum and my sister and my wife,

and they all went "phwoar”
when he came on.

And they represent different generations.

Now, this was something...

I don't think this was ever written
into the script.

I think, because we tried to cut down
on stage directions,

all it said in the script was,
"We see lots of flash cuts and flashbacks.

“It looks pretty cool for a British film."
That was what was written in the script.

I don't think we actually...

In some instances,
we didn't even script the...

-The flashbacks at all.
-The flashbacks.

Well, I remember I did,
when I was doing the storyboards.

I went through all the flashbacks
and the backwards stuff

and I tried to work it out, because obviously
whip pans work both ways.

They work backwards and forwards.

So I tried to work it out
So they'd work backwards and forwards,

and I drew it all out in these little scribbles,

and then when I came to look at it again,
it was like looking at hieroglyphics.

I was thinking,
"What the hell does that all mean?"

So I had to go through it again
and work it all out,

but I really enjoyed
doing all the backwards stuff.

I just thought it was a nice way
of you replaying...

Like, for instance, right here,
Timothy Dalton, you see his face.

He did that scene earlier on,

but in the earlier scene,
when you see David and Lucy getting killed,

we painted out his face
SO you just see a black hood.

So, basically, Dalton is in...

Why do we call him Dalton?
We always refer to him by his surname.

-The Daltonator.
-Timothy.

Also nice to replay that splat.

You can't see a head getting crushed
enough times in a film.

-The...
-I think...

...she was about to sell up
to the developers...

This is interesting as well,

‘cause the summation is obviously
a complete misconception

of what's really going on.

And this, what we're seeing,
isn't what happened.

It's what Angel thinks happened,

‘cause obviously when we see the truth,
you did it with lots of the NWA there.

Well, also, we liked the idea that
the real reasons for people being killed

are really, to quote Chris Morris,
"small and twatty."

But I like that Angel's theory
is really overreaching.

We really wanted fo...

You know, we watched things
like Chinatown again,

and things that have
a really dense, sort of labyrinthine...

You know, sort of...

-Is it labyrinthine or labyrinthian?
-Labyrinthine.

-Labyrinthine.
-Sort of over-dense kind of thing.

Absolutely.
And it's like he's really over-thought it

and it's really... Unlike...

Timothy, obviously, sits there smugly

like the cat who got the cream,
but I like the rest...

The other officers are like...

-You know, convinced for a little bit.
-Yeah, yeah.

There was a line that I really liked
that we actually cut for time when...

The one-stop shop?

No, when Skinner said,
"The truth is far less Shakespearean.”

-Oh, yeah, that's right.
-Which I really liked.

Sergeant, this is the 21st Century.

I like, with Kevin and Nick there,
who play the butcher boys,

that you hear their grunt
forwards and backwards. It goes...

Tina here is a table dancer...

"At Flappers."

Look at the way... I love this little exchange.

I just liked the idea of a lap dancing club
called Flappers.

-Let's go.
-Let's patent it.

We should have had the wrap party
at Flappers.

We can start Flappers right now.

-Screw this doing DVDs.
-Let's get out of here.

Let's not make any more films.
Let's open a chain of Flappers.

-That'll confound the critics.
-Yeah.

-Whose leg was cut?
-I love that.

It's really Hercule Poirot-ish,
the idea of saying your closing line twice.

-Yeah.
-"This very evening."

-"This very evening!”
-"This very evening!”

He's so certain. He wants to have
the big finish and it doesn't work out.

Little split-focus work from you here.

-Yeah.
-Very funny.

That's a nice shot.

-I did have a cameo in here and I cut it out.
-Oh, you cut it out?

Well, I thought at this point in the film,
if the film was dragging due to my cameo,

it would look particularly indulgent

if my cameo at this point
was only adding to the running time.

Let it never be said we're indulgent.

I cut out my cameo, for God's sakes.

I know it's been mentioned,

but I like the fact that Dalton
is so obviously looking at the camera.

-There's his alibi, the paper...
-Oh, yeah.

...and posing with the shoppers.
It makes me laugh.

Yeah, there he is. Look. With his newspaper.

The music on this bit
makes me laugh as well.

Again, this score is so swelling and huge.

I'm really glad... I remember there was a time

when we were trying
to bring it down a little bit,

and you were considering
cutting the dramatics from Skinner there,

and I'm really glad you didn't, ‘cause it's...

Timothy's so funny doing the faux sincerity.
It's really funny.

Also, we must say that...

I think when Timothy has a mustache,
he has magic powers.

Dalton with tash is always great.
He's always bad and he's always great.

-Prince Barin. Case in point.
-Prince Barin. Absolutely.

Flash Gordon.

There's a nice little scene with Billie there.

I love this music on this.

-This is the...
-Look at Paddy looking at him.

Angel is a broken man at this point.

I like Nick's little laugh here, after he goes...
This little one here.

Makes me laugh.

Oh, he's really trying to bring Angel
out of his funk.

-You want anything from the shop?
-Cornetto.

-Another reference to Shaun of the Dead.
-There you go.

The idea with this is that we thought...

In Shaun of the Dead,
we had strawberry Cornettos

because red denoted blood,

and original Cornettos
with the blue wrapper

‘cause blue denotes police.

Who knows what kind of confection
we'll use next?

Well, clearly, if we do a third film together,

it'd have to have a mint Cornetto
in a green wrapper

to denote something else.

-What do you mean, if?
-When. When.

You heard it here first.

It's gonna have to be
some sort of Arctic adventure.

Yeah, it'll have to have
something green in it.

Why don't we just remake
Godzilla vs. the Smog Monster?

That's got green in it.

I've always thought it would be really good
to make a brilliant sequel to a bad film.

Yeah? Like Godzilla...

No, but the original Godzilla is good.

What, are you talking about
the Roland Emmerich one?

Take a film that didn't do that well,
and then make a really good sequel to it.

I can't think of one
right off the top of my head, but...

-Twister II.
-Yeah, we'd make it amazing.

You've come from a city
where there's danger...

Let's just start the rumor now
that we're making a sequel to Twister.

This is the other great cliché. This is like...

Again, if somebody says, "Go home..."

Usually in a thriller,
like in one of the Dirty Harry films,

say Magnum Force with Hal Holbrook,

Callahan will ring up... Clint Eastwood
will ring Hal Holbrook and say,

"I've figured it out.”

