SmartLess - "Edgar Wright"

Episode Date: October 20, 2025

Get the motion-sensors on in here: it’s Edgar Wright. Free ice cream, the dregs of humanity, and a fistful of fingers. Turn on your joke-delivery machine… it’s time for an all-new SmartLess. Subscribe to SiriusXM Podcasts+ to listen to new episodes of SmartLess ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This is a podcast, and we're talking with people about talking. We're talking about stuff. We're talking about stuff that people like, like, life. Like, like, like, like, like, like life. It's smartless. Smart Less Smart

Less I watched episode 5 last night of Black Rabbit Oh Sean, you know what You're such a good friend I'm 6, 780s Oh sorry, hang on one second, well When you

I finished it last night Okay You did? I watched them all No Start with Ozark. No, sorry, I did it. I did it.

I got it. Ozark, I am so close to watching Ozark. I know, I know. Dude, I'm so excited. First of all, I watched Ozark. I'm close to seeing your movie for the third time. But listen. Why?

By the way, I haven't seen it. No, I know. But you're an incredibly supportive friend, so no doubt you will. Oh, yeah. I'll see it. Of course I will. You know what I actually did? I actually said.

No, no, sorry, I was talking to Sean. Oh. Yeah. If that wasn't already clear. Listener, just give us a second. Go ahead, Chewy. What were you going to say? Chewy.

Chewy. I got a lot of issues with Will Arnett this morning. Oh, no, not really. I love Will Arnett. Will Arnett's my favorite. I would just say I'm flying to New York next week, and I'm downloading all the episodes, and I was going to watch it last night.

But Black Rabbit is very intense from everybody that I've heard. It's very intense, and I don't watch intense stuff before bed. Is that true? Well, you're going to have to watch it. Quite literally don't. You're going to have to watch it at night because I like low lighting on set. Yeah, it's really cool. But sorry, your plan was to watch it on a laptop, there on a computer, there on a plane.

No, on my iPad. So the third time I see your film, I'll see it in another movie theater like I did the first two times and really focus. Is it a feature film or is it a limited series? It's a limited series. Okay, thank you so much, caller. So I thought maybe the least you could do is watch it on the television at your house. We got a sig alert. We got a sig alert over on the four-over.

It's really good. Can I come and watch it in your theater? You sure can. That would be fun. I'm going to watch the last two. Wait, Sean, you watch the last two? He watched the first two in the theater. He watched the first two in the theater.

The last two, yeah. But you watch it there on your, what, you got a 13-inch laptop with a couple of earpods? Let me just see. You might not have my number. Let me just see. you were out of town. Wednesday, a open invite.

Wednesday, Lakeside. Open invite. If you could somehow get through the first six episodes on your 13-inch laptop, you're welcome to come over

for 7 and 8 with Sean. Yeah, let's do that. You think I'm on a 13-inch laptop? That's the worst thing you've ever said to me. What is it like a 50-inch laptop? That's the thing I get offended by. How is everybody doing?

I'm doing really well. Sean, you're adjusting back to being in southern california yeah yeah finally just like the last two days are you off your jet lag yet yeah just like literally the last two days finally finally waking back up at like four in the morning like my regular schedule it's been a week over a week eight days how many pounds have come back onto your body i'm gonna this is a good question just yesterday i was like wow i gained four pounds already in a week no well i mean i don't know if it's just i'm full of whatever but yeah spaghetti yeah I mean, I just had another...

He's got some colon back up. You just had a what? I just had a piece of cake, a pumpkin cake with... Well, because I lost so much weight, I could just eat kind of... Right, sure. A couple things.

Well, but what was happening as you were losing weight was you were approaching your proper weight. But you said, no, no, don't get too close. Let's get it back up. Sorry, Sean, are you drinking cake right now? Remember the cake shake from Partillo? Oh, yes. Isn't that a great idea?

He grinded up a cake and put it in a milkshake, so it's a cake shake. It was so good. I heard they got that from an anonymous tip from Glen Ellen, Illinois. You know what you ought to do. Put the cake in the shake. Shawnee, did you say you had a piece of pumpkin cake already this morning? It's not yet. No, it's just past 9.30.

Yeah, a pumpkin cake, a huge piece of pumpkin cake with my tea. My tea with milk and sugar. I know there is pumpkin cake. I want some pumpkin cake. Yeah, pumpkin cake with cream cheese frosting. It's so good. It tastes like fall. Come down.

How did you get that? Did you make that? No, I bought it from Trader Joe's. Remember when you were making yummy stuff for a little while last year? I'll do it. You want me to do it again? Remember you made a cheesecake? Yeah, I was sending you recipes from the New York Times.

And I made them. Oh, God. Okay, I'm going to start sending them. All right. Well, you know, it's a per- The fact that I'm- Speaking of sweet treats. Yes.

Good, nice, nice. Very good. And tea. And tea. It's a British guest? Yes. Is a very good friend and I love him. and you guys love them.

Daniel Day Lewis. And you guys are friends with him too. My guest today has been obsessed with movies since he was a kid. His parents dropped him at the cinema at the cinema because it was cheaper than a babysitter. At 14, he was charging classmates

for his homemade action films, working supermarket jobs to buy reels, staying up till 3 a.m. for late night horror. When he finally got his first... Danny Boyle. When he finally got his first VCR, he was watching six movies a day. Since then, he's made zombies lovable,

turned small town cops into action. Some heroes turned a pub crawl into the end of the world. Please welcome, my brilliant, honor to call a friend, Edgar. I knew it. Really got it very early. Very early. I knew it. Will got it after one sentence straight away.

I knew it. Edgar, I knew it. God, it's so funny. I was talking about you yesterday with my son. We were talking about Sean of the Dead, and then they were like, have you ever seen Hot Fuzz? I was like, guys, I am decades ahead of you. Have I seen Hot Fuzz? Before they were born.

Yeah. Yeah. Yeah, I don't know whether I should be flattered or it's just predictable that, like, Sean Bessie said, he likes movies and Will said, Edgar Wright. I know, right, right? I know, how did you get that so fast? Either you, Quentin, or James Gray?

