- 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
to 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... - I 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 Honour, isn't there?
- Yeah, the Baton of Honour. - 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...
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,
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 realise 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.
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 maximise 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."
- 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 dramatised
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 centre 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 favourite 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 favourite 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 TVshows 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 realised 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 clichéd, 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 apologise 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'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 dialogue 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.
- I 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.
- 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 S.W.A.T.
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 digitising 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.
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 III.
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 realised.
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 disc, 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...
- 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. - I like the artistic licence of having...
I do like it when some people have some kind of unfavourable 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.
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 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.
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."
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 Bassett'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 realising
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?
- I 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 licences 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 favourite 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 dialogue, 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
- 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 whisky.
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 fête, 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 realised 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.
"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 cliché, 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 S.W.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 monologue.
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 dialogue 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 dialogue to Nick Frost,
'cause we thought, essentially, Nick is playing the girlfriend role in this.
So all of the dialogue 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."
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 Ivel, " 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 to...
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.
- 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 moustache, 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 rumour 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 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.
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 theatre 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.
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 favour, 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 dialogue
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 dialogue 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 favourite scene,
'cause it was a bit compromised, to being probably my favourite.
Tell us what you did later, then.
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 apologise, 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.
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 favourite 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 TVseries, 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,
- "I agree." - "He's right, you know."
Like Meathead.
- Like Meathead from Sudden lmpact. - Sudden lmpact.
He's our favourite 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
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 Scott 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."
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."
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 dialogue 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 favourite 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 Scott-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-egg 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'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 Butterman." - "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.