And Holbrook goes,
"Stay there. I'm coming over,"

which means
the hero is about to get attacked.

Or the conspiracy...
A partner is going to die.

-It means shit gets deeper.
-The shit just gets real.

The shit gets deeper.

-I like that one.
-Oh, his little movement there is great.

-I like that one.
-Oh, his little movement there is great.

I like your really over-dramatic,
“I could do with a walk."

Now, this was week one, doing that,
and that was week 12.

That was shot at 5:00 in the morning,
that shot.

A little Woo reference, quite happenstance,

‘cause those pigeons
Just happened to be around.

You know what? Tony Scott
deserves some credit for the doves.

I think Tony Scott did it before John Woo,
to be honest.

Well, there you go. Eat that.

-This was fun to shoot.
-This was your birthday.

It was. It was a very long day in a tiny room.

One thing that was cool,
we had this tiny set,

and we never took the walls out

because we thought
it would make it more claustrophobic.

And we really...

Paul Herbert, our stunt coordinator,
did a really good job here.

We really wanted to watch a lot of...

There are so many
great close-quarters fights in films.

From Russia with Love, Raising Arizona.

-Bourne Supremacy.
-Kill Bill: Vol. 2, Bourne Supremacy.

That's a nice stunt with...
The only bit that Simon didn't do

is the going-into-the-glass there,
but everything else was you.

He looked like a mutated Ronaldo.

The footballer, not our line producer.

We re-shot that, didn't we?

We did some more shooting on this scene
to kind of amp it up a little bit.

That whole thing
of when Rory threw me into the cupboard

and threw me into the chest of drawers...

He's a very strong man, Rory.

And he used to grab handfuls of my flesh,
not meaning to,

but when he threw you,
he really did throw you.

Listen, man, I think your widow's peak
is absolutely suited to thrillers.

I think you've got the perfect face.

-You can do comedy...
-For tragedy?

Yeah, but just for tense. You can look tense.

It's quite an old hairdo, isn't it, really?

I mean, I'm lumbered with it,
but it's quite a classic look.

I'm going to call it male-pattern suspense
from now on.

Also, the best thing about your hair
is it's easy to draw.

That's why I will never work
with a curly-haired actor.

I will only work with Simon,
because it's like drawing Charlie Brown,

and then I do
a little Norman Osborn widow's peak.

-Done. Job done.
-Martin Riggs wouldn't have stood a chance.

I couldn't work with Stephen Mangan.
He's got curly hair.

I can't draw him.

-Or Guttenberg. Any of the curly Steves.
-Or Guttenberg.

I'm not going to draw
Julian Rhind-Tutt's hair.

I'm going to stick with the Pegg.
Apologies to Stephen and Julian.

I'm going to stick with the Pegg.
Apologies to Stephen and Julian.

That was...

This is the Bishop's Palace in Wells.

Now, this scene... I'm really pleased with it.

This scene was an absolute bitch to shoot
because we were shooting it in June.

We had six-hour nights,

and, basically,
we would constantly run out of time.

And as I'm sure
has been mentioned elsewhere,

basically, when it came round
to Simon's reverses,

we had to shoot them
with the local am dram society.

All the other actors had gone,
and Simon had the very unfortunate task

of shooting the scene
without everybody else there.

There's the little relay race
with the other hooded figures there.

I think I was...
On the first rehearsal, I was terrified,

but once they warmed up, they were great.

And I said
on the other commentary, actually,

Nick actually read Jim's lines

because his stand-in hadn't,
obviously, learnt the lines, so...

He had to keep looking at his sides,
at his script.

So it was a tough night,

but I have to extend massive gratitude
to those people for coming and doing that.

-And they really threw themselves into it.
-Absolutely.

That was the people
from the little theater in Wells.

That's right.

You're not supposed to say
amateur dramatics.

You're supposed to say musical society.

-Really?
-Yeah, am dram is a dirty word.

I think it's ‘cause it's become
a little bit synonymous with shite.

Well, the "amateur" is not nice.
You've got to say musical society

or the players. Dramatic society.

I grew up around amateur dramatics,
and as far as I can see,

it's just a lot of people
doing something because they love it

rather than they're getting paid for it,
so I've got maximum respect for them,

and for saving my skin that night.

I like...

...and tragically broken his neck.

I like the fact that Julia goes...

Yeah, like it's sweet.

Now, what I love about this,
in the popcorn logic realm,

it never entirely explained
how exactly it breaks down

that they have meetings at night
in a castle with hoods.

And one's in the town hall,

-or in the function room at the Swan.
-Or why they wear hoods at all.

I like it. It's sort of...

I also like that the security
at Sandford Castle is quite lax.

-Yeah.
-You just jumped over a gate.

Anyone can jump over a gate
and go and see a magic meeting.

A six-year-old could have done that.

You see Angel's notepad is already in place
to save his life later on.

Yeah, yeah, yeah.

The greater good.

This was one of the first ideas that we had.
I really like the...

Obviously, there's a Wicker Man vibe in it
in terms of...

Well, there's lots of great literature

where you have the town
against one person.

There's a great novel by Dashiell Hammett
called Nightmare Town.

-You know, H.P. Lovecraft...
-Dead & Buried.

Dead & Buried, Dennis Wheatley.

The idea of, everybody is bad
and there's only one good guy.

So there's an element of that in terms of...

I always used to love that
about The Wicker Man,

that everybody was in on it.
But the other thing that really influenced us

was the twist
in Murder on the Orient Express.

I don't want to ruin it for people,
but, basically, they all did it.

Hopefully you've watched the film
by this point.

But I just love that, in terms of...
I would love to know

at what point Agatha Christie
wrote Murder on the Orient Express

when she thought, "Here's the twist.
They're all bad and they're all in on it."

So...

And what about Tim Messenger?
What was his crime?

And like we said before, I just liked the idea
that all of the crimes are really petty.

This is like the letters page of the Daily Mail

writ large and on the big screen.

It's England going to shit.

But also, both me and Simon
are from the country,

and I'd be lying if I said that my...

My mum, in her time, had had her age
incorrectly put in the paper,

-and it was of massive concern to her...
-Yeah, big deal.

...that she was quoted as being
four years older than she actually is.

And people's names being misspelled.