No, you know what, Edgar, you know, it's funny? One of the, the reason I was talking about you with my son, my 15-year-old, is we were talking about films and stuff that he liked, and we showed them, Sean of the Dead and Hot Foy, well, not Hot Foy's, but Sean of the Dead, and when they were quite young, because I was like,

this is my idea of a perfect movie. Because you know, and I love you, and I love that film, and it's still so, it's still so, oh, you know what we were talking about, how brilliantly you had people panicking in the background, and Sean and those guys had no idea. And I was like,

it's such brilliant filmmaking. So that's how it came up. Oh, thank you. I think it's important to have, I mean, I'm not a parent, not yet, but like to have horror films that you can show to kids. Yeah. I think my parents would allow me and my brother to watch things

that were like sci-fi-related, but something like Halloween or Friday the 13th would be off the table. But Alien and The Thing were okay because they had a sort of fantasy sci-fi element. What about The Exorcist? I can't believe I was allowed to see that. No. Yeah.

What about... Have you seen weapons? Weapons is about kids that disappear. I love that movie. Would you let kids go see that? I mean, I would. I mean, you have different, in the UK, as you probably know, the ratings are different. So you can't do the thing that you do in the States where a parent or guardian could take you into a PG-13 or an R.

Right. Like a 15 is a 15 and an 80s and 18. So when I was, there used to be a cinema around the corner from my house where I grew up and probably from the age of like 12 to like 15, 12 to 13 I was trying to get into 15 rated films and doing that thing where you would be so dumb like I mean I remember the films I got into and I remember the films I didn't get into

like I couldn't get into aliens I couldn't get into the fly and then I read that you you changed your voice to act yes you know the two things I would do to pretend to be older than I was was

affected deeper voice and also wear hair gel wear product in my hair I thought that was something adults did. But it didn't, sometimes it didn't work. One time, though, I'd tell you the first 15 I ever got into was Gremlins was rated 15 in the UK. Because in the US, it was one of the first PG-13s, right?

And me and my brother, I was 10 and my brother was 12, we went up to the cinema manager with a copy of the novelization of Gremlins and said to the manager, hey, we've already read the book, so we know what happens. so we're not going to be scared, so you should let us in. And it was a matinee, and it was pretty quiet,

and the manager looked around and said, get in there. And it was honestly the most exciting screening of my life because at any moment you thought somebody's going to come in and say, you shouldn't be in here, you're not 15. Oh, my God. That's great. I love that. You know, hey, before I forget,

because it's such a great question, and my brain doesn't work good. Do you guys celebrate Halloween over there? It's not as big as it is in L.A., but then if I have one bugbear about Halloween, is that in Los Angeles, it seems to go on for three fucking months. Yeah.

I know. I mean, Halloween starts at the end of August. It's ridiculous. Yeah, I know. But it struck me that you would probably be a great costume maker, thinker. What was your best Halloween costume you've ever put together? Ah. And did you go to the prosthetics department there?

Yeah. to get some appliances put on. Appliances. You know what I've done? You know what? When I've been living in LA sometimes, I used to resent the fact that you'd need to get more than one costume. Halloween would be like a four-day weekend,

and it's like, I'm going to do one costume. I think my favorite one I ever did, and this will appeal to you guys, because this is also, this was, in the way that you showed Sean of the Dead to your kids, this was a film that was dear to me when I was too young to see it, is I went to a Halloween party in L.A.

as David Norton from America World Wolf in London. Oh, God. Really? Oh, wow. She's a real deep cut costume. Yeah, it is. What that's, J.B., what was your best costume ever? No, we've done. Team Wolf 2, right?

Team Wolf 2. Close. Team Wolf also. Close. I went as Jason Bateman, which... You did it. I did, which meant that I wore the, a hockey goalie mask for Jason,

and a net over my body with a bunch of hooks and lures on it for Bateman and I thought I was a genius. I was so disgustingly proud of it. Oh my God, wait a second, let's spend some time. Yeah, I was like 19, I just like tapped everyone on the shoulder saying, hey man, guess who I am? It was a total embarrassment.

Shawnee, Shawnee? I mean, that is embarrassing. I told you one that I think I already told you when I went a static cling one year, but then I went as, and then when I was a kid, Yeah, when I was a kid, my mom let me go as a hooker. I went as a, I dressed up as a hooker. Wow. Yeah. And what that looked like?

And did you work? No, I mean, she got me like... How much you make? Was it successful? She got me like a boa and like a jacket. Like, no questions asked. I'm like, lady, you're not going to ask any questions? My first year in New York, 1990, and I didn't really celebrate it that much before.

And I agree with you, Edgar, too. I'm a bit of a bahambug when it comes, when it's not. Not kids for Halloween, a little bit. I love it. But I went as Bobby Peru from Wild at Heart. Oh, wow. Did you tell William Defoe that when he was on? I don't think I did I tell him?

Bobby Peru. What a name. I took Dracula teeth that you just buy it at a Halloween store. And then I melted them down so they were straight across. I wore a bolo tie. Wait, who's Bobby Peru? What was that from? William Defoe's character.

William Defoe's character from Wild at Heart. Oh, yeah, yeah, yeah. Terrifying. Terrifying teeth are horrific. The teeth are terrifying, yeah. The problem was I had to explain it to everybody. It's just such a boozy holiday, isn't it? It is a boozy holiday.

You really got to drink into it. Wait, I want to know, Edgar, I had the pleasure of meeting Oscar, your older brother, on the set of The Running Man, which will get to later. Oh, yes, the running. This is a preemptive. This is a film I want to see. In the blind applause. No, I mean, I just watched it the other day.

We'll get to it later, but it's fucking incredible. It's incredible. I'm sure. Yeah, it's, I was blown away. But wait, I want to talk about Oscar. Was, did that, how, were you guys close when you were young? And did he have the same love that you had for movies and stuff? Yeah, very much.

I mean, my brother, he's two years older. I think we went through that difficult period as teenagers where I think from the ages of like 14 to 17, we hated each other's guts. And then we got thick as thieves again immediately afterwards. And he's worked on all of my movies as well. So he's amazing. So it's really great to have that relationship. But there was a period where we hated each other.

Yeah, yeah, yeah. As teenagers do. Of course, of course. Edgar, where did your love of? And then I assume shortly thereafter the skill at creating such exciting visuals in films along with your ability to tell story and have performances and all that other stuff. And music.

And music, yeah. But yeah, so you're, do you, can you attribute it to one particular film that you saw and you're like, that's the kind of style I want to learn about because you're just so incredible at using every department. You know, often directors specialize in one. But on all of them, you're just, you seem to have so much fun making movies. I think it was, my parents were both. artists and art teachers, and I think they got me and my brother interested in cinema

early on. And they were very supportive parents, because I'm not from like a, you know, a rich background or anything. And I had no connections within the industry. But my mom and dad, like, you know, would just kind of like encourage us to sort of go for it, even though there was no clear path to being in film. So I think that the thing was of starting with like a Super 8 camera and just making like amateur films and sort of just. fucking around like um but i think the and and so it was that thing of like knowing i wanted to be in film but not knowing exactly how to do it and the only way you could really like force yourself into doing it was just making films with your friends and trying and watching things and trying

to figure out how they did it and doing the zero budget version of it so then was that mostly it the fact that you had a little camera when you were a little kid and you're really too young to kind of grind about performance and crap like that you're really like looking like like whip whip pans and strong pushes and all that stuff. Because you had a little camera and you didn't have Dolly tracker or anything, you're just like on your shoulder. And it's a much more visual effort, right? As a little kid, I bet.

Yeah, I mean, I remember making, I won a video camera on the BBC when I was 16. I'd entered this competition that was part of Comet Relief. And I won, and I won a video camera, which I previously wouldn't admit I would to afford. But as soon as I had that, it was kind of like my, you know, kind of, you know, like school sort of went out of the window a little bit, and I was just this, like, amateur filmmaker, like, making sort of films in free periods. But I would make things like I would make, I would make, like,

I didn't have a steady cam, so I would make, like, a fake sort of cradle with, like, a ceiling tile and string and, like, run around with it during time. To answer your question, though, Jason, I tell you, a lot of filmmakers that were really big to me, beyond, like, you know, Stephen Spielberg and George Lucas, But there was a particular time of like when I was sort of growing up in the 80s of people that meant a lot to me were like, John Carter, Joe Dante, John Landis. And then when I was like in my, maybe you're at 15, I think there was the year that I saw

Raising Arizona by the Coen Brothers and Evil Dead 2 by Sam Ramey in quick succession. And those were real like mind blowers to me in terms of like, oh my God, look how much fun these guys are having in film. It was so infectious, both of those movies, one of which is a comedy, one of which is a comedy horror. But they have a lot in common, and those guys were friends as well, and colleagues. But, like, just what they did with the camera and how they got, like, just magic and infectious enthusiasm out of every frame.

Those were like... I've got to see Evil Dead, too. I haven't seen it so long. Significantly better than Evil Dead One? Oh, it's just... You haven't seen the second one? Don't know it, yeah. Oh, it's fun. It's a blast.

It's kind of like they just decided, let's remake the first film and put more Three Stooges in it. We'll be right back. And now, back to the show. Edgar, I love that in my notes it says, you made a clay animation when you got that camera about wheelchair. Claymation, sorry. They usually just put it together.

Combine the two. Yeah, they bunch of it. it. They bundle it. Amy Poehler taught us to bundle, right? Bundle, yeah. I got to take that into consideration. You made a claimation about wheelchair access. Is that what it was?

Yeah, that was the thing for Comet Relief. Yeah, it's so funny. I mean, what was that? What about wheelchair access? I mean, why that? I think I had seen something. There was a film program in the UK. I guess it was probably film, 91 at the time,

but they had a thing about the lack of wheelchair ramps in the cinema. So I did like a, I did an animation. about it for comic relief. Oh, that's great. So that was when I was on TV when I was like 16 years old. And one of the things, it's a funny thing about that.

And actually, you can find the clip on YouTube. One of the weird things, imagine being on live TV for the first time, and they accidentally told me the night before that I'd won. And then somebody, a researcher, oh, he's not supposed to know that. So then imagine having this pressure

of being on TV as a 16-year-old. Then they say, tomorrow, when you're on the show, pretend like you haven't won. So when they say that you've won, that you've won, you have to act like you're really surprised. That's a lot of pressure on that national TV. If you see that clip, if you see my amazing acting of, like, who me?

Oh, I love that. That's great. If anybody wants tips on how to act like you never won, just ask me. Hey, listen. Well, that's going to change. That's going to change after this movie. You know, we, Edgar, we got to know each other back kind of around China of the Dead Days. And you introduced us to our dear friend,

who were also friends with Pete Sera Finowicz, which was through you and Simon and everybody. I know, all these great dudes. And it was in that time that you recommended that I really wanted to watch a show that I've told so many people about that to me is just such an example of a really great show, great writing, great directing, great acting, which is spaced and is not as heralded as it should be. and I urge anybody who wants to watch a show

that's really original and really funny to go and watch Spaced that you directed with the great Simon Pegg and Nick Frost. Yeah, and Jessica Heinz. I mean, incredible. How did that come about? Well, I was, yeah, I had basically,

I got my break into the industry. I had made a film when I was 20. I went to art college for two years, and then I made a really low-budget film called A Fist Full of Fingers that were shot on 16-mill, which cost like 30 grand total. Just full of fingers.

It did get, it got released at the cinema in the UK. And like, I say cinemas. It was released in a cinema, a one screen. But I, but through that I got into TV,

it was first through, like, Matt Lucas and David Walliams. They were doing a cable show, and I was directing that when I was 21. And then a couple of years later, I worked with Simon, Pegg, and Jessica Heinz for the first time.

And then spaced, I was 24 when I did Spaced. Wow. Wow. That's amazing. It seems, I realize now, I knew it at the time that it was really special, but now I really just, I feel so thankful that, like, I can't believe I was directing, like, a show that was on network TV when I was 24.

And actually, I got to say, actually, I want to say thanks to all of you. Will, I remember when I first came to L.A., you and Amy, when you were both so generous to me and just would sort of take me. And the first time I met both of you, actually, was at a dinner that Will brought me to, but I just I went in reference space because I remember something that you did because I came and visited the set

of the rest of development it must have been a season three episode I don't remember which one it was but I remember Bob Einstein was in it and I went on set but I remember Will you did this prank that when I came to so Space was this sitcom that I did

on Channel 4 which is one of the main channels in the UK and it was out on DVD but you couldn't get it in the States yet so kind of like comedy nerds like yourself would get kind of copies of it and have to have a region free player

and I came to the arrested development set and I went to Will's trailer and Will you had inside of your trailer you had the DVD cover of space photocopied and plastered absolutely everywhere and then he turned around and he said oh I didn't know you were coming that's great

which says everything about you is extremely silly thing to do and I really appreciate it. Yeah, I remember we all met at a restaurant in Venice or something and that's when Will said, you gotta watch this movie Sean on the Dead and I watched it right away and yeah, that's when we first met. It was so long ago.