There was a guy at school...
We did a charity thing at school,

and one of the guys,
whose name was Simon Bardol,

was misspelled as Simon Barrol.

And, of course, being kids,
we never let him forget that.

We called him Simon Barrol
for about two years.

I was called Simon Regg in something once
and that stuck.

I think when you don't appear
in the paper that much,

if they mess up your one appearance,
then it's devastating.

Obviously, now we read lies
about ourselves all the time.

You're watching Hot Fuzz with Simon Regg.

And Dick Rost.

Now, here's a great reveal,

and it always chills me to the bone
when I see it,

which is, I think, a good sign.

-But Jim being bad is horrific for us.
-I know. How could...

Now, what's interesting
is we changed the name of...

It was Iris Butterman in the script.

And when Jim Broadbent came onboard,

he pointed out that, obviously,
he played Iris' husband...

What he won the Oscar for,
for Best Supporting Actor.

-Well, really...
-So it seemed very, very wrong

to call her Iris, you know, the dead wife.

Absolutely. And Jim had always been down
to play that role.

We'd always wanted him to, but we'd never
really put two and two together.

No, no.

The whole thing with the crusty jugglers...
Because I used to live in Somerset,

we'd have Glastonbury nearby,

and it would always be
around the Glastonbury Festival,

there would always be an influx
of fire-eaters and jugglers.

And so there would be
a lot of consternation

about the June influx of crusty jugglers.

I'm not sure that term was ever used,
but that's how I'd describe them.

Stuart Wilson used to love...
That used to really make him laugh.

-That "crusty jugglers.”
-"Crusty jugglers.”

...who is going to have to come with us.

Wasn't it Bill Bailey who pointed out
that it should be...

Oh, yeah. It was originally a Nissan Cherry.

-And they said, "No, it's a Datsun Cherry."
-Yeah, yeah.

Because it changed over in...

Well, before the date that we mentioned.

You overpowered Lurch very easily there.

That was quite a technical move I did then.

I wish we'd have done
a bit more of a Jackie Chan move,

where you'd maybe spun round Nick
and kicked him in the face...

-Oh, right.
-...but that's for Hot Fuzz 2.

-Fuzz Harder.
-Fuzz Harder.

-Fuzz with a Vengeance.
-Fuzz Hotter.

Fuzz Hotter.

This was...

We had been through about three
different counties in as many shots.

We went from Wells to...

Where was that place, Waverley Abbey?

-Yeah, it was in Hertfordshire, wasn't it?
-Hertfordshire, into Essex.

This is in Copt Hall.

-"Dog muck."
-"Dog muck."

-How did they get the caravan into the cave?
-I don't know.

It's like getting a ship in a bottle.

-But it's not a cave.
-It's catacombs.

Catacombs.

-This, we shot afterwards.
-Yeah.

The underage drinkers.
We were so pleased with their performance

that we brought them back
and we shot their dead bodies.

And killed them.

And we brought David Bradley back,

and we did a dummy of Ben
with maggots in his eyes.

There's Sergeant Popwell, who...

There's Graham Low,
the living statue. Dead.

You'll see in the deleted scenes,
there was a photograph of him on the wall,

and the person in the photograph
was the real Nick Angel.

And Sergeant Popwell
is a reference to Albert Popwell,

who is the character actor
who appears in every Dirty Harry film

playing a different black stereotype.

Fact fans.

Eventually becoming his partner in the end.

I love the fact that Nick can't look at you.

I love the fact Danny can't look at you
after he's done it.

It's kind of like the complicity, in terms of...

When you see what's happening,
it's the idea that

Angel knows he hasn't been stabbed
and knows that he has to play dead.

-It's like, "Oh, okay. I get it. It's ketchup."
-The end.

The music in this is great.

That was shot in the studio,
that pickup, wasn't it?

I remember when you were putting the film
together with a temporary soundtrack,

I remember thinking...

‘Cause you did such a great job,
I was thinking,

"My God, David's gonna have to
really push the boat out to match it,"

and he just did, like, a thousand times over.

-Oh, yeah. The music in this is great.
-It's fantastic.

Yeah, the red lighting in this

is obviously a bit of Tarantino and stuff
with the car boot,

but also, Goodfellas has that amazing scene

lit by the car backlights.

Somebody thought it was a reference
to Mulholland Dr.

Not specifically, no,
although I love Mulholland Dr.

It's a brilliant film.

Your performances in this scene
are so great.

I'm so proud of your performances,
especially ‘cause this was a tough night.

Remember, this is when
most of the camera crew had left

-because we went over schedule.
-Yeah.

And we had
almost a completely new crew on this day

and it was very disconcerting, but...

What I love about this scene
is it's really dramatic

and you're really going for it,

but there's big laughs in it as well
like "skelingtons” and...

-Judge Judy.
-Judge Judy.

But I love the fact that your voice cracks.
"Blue fury."

"The blue fury!”

Now, it's worth pointing out that...
I've never seen the episode,

but we didn't know
that Judge Judy is also in The Simpsons.

-Oh, is it?
-Apparently,

although I've never
actually seen that episode.

I'm not even sure whether that's true.

The trouble is, pretty much with every joke
in the history of the world,

somebody can say,
"Oh, that was on The Simpsons."

I know, ‘cause they've done every joke ever.

The Simpsons, in 200 episodes,
has covered every joke known to man.

This is a nice shot coming up.
I'm really pleased with this shot.

Poor little Danny
disappearing into the shadows.

You can see the sun coming up.

We were shooting this
at, like, 5:00 in the morning.

It was so weird.
It's always so weird doing night shoots.

And that was on the day
we came back from Wells.

I followed Barry in my car,
‘cause I'd driven to Wells,

and I spun out on a roundabout
and nearly didn't make it.

No film is complete
without a white lines montage.

See Blue Velvet. See Mad Max.
See Terminator 2.

You cannot go wrong
with the old white lines.

You cannot go wrong
with the old white lines.

It's the road. It's the unknown path.

Now, this is Colin Michael Carmichael,

Nigel Tufnel himself.

It's amazing. I could not get over
how much he looked like Christopher Guest.

It was starting to freak me out.

Now, Robert Rodriguez did the music
for this bit,

which he did for a favor, for a laugh.
He didn't even see the rest of the film.

He just watched these two scenes.

It's also worth pointing out

that that shot there is probably
one of the most complicated

in terms of the clearances.
We cleared all of those films.

I also...
There's too much going on in this scene.

At this point onwards, when you say...

When you say,
"This is something I have to do myself,"

from this point on, Simon ADRed,
looped, re-dubbed all of his dialog

to make it sound
a bit more like an '80s action film.

So, from this point on,
even though we had good sound,

-I just liked the idea that you...
-'‘Cause you can always tell, can't you?

-Even though it's brilliant...
-Close-mike dialog like this.

It just sounds slightly...

And you probably can't even
put your finger on why.

This is a nice digital effect, where the car
Just suddenly appears behind him.

-Actually, weirdly, a special effect.
-The Jetta.

Now, this was a difficult scene,

‘cause we went and re-shot
more stuff for this,

and it went from being
my least favorite scene,

‘cause it was a bit compromised,
to being probably my favorite.

Tell us what you did later, then.

That's new.

That's new.

-It's literally just snippets.
-Little bits and bobs.

This is old.

We put in a sign. That sign
is a special effect, behind. That's new.

Is that a digital sign?

-Yeah, it's a digital sign.
-Fucking incredible.

This is all new, the stuff here.
And then the shot with...

Where the foot goes
into Maria Charles' face, that was new.

We did the old Jackie Chan trick of...

The stuntman had a trouser leg on his arm
and a shoe on his hand,

which is how they do kick shots
in Jackie Chan.

-Here's Robert again.
-This is Robert's music again,

which sounds amazing.

It sounds like the trailers
for Extreme Prejudice or something.

I love this montage so much.

I'm such a 14-year-old boy,

but this kind of stuff gets me hard,
I'm sorry to say.

Flash zooms and guns.
I know, it's so obvious.

I apologize, but it gets me hard.

And as I said in the other commentary,

-you made me do all of that, didn't you?
-Yeah.

-That was your hands.
-And I was happy you did.

Oh, see, listen to this.
It's like Robocop's footsteps,

the idea that the footsteps
are really thumping.

So Robert Rodriguez
had only seen these two scenes,

and only the other day
did he see the whole film

and saw how it all fit together.

I'll tell them you'll ring them back.

-Well, that's funny.
-What's that?

I didn't know we had a mounted division.

This always gets a bigger laugh in the UK
than it does in the States,

‘cause, obviously, two Bill Baileys
has more currency in the UK.

‘cause, obviously, two Bill Baileys
has more currency in the UK.

Double Bailey.

Because people in America don't know
that there isn't two Bill Baileys.

Yeah, he could be like those twin actors
that are in Gremlins 2 and Terminator 2.

Whatever happened to those guys?

Haven't seen them
since Good Morning, Vietnam.

-They're like the American Kevin and Nick.
-I think the twin ship dried up.

The Zito is a reference to Joseph Zito,

who trash fans will know
directed Invasion U.S.A.

-Classic Chuck Norris.
-God, I didn't know that.

He directed Red Scorpion.

He also directed
Friday the 13th: The Final Chapter.

Edgar, you are...

Do you know what? As well,
I didn't know about the Treacher thing,

about that being
The Siege of Trencher's Farm.

Oh, yeah. A reference to Straw Dogs,
the original novel.

I just thought you named it after
Bill Treacher, who played Arthur Fowler.

We got that shot of the sign in there

So we could set it up
for coming through the pub window.

You know what's weird? That shot of Stuart,
it looks like he's Monsieur Hulot.

It suddenly looks like we're in France.

The background looks very French
all of a sudden.

I love Lorraine.
Her little confusion here is great.

And you put a little breath in
in ADR, which is nice.

Tim Barlow is really pissed off.

Listen to this music.

I remember when we heard
the orchestra performing this,

and it was such a rush.

I was so jealous,
‘cause I was filming and I couldn't come.

Oh, it was amazing.

This...

You can't go wrong
with a Good, the Bad and the Ugly-style

cutting around all the protagonists.

I like the idea there's too many protagonists.

-It goes on slightly too long.
-I love the way they break,

Paul and Trevor and Elizabeth,

the way they all run off
in different directions.

Yeah, yeah, yeah.

They're so cartoony.

Here's a bit of you re-dubbing yourself.

"Morning."

And the first one to break...

That's what that line earlier on about,
"Guilty people make the first move,”

is that Treacher gets his gun out before...

You know, they could have just stood there,
but Treacher actually breaks.

Guilty people make the first move.

The Thermos in the...

The Thermos and the guns in their basket

was a little nod to Robert Rodriguez,
like, Desperado-style.

I like to think that Amanda Paver's Thermos
is also a bomb.

This was shot in Wells marketplace.
We didn't really have this place locked off,

So any of these shots,

around the other side of the camera,

there's lots of school kids
and old ladies watching,

which was quite surreal.

Now, one of my regrets is that we didn't
have a shot of the hoodies grabbing her

and pulling her down,
‘cause that's what's supposed to happen.

The idea is she gets yanked back,
and I think...

Could have had a little hoodie stuntman
grabbing her.

So it almost becomes
a little bit Children's Film Foundation, this,

because you're not killing anybody.

You're orchestrating
a bunch of slip-ups, aren't you?

-Our idea was that...
-He's not a killer.

...Angel maintains moral superiority
at all times.

He's like Batman.
He never takes a human life.

Yeah, yeah, yeah. It was the idea of doing...

It's very similar to Uma Thurman in Kill Bill,

where she doesn't really kill anybody
in the House of Blue Leaves.

-She takes off their limbs.
-Their limbs.

Apart from the guy
whose head she cuts in half.

Yeah, he's dead. He's definitely dead.

Greg and Sheree here, blasting back.

I love that shot when the glass falls down.

This was fun to do.
This was so much fun to do.

Is there anything you've done
with the frame speed in this?

-'Cause there's a quality to it that looks...
-It's like a hand-crank camera.

Tony Scott uses it a lot
in Man on Fire and Domino.

You basically control the speed
of the camera yourself,

So you get
these really irregular patterns, so...

I really like...
There's a shot here in a second... Yeah.

You saw it there,
where Trevor just disappears.

Bingo.

Shooting out the brachial nerve,
taking out the shoulder, disarming them.

Nice, which is hard to do with a shotgun,
which is basically a spread weapon.