Yeah, 20 years ago. It was through all that and then look around you and you really opened my eyes. Actually, you kind of in addition to space, so many of the other things you were really my entree to stuff because we didn't, as you said, we didn't get a lot of those shows, and you recommended so many things that really opened

my eyes to a lot of the great stuff that they do in the UK, and I've never looked back. I've been an anglophile ever since. I want to say one thing that, like, this has never been mentioned on this podcast before, I don't think so. But Jason, in the UK, in the sort of mid-80s,

they actually showed, and I was a fan of, It's Your Move. Oh. Yeah. It's true. And I remember specifically, and I've mentioned this you before, the episode that I remember, and this would be a real deep cut Halloween costume. There's an episode where you have to pretend like a

rock band is coming to school. The dregs of humanity. The dregs of humanity. He remembers that. He remembers that. It's insane. Well, I'd like to pitch that next Halloween the four of us should go as the dregs of humanity to a party and have to explain

it to every single person there saying, we're doing a bit from It's Your Move. Come on, it's your move. I loved It's Your Move too. I loved It's Your Move too. I watched it. I watched it. I did too. I was like, this kiddie's such a bad kitty, so sort of, you know, just doing shit.

It was cool. Yeah, guys. So then after, wait, I did want to, I wanted you to tell this one thing about fistful of... Well, I wanted to ask about space, sir, just while we're on space. I remember you told me one time, Edgar, and tell me if I'm wrong, that you, when you and Simon were putting it together in Jessica and you didn't know, and Nick had never acted before. Is that true? Nick Frost? Oh, that's right.

how that came about? Nick had never acted before and there was a... What's the version of SAG in the UK is like the spotlight? Which is like the kind of actors' union. And there was another actor called Nick Frost in the union.

Because the Channel 4 weren't really going to take a chance on somebody who had no credits. So we said, oh yeah, no, he's been in all these other shows. No. We pretended he was the other Nick. So apologies to the other Nick Frost.

No fucking way. It's true. No way. And he could keep his name. Yeah. I think, I'm not sure. Maybe the other Nick Frost changed his name. And Simon, maybe you were Andrew Simon told me,

like Simon worked with him at a restaurant maybe, and he said he was his funny friend, and he was like he was funnier than everybody else I knew. He worked at a Mexican restaurant, which is not really a thing in the UK, as you probably know, called Chiquitos. I remember he wasn't, he'd never acted before and he would do this thing and he kept doing this on Sean of the Dead that I would sometimes give him a direction

and Nick Frost would walk up to me and whisper in my ear and say, please remember, I am not an actor. That's great. And that continues to this day. I love that. So funny. So wait, so the fistful of fingers, somebody gave you $11,000 to make that?

Yeah. I mean, it was, um, I owe it all to a newspaper editor in my hometown, Mike Matthias, who had some, I think he had just come into an inheritance, so he had some tax loss money. So we made the whole thing on 11 grand, and then we raised another, like,

maybe it was the cost, the whole thing cost $22,000, actually. Wow. But yeah, it was like sort of shot it over, like, 20 days on 16 mill. It was all starring, like, my school friends and my college friends. It didn't actually occur. to me that there might be actors around. In fact, the only actor that's in it, who's from Ted Lassau,

James Lance is in the movie, and the any reason that he's in the movie is that he, his mom heard that in the local paper that some kids are making a movie. And he said, oh, I'm an actor. And I said, oh, sure, you could be in it. That was how the casting works.

That's great. It was very, it was like 78 minutes long with credits. Here's a good story. I had to pad it out. The movie, as you all know, having made, directed and, you know, and written, is that you usually have the assemble edit, for Tracy, the assembly edit is when the whole, all of the takes of the movie are put together. So, like, usually an assemble edit might be hours and hours long.

But the assemble edit of fistful of fingers, the whole thing with every single shot was like 75 minutes long. And it meant that I couldn't really cut it down. Which was, there were some bits I wanted to cut out. All the shitty parts need to stay in. Yeah, so here's what I did. I needed, there was at least one, but I really wanted to cut out. I mean, now I probably cut another 25 minutes out.

But at the time, to cut some bits out, I basically created a scene in the dark. In the middle of the movie, there's a scene where it's a Western, so they're cowboys around a campfire, and they blow out the fire. And so I thought, I could just put a whole, like, scene in black here to pad it out for two minutes. So I just put like, just black film and just like they just talked for two minutes in the dark and that was my way of padding it out. Oh, wow, that's a good idea. Long end credits, long, only credits.

Yeah. So smart. That's great. So from there, after Spaced, you did what's known as the Cornetto trilogy now, which is Sean of the Dead, Hot Fuzz, and the World's End with your friends. I mean, it's a dream for everybody to just kind of work with their friends

and you did it three times in these like incredible movies. one after another. Was that working title on all three of them? Yeah. Yeah, Eric Fauna. Tim Bevan. Nira Park, who you well know, Jason as well, did all of the movies. I mean...

Yeah, and Liza Chason. Yeah, and it was straight after... I say after the second series of Spaced, we started writing Sean. I mean, it was funny. It was never meant to... It's funny, it's called the Cornetto Trilogy, because a cornetto for the American listeners is a brand of ice cream in the UK, in Europe, in fact,

in most of the world, except. the States. Is it three layers? It's just a, no, it's, no, it's not, it's like different flavors. It's like a pre-packaged ice cream cone, isn't it? Yeah. It's like a drumstick. Yes.

The only reason it came up as a trilogy is when we did Sean of the Dead, which mentions Cornetto once, we got free ice cream at the premiere, and I said to Simon when we were writing hot fuzz, hey, we should write cornettos into the second one, so we get free ice cream again. That's great. I love that. How did you and Simon meet? Because that was, you guys, it's been a sort of a lifelong collaboration, you guys.

He says we met at the Battersea Art Center, and I know the truth is we met at the Riverside Studios. We met at a, he was friends with, there was in the, like, around that time, and I first moved to London, like, you know, 30 years ago, and there were a lot of people on the scene who have all now become huge, like the Mighty Bush guys, and, you know, Simon and Matt Luke's and David Williams and the League of Gentlemen guys, they were all sort of coming up around the same time

and I met Simon backstage at a comedy gig and I'd seen him doing stand-up on TV and he's from the same area as me we're only like, we grew up like 50 miles away from each other so we're both from the West Country and I'd seen him on TV doing a stand-up set about regional TV so I went up to him and said, hey, I'm from the West Country too

so I think he remembered me as who's that weird kid who's that weird kid with a beard And then you guys And then what happened? Oh, the lights are turning off in my room I have to, I just get the motion sensors on in here. Look at that. SOS.

That's okay. I'm in the dark now. You're definitely not in the U.S. Are you in the holding cell? No, we're shooting the campfire scene. We're shooting the... Wait, so you guys... We can pat this out for two minutes.