-Here she comes.
-Oh, I love this bit.

-This was one of my favorite bits to shoot.
-Yes.

Billie looks so at home
with this machine gun.

She's such a versatile actress.

She's amazing.

Seventy-two years old,

and yet somehow looked like
she was born to fire a gun like that.

Billie Whitelaw is...
Eric as well. Look at this here. It's crazy.

You've only seen Eric awake, I think,
once in the film already.

And when you finally see him in action,
he's a master swordsman.

It's like the major from Fawlty Towers
has come back with a vengeance.

"My bloody hip!"

Stop! Stop this, please!

-There's Paul.
-Paul Freeman.

It's not often you get to see
a kick-ass action scene

in front of a National Trust shop, is it?

Absolutely. I think it could be a first.

-I think Paul looks good in a cassock.
-He looks great.

I may not be a man of God, Reverend...

-This is all ADRed.
-Yeah, yeah, yeah.

"Fuck off, Grasshopper.”

You know what I think?
In retrospect, he probably should have said,

"Oh, fuck the police,"
a little N.W.A. reference.

Although, unfortunately,
the film Torque with Ice Cube

had already beaten us to that reference.

I like, "Fuck off, Grasshopper.”

That was a very early line
that we came up with.

I know. It was when he was a Buddhist.

I think we kept it ‘cause we liked
it being somebody who's virtuous

and droning on,
"Oh, fuck off, Grasshopper.”

Yeah, with his spiritual theory.

I like the endless procession
of hostage situations.

One of these action films would have
maybe two of these in a row,

but I liked the idea
that you have three or four.

Like, every baddy
gets their hostage face-off.

Well, that's the thing, is when...
I love that. It's great.

Another great bit from Stuart.

The bit when Frank takes Danny hostage,

that, "Oh, pack it in!"
It's like, "Enough is enough.”

-For fuck's sake.
-"Pack it in, Frank, you silly barstool."”

If you see, he blows his own toe off

and then he treads on his toe
with his other foot,

which is particularly nasty.

You're a doctor, deal with it.

"Yeah, motherfucker.”

It's good, actually, with Stuart falling over.

I really wanted to do
that Inspector Clouseau,

Return of the Pink Panther-style...

What? Do it again to do it himself?

I did. I got Stuart to do it himself.
He did his own slow-motion sound.

-Here we go.
-Now, if you look there,

there's a sign that says,
"2 shooters 4 the price of 1."

A little visual and verbal joke.

More great fruit machine stuff.
And here we come.

I love this music here.
This makes me laugh so much.

Never has so much ammunition been
expended without actually hitting anybody.

I think we wanted to take the record
from John Woo

for people not getting shot at.

Actually, that's not true.
John Woo shoots a lot of people.

Let's say James Bond,
or let's say the A-Team, in fact.

Yeah. No, the A-Team were hamstrung
by their inability to hit people.

The kings of...

There are no squibs in The A-Team.
A squib-free show.

Now, that hole in the table, was that there?

-Because there's more damage...
-There's a couple of digital holes.

I just love the fact
that you don't get hit at all.

-That's great.
-But when you pop up...

The idea when you pop up
and you hear that noise

-is it's like an extra life.
-That's right, yeah.

It's literally like he died
and he got a "continue."

Well, we kind of wanted it to have
the video-game feel of Hard-Boiled,

even to the point where they say,
"We're going after the big boss."

Oh, yeah. It's like different levels.
It's like, "Here's the marketplace level,

"here's the pub level,
here's the supermarket.”

Yeah. And not cynically so it could be
turned into a video game, either.

It was entirely because
a lot of those films do have that structure.

Although, if any game manufacturers
are listening,

we would like to make it into a video game
‘cause we'll make lots of money. Goodbye.

-This is Hot Fuzz.
-I love the lighting in this scene.

This is really nicely lit.

I just like the continual removing
of ocular blockages

like visors, glasses...

Everybody takes something off
in this scene.

I want to just go back to the bear trap thing.

Obviously, the bear trap
is a little nod to Straw Dogs,

but also, you can't go wrong
with blood splatting the lens.

It's a very clever device, that,
because it breaks the fourth wall

and employs a kind of documentary realism

in something which is essentially
not documentary-realistic.

It's a real cheat, but a very clever one.

Well, it's funny.
I think Saving Private Ryan repopularised it,

but I always remember, as a Kid,
watching the film Earthquake,

and there's a scene
where people fall down in a lift.

And to show that they all get splatted,

cartoon blood, like the Batman TV series,
splats the lens,

and I always used to think,
"That's just weird."

I like the fact
that Saxon eventually stops barking.

Saxon...

He licks his lips.
As soon as Karl turns, Saxon follows suit.

I reckon he's got something there.

Here we go.

"He's right, Dad."

We should re-dub it
with Saxon saying some of the lines, going,

-"l agree.”
-"He's right, you know."

Like Meathead.

-Like Meathead from Sudden Impact.
-Sudden Impact.

He's our favorite police dog
other than Samson Saxon.

Paddy De Niroed it up to the hilt there.

Now watch out for this amazing
pantomime roar by Jim Broadbent.

Look at this.

We put on a lion roar on that shot.
It makes me laugh.

-Why don't they run after him?
-I don't know.

Clearly it's time to go
to the supermarket now.

I love that, the empty shot with the smoke.
The dry ice.

And also, "They'll come round again”
was a callback

And also, "They'll come round again”
was a callback

to what Jim says about the hoodies
in the first scene with Weaver.

-Somerfield. God bless Somerfield.
-I know. That makes me laugh.

All that amped-up
Jon Spencer-Tony Scoft nonsense,

and you've got "customer parking only."

I was very...

We've come across clearance issues before

and come to blows with people,

but maximum respect to Somerfield
for allowing us to have their store in the film

with a murderous psychopath as a manager.

I used to work at Somerfield's,
and for five years it was my Saturday job.

I have worked in this... This is the one.
I have cleaned that car park in my time.

I have picked up nappies

and I have collected all the trolleys
from that car park,

so I know every square inch of that car park.

What an amazing coming-home for you
to do this film here.

I mean, honestly, to be making
a multi-million dollar movie

in a car park that you once cleaned,
I mean, that is poetic.

We're back in Hounslow now,
back in the interior.