So you guys meet and you say, hey, let's do a TV series? No, we... Oh, somebody's coming in to... There's somebody's switching the lights on for me. Thank you. There's motion sensors. I'm in a conference room.

I'm actually mixing the running man right now. It is not finished. It's out on November 14th, and it will be finished by then. But Simon... Yeah, he was... I started doing TV, and I did this TV show on... I guess the British version of Comedy Central, the Paramount Comedy Channel at the time.

And there was a show called Asylum, and I got asked to direct it and Simon Pegg was in it and he brought Jessica Heinz who co-wrote Spaced and co-created Spaced onto that so I was working with them for the first time so I'd already met him

and I knew then it's funny when you meet somebody that you think I'm gonna I thought even then like this is eight years before we made the movie I was thinking I'm going to make a movie and he's going to be in it I knew then that Simon was like

a great comedy leading man and it was just about then finding the idea of what that was yeah it's so great I'm so I'm so I'm so I can't believe you're at a mix right at doubt have you already given your notes

they're implementing your notes in that break you're doing this podcast yeah it's very fancy to say guys are gonna go and do smallest right now yeah

it's very fancy you're doing a mix they're like what they're like what what are you talking about yeah what the hell is that mix is enormous right

it's well Sean has seen the movie yeah it's a it's a complicated beast massive I'm sure. Yeah, I mean, it's so incredible. Well, before we get to,

and we're going to get to it, the last thing I wanted to say before we get to that, is Baby Driver, because Baby Driver is one of my favorite movies of all time, and seen it so many times. And, yes, bravo, bravo, bravo.

And I did not know this until I... They let the baby drive! This crazy movie, the baby is driving. A Bambino, drive. I was hoping you were going to say Bambino. I was hoping you were going to say Bambino. Of course.

I did. He did. Andrew, I didn't know that you had or still have Tinnitus. Is that true? No, I had it when I was young. Which is when you hear high-pitched things in your ears and, yeah, pitch noises and stuff. But it was something that actually, you know, Tinnitus sufferers or Tinnitus, as we call it in the UK. It's one of those weird words like...

Aluminum. Aluminum. Aluminum. Aluminum. Resorto, risotto. No, I had it when I was young and... But I didn't, you know, like the thing that... the character does in the film to sort of like tune out the tinnitus with music was not something obviously that I could figure out when I was, it was happened when I was probably like eight or nine, but it was, yeah, I did used to have that.

So it was something when that kind of idea came back around and knowing people, obviously a lot of people in the music industry have tinnitus. So it was, it was, I had experience of it, but not anymore. Oh, good. I mean, hopefully not again. And when did you become, and I'll say the, obsessed with music because you sent me or you still send me your yearly kind of yes end of your playlist yeah and i listen to it and it's so it covers all mediums all

kind of genres of music when did you first listen to an album or a song be like you just you love it well i think probably just you know my parents vinyl like in in the days before like we were all old enough to remember the days before like computers and um you know, when there's nothing on TV. I mean, I used to kind of, like, allow I'm sure, like, a lot of people, like, put the white album on and just watch it go around. Yeah.

So, sit and watch the vinyl go around. So I've always been a huge music fan. I think it's probably one, I don't play an instrument, and I think it's one of, if I have a regret, it's that I don't. I mean, I guess I could still start. Never too late. Too late.

I'll never be a pianist like you, Sean. Although, if I would like to play the piano, that would be the instrument. I'd like to play. Yeah. I can't do it like you. You can. You can. But your films, you know, use such a great expression for your sort of musical affinity in film, right?

And it's such a great way to use music, and you do it always so effectively in your films. Do you get really excited by that process of using music in your films? I think I have the kind of movie music version of synesthesia where I kind of just imagine it. Like, Baby Driver sort of existed in my head. for maybe like 20 years before I made it where it was that song that opens the movie Bell Bottoms by the John Spencer Blues Explosion I would hear the song and I would see the scene

and then I don't know if you guys have this when you're writing is you can see the movie in your head and the difficult part is writing it down so I think Baby Driver is one of those films that I kind of saw in my head and at some point I had to figure out what it was and how I could make it into a film

so that would have been I do that sometimes fermenting in my brain for a long time. And the music was always the thing that inspired the sequences. And it's something that like in a lot of the movies I've made is that like a song will sort of trigger the entire thing.

What about directing videos? Have you done that? Because I'd imagine that would be a super exciting thing to do in this area. Yeah. Great stuff. Yeah, I have done music videos. I mean, the sad thing is that the kind of like the, you know, budgets for music videos started going down like 25 years

ago and now, you know, like, it isn't a thing in the same way it was, which is a real shame because obviously there are some, like music videos like, well, Michelle Gondry, they're like works of art. They belong in a museum. They're incredible. Like, so I have done some, not as many as I'd like, but I've done ones for Beck and for L Williams and I'd like to do more, but they're difficult things to make because they, you know, if you're doing it for... So constrained as a budget, yeah? Yeah, it's like a lot of pulling favors. And you can only do that so many times in a row. I think I did two low-budget music videos in a row

right after Sean of the Dead. And I realized after the second one is like, ah, you can't ask people to work for nothing twice in a row. Or the opposite of that would be a lot of fancy directors like you will, in between projects, we'll do commercials. Because the budgets are so high and you can get all the fun gear and work with the cinematographer.

Do you do a lot of that at all? Not as much as I'd like to, but I mean, I think also the thing with that is also, if you've got a crew that you really like, is to keep them working. Yeah, yeah. You know, and so that's a nice thing. It may not even be working with new crew.

Sometimes it's working with the crew that, you know, as you know, it can be like three years between movies or four years between movies. So if you have a team of people that you like working with, doing commercials and music videos is a great way to all keep working together. I mean, I think that's the thing because I write as well. I'm always envious of directors who can kind of do a film a year because at minimum it's like three years between movies for me and usually when you finished a movie you kind of think like

oh we've got this great team we should just keep going but it never works out like that you can't I've never rolled straight into another movie because you're writing everything you direct yeah and I need a nap yeah yeah yeah you I remember you saying that years ago we were talking about something and you said no no I only I only I can only direct the things that I write it's the only way you can kind of get your brain around it right I mean you've always held to that. Yeah, so far, I mean, I, I, that's not to say that wouldn't change.

And, you know, I, you know, I don't write a lot. I mean, Baby Driver is actually the only thing I wrote on my own, everything else I've written with co-writers, which, you know, like, and I love that, and I like doing that. But I wouldn't, I wouldn't rule that out. I, you know, I think it's that thing where you, you, I mean, it's really difficult as well with, like, something like Sean of the Dead was a film where to just read the script,

Without knowing how I would direct it or how Simon and Nick would perform it, I think, you know, some actors passed on it because they were just sort of baffled by it or studios passed on it because they couldn't quite see it. And in a way you... The way that you guys...

Yeah, you had to see Simon and Nick doing it and you had to see their tone of their naturalistic comedy performance because you could take exactly the same screenplay and make it really broad and silly and it would be an entirely different movie. So it was a thing with that film in particular, and it helped that we had spaced, and we could show people space and say,

hey, this is what kind of what it's going to be like. But it wasn't an easy sell for everybody, you know. I'm sure. I'm sure. It's a narrow target, if you look at it that way. It's a comedy. It's a horror film. It's all of these things. And it's silly in parts in a way,

but you also have to have those. I tell you, man, one of my favorite moments in film history, I swear to you, and I reference it all the time, is when everybody's surrounded and Nick gets up, fucking Frost gets a fucking phone call and he answers it. Yeah.

And he's like, surrounded by zombies, yeah. Yeah, you're all right? How you doing? Yeah. He's just super... Talking to his dealer. Talking to his dealer.

It's so fucking funny in this great heightened moment and then it's completely burst by he gets a phone call. And he takes it. We'll be right back. And now back to the show. Is there a comedic, tonal, like, North Star for you that, I'll bet is British,

that sort of established what you thought was the funniest kind of comedy when you were growing up? Oh, yeah, I mean, I think they were, like, there were shows, some of them before my time in the get repeated. I mean, I feel the shows that were really, like, the groundbreakers. I mean, obviously, Monty Python was before my time, but it was repeated a lot, so that would be. something like faulty towers 40 towers i mean the ones that were on tv when i was you know like things like 40 towers and

are you being served was slightly before my are you being served was always on i love that show but i think the the first one that made a really big impact on me which is more of a culty show in the states was the young ones which was only like 12 episodes

which was so punk rock it was only 12 episodes i've never seen it was like So one series in 1982, one series in 1984, every episode ended with them dying. Like, it was such a sort of like... I love that show. It was like a total hand grenade of a show. And I remember I was too young to see it the first time at school,

but all of the kind of the cool kids at school were talking about the young ones. So when the second series came around, I was all over it. Remember, nature sows the seed. We plant the seed. Nature sows the seed. I remember that show. That was so good. I want to see it.

It was incredible that show. And it really, it really stands up. They used to have bands on every week. They, you know, they figured out they could get a bigger budget as a variety show if they had a band on. So randomly in the middle of a sitcom, like Motorhead would be on all of a sudden. It was such a weird, yeah, it was sort of,

the format of it was so alien to what we were accustomed to. Well, certainly, you know, I don't know about the U.S., but Canada as well, so that when we, I remember seeing it, it was so jarring to watch the first time. time because it was so unlike anything else yeah yeah i think it was like that on british tv as well when it first came on i mean it was it was the start of something i mean alternative comedy as they called it in the 80s was like huge and there were like shows that that haven't traveled over to the u.s that uh you know i mean i guess in that pre kind of like cable age where things

started traveling over in like 20 years ago but prior to that there'd be things like um the day-to-day and brass eye and alan partridge and um really those shows were like huge for me when you were when you were writing when you're writing comedy specifically do you find it helpful because you mentioned you wrote you write with other people

and you've written with Simon a lot do you writing comedy do you find it helpful to write with somebody else oh yeah in terms of sort of for sort of pace and sort of for tone and all these things and for jokes obviously I think writing comedy on your own

is a very lonely business I think writing with a co-writer and pinging things off each other or just reading it aloud. I think that's a big thing is just reading the script aloud to each other and you get to the point where you could almost perform it like a play. I think, you know, Baby Driver I wrote on my own

but that was more of an action film and it was the most difficult script to write because you're constantly looking for, you know, affirmation from somebody like, please somebody read the pages at the end of the day. But, you know, obviously with writing with Simon Pegg or Michael Bacall or Joe Cornish, you know, like... You have immediate feedback.

Pinging off each other. Yeah, because if you write something, you're like, oh, this is kind of a funny bit. And if you're running with somebody else and you sort of go, yeah, and then the guy, blah, blah, blah, blah. And you're writing with it goes, yeah, it's pretty good. And you're like, okay, well, yeah, that's a terrible idea. Yeah, yeah, yeah, exactly.

I mean, I'd like to write something else like that, and me and Simon keep talking about writing something else together. I wish you would. It really just comes down to just being in the room together, really. It's just like we've got to do that and just hash it out and have fun with it, you know? Okay, speaking of writing with somebody, you had a writing partner on The Running Man. I want to talk about The Running Man. I'm so excited for everybody to see this.

It's so good. I was blown away. And listeners, Sean P. Hayes is in this film. Sean is in The Running Man. I did it to hang out with Edgar, and it was a blast. It was so fun. And you're in the ones, the only scene in the movie that Glenn Powell is not in. I know, right?

I know. No, is that, do you requested that, Sean? That's an odd. No, Glenn requested that. Oh, Glenn did. Glenn specified. By the way, I spoke to Glenn for a long time yesterday and went on and on about how incredible he is.

He is so commanding and so, I said, the greatest gift, a compliment I could give you, and I gave it to Jason, too, on Black Rabbit, is there's nothing lazy about it at all. There's nothing at all. Fully committed, fully into it. he's like a huge action star glen paul i mean hands down like you buy every single thing he says it's it's he's amazing this movie looks huge yeah it's huge it's so good and um i remember just to

start off the first day i was so embarrassed i made some stupid joke like i'm gonna connect with the crew and make them like me not thinking they'd already been there for 14 hours when i can for rehearsal and they i said some stupid joke and nobody laughed i was like oh god this is gonna be fucking awful. And then I fell into the hole off the stage. Nobody remembers that, actually. No. They do now. They do now. And I

thank God it didn't hurt, but I was like, oh my God, I fell on, I fell on the... What was the joke that you tried to connect with the crew? I said, the reason the movie got, Greenlit is here. Oh, no. I remember that now. The walking green light has arrived.

So, but anyway, it was great. You were great. I have to rectify something, Jason. We have to work together because I've now worked with two of the three people on this call. I'm patient. Oh, yes. I did a voiceover in my grind house trailer, don't. And Sean is in the running man.