Paul Herbert, our stunt coordinator,
did a great job doing these sequences,

because he basically tried to do
as much of it with you and Rory as possible

so it'd look more realistic.

There's obviously a lot of stunt-doubling
in there in places.

We were left with no choice on this day

because Rowley, my stunt double,
broke his collarbone in the morning.

-That's right, on the rehearsal.
-On the rehearsal for the fight.

Then I had to do it all by myself.
But, obviously, with Paul looking after me...

And Nick was your stunt double,
wasn't he, in this?

Yeah. Nick then took over.

I have to say, as well,
with the action in this film,

we did as much as we possibly could
for the budget.

And it's worth pointing out
that for one Miami Vice or Bad Boys II,

-you could get about nine Hot Fuzzes.
-Yeah.

Now, the thing here with "the Bolognese..."

The Bolognese line came up on the day.

We came up with that
and went and told Paddy to say it.

The interesting thing
with the deli counter there

is that I really wanted to smash that glass,

but because it was curved,
it was really expensive to replace,

and so we thought...

I was so annoyed
that we couldn't smash the glass,

so what we did is
we put on the sound of it being bullet-proof.

So I like the idea that Skinner,
in his preparation for the apocalypse,

would've put a bullet-proof deli counter
in there.

-In the butchers'.
-So you hear the noise of it going...

-That was a nice Jackie Chan-style stunt.
-Yeah, yeah.

I really wanted to blow up this deli counter,
which we eventually do.

I think one of the things that is...

I won't say I find it frustrating, but I think,

because I think you did such a good job
of mounting the action scenes,

it wasn't ever appreciated,
Just what you did for what you had.

Do you know what I mean?

Well, it wasn't the biggest budget
in the world.

Basically, everything we shot is onscreen.

-Yeah.
-I love this little run here.

That's a real Michael Bay moment
of you running slowly.

I'd like to see a slow-mo cleaver
just going over my head as I went down.

There's a few digital cleavers in here.
Here's a digital cleaver coming up,

after he says, "Shame."

Oh, no. It's gone. There's one.
That's a digital one. And another one here.

There you go.

Yeah, we added extra knives and stuff
to make it seem a bit more dangerous.

I love this. This is real Marvel comics.

"Idea. n

That's real Spider-Man think-bubble stuff.

I love the two shots of the Andes
on either side.

There's something really documentary-ish.
These two.

Oh, yeah, yeah, yeah.

Paddy's white teeth
against his red face is great.

Now, basically, with the first take...

You guys had got so pissed off running
up and down this thing on the first take,

when it came to actually hit the thing,
you smashed the glass,

which I was secretly very happy about.

I think Rafe was quite annoyed that day,
‘cause he wanted to get somewhere.

We've discussed this.

-This is great.
-I love this bit.

Now, you did something in the edit
to amp that up between times I saw it...

You cut out all the music
just before the hit, basically.

You have all the music building up,
and then you cut the sound out.

-Fruit attack!
-There's digital fruit here as well.

You see a couple of digital pineapples
and things going through shot.

-Digi-fruit?
_Digi-fruits.

That's digital as well,
that big splat behind them.

I liked the fact that he would open fire
on some unarmed shelf stackers.

I know. It always gets a laugh, as well,

that he just fires a fucking M1 rifle
at some kids.

No ‘80s action film is complete
without somebody kicking a door down.

-Absolutely.
-Usually Schwarzenegger going,

"Knock, knock."

"Knock, knock."

Or jumping...

Quite a lot of arm-waving, though.
I might've...

I know. That seems like a stuntman special,
to do lots of arm-waving.

The same that stuntmen,
when they do driving scenes,

always cover their faces

-with their hands.
-Yeah, it's almost instinctive, isn't it?

This was so much fun,

-running around that corner.
-It's so loud. I love it.

My mum and my sister were there that day.

It's so ridiculous.

"Punch that shit."

There they are.

-My mum, Peter Wild...
-Mr. Peter Wild and my mum.

The Village of the Year officials.

Quite a few people pointed out
with this chase,

the funny thing about it
being an English chase.

Not only have you got a chase
with two Astras,

but because it's the UK,
they're driving in a straight line.

Just driving down, endlessly down,
a country lane.

-Astra Diesels.
-Astra Diesels in action.

My one regret with the budget here, as well,

is there should've been
a bit more breaking glass.

I think if we could've afforded to
and we had the time,

I would've shot that windscreen to shit.

Yeah, and smashed the sirens.

You do see the siren smash, though,
in a second. Digital. Look at this.

Coming up, you see...

-I really like that, actually.
-There goes the siren.

But I like this bit here.
This is a nice stunt coming up.

-Swan.
-Now, that's a real swan there,

but it looks like a puppet.
That was a real swan, amazingly.

Here's little Alexander,
playing Aaron A. Aaronson.

This was fun to shoot.

This is basically shot through the air
with a big cannon,

like an air ram thing.

We smashed up two Astras doing that.

We did it twice.
It never actually turned over, did it, fully?

I know. I said to the guy with the air ram,

I said, "If you hit the first car
with the second car..."

It was like a game of car bowls.

I said I'd give him 100 quid
if he could hit the other Astra, but he didn't.

-I would've given him 100 quid, as well.
-Unlike some people we know.

This is a classic hostage situation.

Any cop film worth its salt will end in a...

Dirty Harry ends in a killer-and-kid situation.

Scorpio.

But I like the fact
the kid is really quick-thinking.

He's not scared at all.
He just bites his hand immediately.

Aaron A. Aaronson,
played by Alexander King,

a very studious young actor.

He's one tough nut.

-He's a tough ginger nut.
-He was always reading.

I'm really pleased with this punch-up,
actually. It feels really...

There's some good noises in there.

That backhand
sounded like Raiders of the Lost Ark.

I know. The punch noises are so loud.

But also, you guys did
a really good job with this,

and, obviously, Paul, the stunt coordinator.

But it looks proper. It looks really good.

I actually cut together Paul's video of the...

It's a shame I couldn't get that for the DVD.
That would've been good.

-Oh, he's got the hand. He's got the hand!
-The backhand crunching.

...village!

Dalton gets four in,
but, of course, for the last one...

-No! Catches it.
-No!

-Sorry.
-Comes back up. The music swells.