So, Jason, I have to, I have to complete the set. Nothing would make me happier. Okay, can I make a picture? Dregs of Humanity, the movie. Drags of Humanity, or it's your next movie. It's your next move. What's that character doing now? Team Wolf 3 and 3D.

Let's do it. How are you spelling 3? Yeah, that's a great. Oh, there's a few E. There's a few too many E's on it. Okay, so talk about the Running Man because it was incredible. It was you shot through November through March, right?

Last November through March. Yeah. And what drew you to it? For people who don't know, for Tracy, there was a Running Man movie in the 80s with Arnold Schwarzenegger, and it's, I did not... Richard Dawson.

Yes. And Richard Dawson, right. And I did not know it at the time that it was a Stephen King book. I didn't know that. I thought it was an original idea. Yeah, it was one of the books he wrote under his pseudonym, Richard Bachman.

He wrote like five novels before he got rumbled. Maybe four novels before he got rumbled as Richard Backman. It was a pseudonym that he wrote for non-horror stuff. And so The Running Man was written in 1982. too. And the Schwarzenegger 87 version is a very loose adaptation of the books, which is one of the things that attracted me because I'd read the book as a teenager. I think probably like a lot of people, Stephen King was a real gateway author for me in the sense of I was reading his books in my early teens and it was probably some of the first grown-up books I ever read and the

running man made a particular impression on me. And I'd actually read the book before I'd seen the Schwarzenegger film. So I was aware that it was drastically different. And so I was always interested in doing a new adaptation of it because I thought, well, this is a book that hasn't really been adapted. So, and I've also, like, a dream to adapt to Stephen King book. And, yeah, so it was, I mean, I, it's difficult for me to talk about when I'm still making it, but I, I mean, you've seen the movie, Sean,

but it's been such a kind of adventure. It's also funny as well, like, it has some, one of the things. is why I want to say Glenn's in every scene except the one that Sean's in. Sean's in a show that Glenn is watching right at the start of the movie. He's a different game show that's not the running man.

But Glenn is in every scene because in the book, one of the things that was really intense about the book is that you see the entire thing through Ben Richards' point of view. And that was something that I thought, well, that's something

that's not in other movies like this. Usually they cut away to the baddies or you go to kind of like another location or somebody else watching the show. but we stay with Glenn and his, you know, like subjective, intense experience, his point of view. So it was, and, you know, so Glenn was on set every day.

Yeah. And he really brought it. It was amazing. But it was an amazing cast all around, like, in fact, I was just talking to a friend of the show, Josh Brolin, who's in the movie, and he said to say hi. The other J.B., the real J.B. Sorry.

J.B. We love Josh. We love Josh. Coleman Domingo, Michael Sarah. Michael Sarah. Yeah, Michael Sarah. Your other colleague. First time we've worked together since Scott Pilgrim.

Amelia Jones, Jamie Lawson, Sean Hayes is in the movie. Sure, Sean Hayes. Sure. And Julia Cumming, your amazing girlfriend, who's this, she was in the scene with me. And I love her. And she is an incredible singer, and I love her music.

That's all I wanted to say about that. There you go. Oh, that's all you wanted to say. When do we get to enjoy this film? Yeah. November 14th. Oh, just a time for Thanksgiving. It's coming very soon.

It's, I've never made a movie, I don't know if you guys have done, I've never made a movie that's been finished so close to release. Yeah. And it's exciting and nerve-wracking at the same time. But like, it's crazy that, you know, it probably will be finished in like a week's time or something about that, which is wild. I can't wait to see it again. And I read that you can only be. get through directing drinking espresso

are you still drinking espresso in post it's way too much way too much it's too much no trouble sleeping yes lots of trouble sleeping I have to knock myself out with melatonin and edibles oh god I'm with you welcome what what do you think

you know it's funny you've done lots of so many things in different areas but comedy's always kind of at the heart of what you do so whether it's horror action there's always the you know comedy's always there have you do you want to get back into

do you have any desire to just go pure comedy again and go into something yeah yeah no I think and also you know as we all know as I'm I'm still want to make movies for the big screen and for some reason at the moment comedy has kind of like sort of like not being made

yeah for like the sort of the cinema anymore which is really strange but I think things are cyclical. I think it will come back. Well, because they always have to have the, and your films have a lot of your films have these big elements to it, and they're very, as Jason pointed out early on, you have a, you have a great visual style and you have a great, and so that's all part of it, it kind of sort of complements the whole thing. But when I go back and I think about space, even now as I'm thinking about how simple it was, and how much it was just on the, you know, the writing

and the direction, the acting, and just the pure comedy of all. That must be attractive to you on a certain level to kind of get back to something a little simpler in that way? I think so, or it's finding what that is that sort of like, I mean, listen, you know, I'm going to flatter you both, but like, you know, Arrested Development was one of the biggest joke delivery

machines on TV. It had the kind of speed of a Marx Brothers film. And that was the thing that I think when me and Simon, you know, like, would talk about that show all the time, you know, because also American shows at that time when they were network shows, is 22 minutes long, and, like, you know, with, like, 22 minutes and, like, 500 jokes.

Incredible. And I love those things. I mean, I'm still, like, a huge comedy fan and, you know, the best comedy films that just, like, you know, obviously, when I was growing up, things like the Zaka brothers films. Yeah. I shouldn't make Jim Abrams out. But, you know, things like Airplane and Top Secret, those films are huge for me, you know. The Python movies. The Marks brothers, like, just like, I just, I don't know how many times

I've watched Monkey Business and Duck Soup. Duck Soup, I watched Duck Soup every year's Eve, yeah. It's incredible. It's so funny, for me on the extreme is I used to, Edgar, I suspect you've seen it. And I don't, this is not a recommendation for anybody to watch it because it's very jarring and a lot of people have, but I'm a huge fan of it because it's, I've never seen anything so densely packed, more densely packed with. with jokes, pure just jokes.

And again, a lot of it, people, I've had people react with tears in their eyes because they feel so jarred by it. Xavier Renegate Angel. Oh, you know what? I have never seen this show, but Bill Hader talks about it all the time. Hader loves it too. I didn't, like, a lot of the adult swim shows

never made it over to the UK. The guys who did wonder shows, and, uh... Oh yeah, I have seen that. Vernon Chapman and, and, uh, what's name, John Lee, they did. It is a absolutely, you want to talk about wall-to-wall jokes. There's nothing else but jokes, and it's also very disturbing. This is an animated show?