-He says a cool line. Punch. He's down.
-Eat that.

It's a BAFTA! Maybe it's not a BAFTA, no.
Not for this kind of film.

BAFTA nomination unlikely.
But this makes me laugh.

In one of the Clint Eastwood films,

that's where it would say,
"A Malpaso Production.”

You've got the crane shot.
It's like the film is over.

It would be the end, but, of course,
we still have 16 endings to go.

Here he comes, and here's one of them.

-I love the way that...
-He's got a box-cutter knife.

Timothy draws out that "Angel" so well.

But also, the fact that he...

The box-cutter knife,
he kind of flicks it out really slowly.

-I love this bit.
-Holy shit.

Again, this was storyboarded
exactly like this.

If you look at the boards,
it looks exactly like the boards,

but still, I'm still so impressed
with how well the effect worked on that.

So poetic that Skinner,
who had orchestrated Messenger's death

by church roof,
suffers a similar fate but backwards.

All action films have got to have somebody
being impaled by it.

-Well, Stuart's got a great impalement...
-Con Air, Ricochet.

-...in No Escape.
-No Escape. Absolutely.

He lands on a great big spike.

Hand That Rocks the Cradle.

Not that that's an action film,
although there is a killer nanny.

Oh, come on.

Pack it in, Frank, you silly bastard!

Not another hostage situation.

Well, like you said, there's dialog here
that's quite self-reflexive.

The thing of "pack it in,”

like, "We've had enough
of these hostage situations."

-Yeah, yeah.
-"I'll tell you how this is gonna end.”

Also, the earlier thing when you say about,

"Put an end to this absurd story."

Yeah.

And here we have the Point Break...

I just like the shot of Jim Broadbent

running through a sprinkler in slow motion.

When was the last time we saw that
in a film?

I read somebody somewhere saying,
“It was so obvious, this bit."

And it's like, "Well, of course it's obvious.
It's a complete telegraphed reference.”

I love it.

It's the point.

The thing of the swan
in the back of his car...

There's so many films like...

I think some people assume
it's an Aliens or Jurassic Park reference,

but the fact is that films with animals...

Like Kingdom of the Spiders,
Woody Strode is driving away from town.

Who's in the back seat?
Only a fucking tarantula.

-No!
-No! Not the tarantula!

I love the fact that that stunt
iS in a wide shot.

-It's great.
-There's something extremely pathetic

about seeing an Astra crash
into the only tree that's in the field.

With a great crunch.

I love the fact that Doris...

There's a lovely little thing going on there
between Jim and Doris,

between Jim and Olivia.

I hope people catch
the perfect Sunday thing

Just as it goes out of shot.

There's lan Holm there,
playing one of the ambulance men.

All the hoodies capturing it on their phones.

Now, we said in the other commentary...

They've probably put that on their files
next to some happy slapping.

We actually tried doing this, didn't we,
with the helicopter running...

Yeah, yeah, yeah.

Well, that shot of the helicopter,
when it goes over you,

is actually a digital shot.

Ironically, we did actually shoot it
with a real helicopter,

you see on the making-of stuff,

but it was a cloudy day when we did it.

And then when we did the rest of the scene,
it was sunny,

So we had to stitch it together.

Jon Spencer's track here.

When we got this track in...

Jon Spencer from the Blues Explosion,
my favorite band, did this track,

and I was so pleased when I heard it.

It was amazing.

Especially because he did lyrics
to go with the scenes,

like, "That's right.
Everybody's going to jail."

I like the idea of going
completely over the top

with the Tony Scoft-isms at the end.

with the Tony Scoft-isms at the end.

It's worth pointing out, as well,

that when we were little 20-somethings,
years and years ago,

Edgar would produce Jon Spencer albums
round at his house and say, “Listen to this."

And then, here he is, having a personally
scored moment from his film by him,

which is a nice little bit of circularity.

As bonus endings go,
and the idea of multiple endings,

this is what I call
the sitcom break-bumper thing,

when it comes back
from the end of a sitcom

and there's another scene.

-Yeah, yeah.
-They're all back at the office.

The music,
when it comes back to the station,

I think, is a bit sitcom-y.

Also, how the hell
did they not manage to see

that Edward was hiding in
the fucking cupboard with a blunderbuss?

And not dead.

He's bonus baddy number three.

I think it's quite a cleverly...

Well Die Hard was the first film to do that...

Yeah, it's when... What's his name?

...when Alexander Godunov, the ballet
dancer guy, comes back at the end,

and it's like, "Oh, he's not dead.”

But also, the thing of...

You kind of forget him
because there's so many baddies.

-"Oh, God, no."
-You have to blow shit up.

This miniature here...

That's real, this is miniature,
which is amazing.

The model shop was amazing.
Artem did a great job.

Also, how amazing to blow Edward
Woodward up in such a spectacular fashion.

Now, check out... There's the hedgehog.

I remember being in the dub
when you put the squeak on that.

Yeah, the hedgehog is the first survivor.

I've got to say, Olivia Colman
looks gorgeous all grubbied up.

You know who didn't have
any grub on them?

-Saxon.
-Saxon.

Saxon, strangely,
had no soot on him whatsoever.

-The dog completely...
-He was fussy like that.

He didn't like soot.

He wasn't happy with being muddy.
Mind you, nor was Paddy.

No.

Here's some nice, wafting bits of paper

Just to really over-egqg the pudding.

Just to really over-egqg the pudding.

Actually, the Andes were...

Rafe and Paddy were doing
some funny stuff, crying on each other.

Oh, yeah, you can hear them
in the background going, "Andy!"

-"Andy!"
-Sort of mimicking you.

So this is obviously
the cottage that is mentioned

right in the first scene with Steve Coogan

when he says, "A lovely little cottage,”

which, then, Frank Butterman informs him
isn't ready.

"Hot Fuzz" on the top of the Subaru there.

Where Angel eventually settles down.

Now, I love the fact you put your glasses on.

It's like you've turned into
a fascist super-cop here

with your black gloves.

Oh, yeah, but that was always our intention,

that the resolution
wasn't necessarily the ideal,

in that now the town was being run
by an overachieving fascist.

Charles Bronson from Death Wish
has come to town.

And wouldn't it be great if, in a sillier film,
if it was more Airplane-ish,

you would've put an audience going...

Well, the idea for this scene was,
in the end of action films...

-It came quite late, didn't it?
-Yeah, the idea...

Like in L.A. Confidential,

where Bud White turns up at the end
and you think...

It's almost like it's been shown
to a preview audience

and they've said, "We don't like the fact
that Danny Butterman dies."

They say, "We gotta re-shoot it
and bring Danny Butterman back."

So the idea with that graveyard scene,

it's like a test audience
had come up with that.

This is the most over-edited sequence
of all time.

Originally I'd intended to do this
with one shot.

It didn't really work, so I thought
I'd go completely the other way.

It didn't really work, so I thought
I'd go completely the other way.

It's like the end of Back to the Future,
that scene.

The idea of having the title at the end...
The title is not anywhere earlier on.

It's because of the idea that the film
hasn't really become Hot Fuzz until the end.

Very, very smartly worked out.
Yeah, that's true.

These credits go past so fast,

but you can't really go wrong
with Supergrass, can you? Pegg.

-Pegg. Frost.
-Simon Regg.

Mick Ross.

John Broadbean.

-And Paddy Constantine.
-And Paddy Constantine.

-Timothy Dateen.
-What a list.

-William Whitelaw.
-Willie Bitelaw.

Ewa Weewa.

Oh, too many there.

-What a cast. Blimey. Amazing.
-We got spoilt there.

We were spoilt for choice,
an embarrassment of riches.

And not a demon among them.

Everybody was up for the crack
and had a great time.

-Apart from the swan, Elvis, the swan.
-Oh, Elvis was a wanker.

-He was such a diva.
-He was quackers.

What did Nick say,
that he's waiting for his test results?

Yeah, he was waiting for HN51 results.

Yeah, he was very tense
during the avian flu epidemic.

-There's the real Nick Angel. There he is.
-We borrowed his name.

Here you go. Here comes the Fratellis.

We borrowed his name
because we thought it was a wonderful...

A sort of combination of good and evil,

in Old Nick, aye, the devil,
and Angel as in the angelic host.

-Also, you're nicked.
-Nick, Nick, Nick.

Nick Angel, he's one good cop.

Nick Angel, he's one tough cop.

He's one tough music supervisor.

Danny Butterman, he is also a cop.

Now, that was one of the original voiceovers
for a trailer.

Yeah, yeah, yeah. Karen Beever.

Now, we wouldn't...

Karen Beever does not get enough credit.

We would not be anywhere
without the Beeve.

Yes, we have lots of great producers,
Nira among them,

but I'd like to say now that...

And it might be...
Karen's going back to Australia,

and I think we're all gonna have a little
Karen-shaped hole in our repertoire.

She worked so hard.

-Everybody worked so hard.
-Everybody works hard.

But Karen deserves special...

We have a central family, kind of,
from the beginning,

of us and Nira and Karen,

and it's a very close-knit group.

Basically, what I'm saying is,
Karen, don't go. We're gonna start crying.

Well, Australia's closed, apparently,
anyway, to you.

We're gonna have to make the next film
in Australia.

Me, you and Nira have to go over.

Also, we should mention Matt Nettheim,
who was our stills photographer,

who's an Australian,
who's an amazing photographer.

-The entire crew here was just amazing.
-Candice Banks.

So many people working on it. It's crazy.

Jane Walker, our makeup artist,
and Candice and Tony.

Lordy. Look at these names.
Too many people.

Katie Rudge looked after the extras.

The...

We had such a large camera crew, as well.
It was incredible.

Like Peter Field.
He was one of our B camera operators.

He was great. He was amazing.

Simon Baker, the star of Land of the Dead?

Yeah. Absolutely.

-And The Devil Wears Prada.
-Yeah.

He has very strange eyebrows
in The Devil Wears Prada.

Has anybody noticed? Have you seen that?

No, I haven't seen it yet.

Look out for Simon Baker's eyebrows
in The Devil Wears Prada.

-I don't know what happened, but I like it.
-Artem.

Man.

This is Jon Spencer's track.

This is Here Come the Fuzz,
which he did specially for the film.

And it never fails to make me laugh
when Jon Spencer sings...

Straight out of Sandford

I'm Nicholas Angel

I'm cleaning up the streets

-It's so funny.
-And somebody's going, "Butterman.”

-"And Buftterman.”
-"Butterman.”

He also goes like...

That's how they do it
down in the west country

-He's just amazing.
-Amazing, that man.

Jon Spencer, I know I've never told you this,
but I actually love you.

I have a man-crush on you

very similar to my man-crush
on Clint Eastwood.

-That's good company.
-Man-crush?

"Minibus drivers."

I was wondering what the hell that said.
Morag Webster.

Now, we have to give huge props
to Morag Webster, our unit nurse,

who patched up
SO many cuts and scratches on this

and has been with us since Spaced.

There's my brother there, Oscar Wright,
second time on the credits.

Oggie Wright.
Oggie and Eggie, the eternal conundrum.

Which one could win in a fight?
We don't know.

That's all
David Arnold's amazing crew there.

Look at these amazing songs, as well.

What an amazing soundtrack
to get together. XTC.

Adam Ant, Tub Thumper.

The no-hit wonder, Tub Thumper.

I have to say,
you're a very adept music compiler, Eggie.

-You get some fantastic...
-I love it.

I mean, you do it with the relish
of John Cusack's character in High Fidelity.

I'm such a nerd. I love it.

There it is, people.

Solid Gold Easy Action
is such an amazing song.

How great to get into a film twice.

Look at all this.
I love that One Tough Bastard is on there

but you see it onscreen
for all of two seconds.

-Now, there's some amazing...
-The Fratellis were great.

Now, this is funny.
You got some amazing people in there.

Del Toro,
my lady, Charlotte Hatherley, there,

-Garth Jennings.
-My mum and my sister.

The funniest one coming up here

is Quentin Tarantino
and Somerfield Supermarkets.

Never would you have put them
on the same line.

And also, my trainers, Debra Pallet,
Mark Osmater and Jason Wingrove,

who all made me a lot thinner for this film.
Thank you, people.

I think Jon Spencer said it right

when he said,
"Here come the mother...fuzz."

-We're not allowed to say that.
-We can bleep it, for God's sakes.

They've seen worse.

-Have they?
-Come on!

-See you in part three.
-Bye.