Yeah, I send this with a big warning. There's a big warning about it, because people will, people, they'll end up responding to this episode with tears in their eyes. Like, man, you really fight me up with that executive, Renegate Angel. Oh, really? Holy shit. Anyway, sorry, that's just an aside. Edgar, what's the best, we'll leave on this. what's the best piece of advice you've got

and the worst? Oh, God, the worst advice. The best and worst was from a guy who used to run a big studio. He said, be patient, just be patient. Which is the best and the worst. Best advice? And the worst. And the worst. It's both.

It is. I wish I had a great pithy answer for this. I remember somebody said to me that, I mean, I say to people at the time, because sometimes I feel that people make movies and they're making movies to kind of fulfill a brief.

I think you, and I don't if everybody ever says, but you have to be the cinema, you have to make the movie that you want to see as a customer. And so I'm always, and so, I mean, I can't believe I'm like telling you advice that I give them myself, or give them to other people,

but it is that thing as I think, that's the thing that I think about all the time is I want to be the audience member. And I think as a film director, you're always just chasing that thrill of the of the film that you saw or the film that you want to see that if you didn't make this film

yourself, you would want to be the biggest fan of it. And I think that's something is just, I haven't really answered you a question, Sean. But I think that's always the thing that I return to is just to sort of try and be sincere in the process of make the movie that you would want to see. Instead of trying to guess what they want.

Yeah. Yeah, because I think that comes up. I think you can tell those movies where people are kind of working in genres that they don't necessarily love. I think you can tell I think when people like really love what they're doing it's palpable and it's infectious

I bet you have those moments I'm kind of visualizing you having a moment like do you can you remember moments maybe on Running Man where you there's a big moment or a big shot or something happened and when you yell cut you're like fuck yes yeah yeah well you never people always say like

I mean even on comedies especially they say like oh you guys look like you're having such a blast And you always say, well, you never have time, you know, on a schedule to stand around and high-five each other afterwards. It's like even after the most famous bit in the film, like when the film comes out, you know, on the day, it's like, okay, so now we're going to put the camera over here and now we're going to get this shot.

And, you know, Jason, you know this. It's just you're always moving on to the next thing. But then you see it in the editing room, but it's just you and the editor. And you're like, oh, God, I wish I had them all around to watch this right now, what they've all created. Yeah. I think the times that you have that.

moment, actually, is when you're doing a scene in one take. Because then, I think what happens is the whole crew crowds around the monitor, because like, did we get it? Did it work? And there are quite a few, like, oners in The Running Man. So those are usually the

times when the crew really bond over something is like, you know, Baby Driver, like, the opening credits of the film is like a three minute take and with lots of choreography and, you know, so everybody crowds around the monitor. to see whether it works and whether we got it. So I think those are the moments, I think,

where usually everything else is you or just shooting, shooting, shooting, and then, like, you know, it's the end of the day. Well, you can really tell how much you love what you do, watching your stuff. You're one of the most exciting filmmakers that we have, Edgar. It's truly a joy watching everything that you do. I cannot wait to see anything, man.

It's been awesome, and you've been so supportive of us. You were one of the first people to tell you. me when we started doing this podcast years ago and you've always been so sweet about it. Well, it made me just hanging out with you guys. We'll get back to us. It was in the middle of the pandemic and then I start texting you, I was saying, oh, I miss you, but then I hear you every week

it feels like in my life and stuff. Well, finish up your post and get back out of it. I'm going to be in London in 10 days and I'm going to text you. You know what? I have tickets to see is this thing on? Oh, you'll love it. It's such a good movie. You'll love it. Unless I'm mixing, I'll be there.

Great. Great, please be there. But no, I actually got tickets ahead of time. I was going to tell you that. I'll see you in London. I can't wait to see you. Oh, good. I hope you come.

I hope you come. And we always say, like, you know, everybody check out whatever movie or whatever somebody's promoting. But I don't have to tell people to check out The Running Man because just watch the trailer, people are going to come. It's incredible. I'm so excited for the Running Man.

It's incredible. I am so excited to see this film. Let me put it this way. The guy who got the film Green Lit is on the call. Hey, all. Wow. Bravo, bravo. Wait, really quick.

Paramount, we're like, we're not sure about this at this budget level, and they said, John Hayes is in? Yeah, okay. Here we go. Check, check, check, check. But we did really quick. We saw Giant, a couple years ago, you're like, let's go see Giant with Rock Hudson and James Dean.

At the Vista. At the Vista, right. And we go, and I, because I knew you had a sweet tooth, too, because you had Junior Mint sent to the set of Baby Driver. And I go to the lobby, and I get a pack of Swedish fish, finish them, and go get another one, another packet of Swedish fish. And you turn to me and you go,

Wow, so it's really true. The lights have gone out again. This must be here. Anyway, we love you. Thank you for being here, Edgar. It's so nice to see your faces. It's so good to see you, man. I'll see you all soon in person.

Thanks for doing this, after. Love you, pal. So good to see you. Love you, bye, bye, bye, bye, bye, bye, bye. I'm going to do the traditional slamming of the laptop. Oh, yeah. There you go. That, Edgar.

I mean, he's just, you know, I called you a, stuffed animal with blood on my recent press tour as an attempt to say the most flattering thing I could possibly say about you because you're so goddamn sweet but he would be the stuffed animal with blood that's sitting right next to you yeah he's the on the daybed he's such a good guy such a good person such a good person so sweet always been he's always so warm and then it sort of it betrays like this

incredible talent yeah I know and one of our great filmmakers you know I know I love him to watch him do his thing on set. It's so fun. He's so, like, calm. And he brings people together, too. I mean, he did, right? You know, he's introduced us to so many of our friends that we became friends with over the years,

certainly to me and, you know, lifelong friends, pizza, in which, obviously, we mentioned before and all those guys in Simon. He's just such a great people person. Yeah. You know, he's just such a great person. Yep. Yeah.

Good friend. Jason, Jason, you look like. Jason, you look like... You look like you have to go. I was grinding on a bye right then, but... I know. None of them seemed really good enough. Yeah, I know.

You got it. Is there anything that was sort of coming close? Well, he's a great person who brings a bunch of people together and makes it really hard to say goodbye to those people. But that's just too literal. You've got to commit. I mean, the fact of he lives in England and also in America. No, don't do that.

This one. By country. Oh, we haven't used that one. He's by continental. I mean, it's loose. It's loose, but it'll work. Good boy. Talk about loose.

Speaking of loose. Smartless. Smart. Yes. Smartless. Smartless is 100% organic and artisanly handcrafted. by Bennett Barbicoe, Michael Grant Terry, and Rob Armjurf. Smart less.