THE CULTUREPULP Q&A: Simon Pegg, Edgar Wright and Nick Frost


As promised to readers of today's Oregonian: Here's the extra-long "director's cut" of my conversation with the trio behind "Hot Fuzz" and "Shaun of the Dead."



(Illustration by yours truly and Bill Mudron. You can download a monstrously huge version of this picture right here.)
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Simon Pegg, Edgar Wright and Nick Frost are in Seattle, on the final leg of a month-long cross-country tour to promote their very funny cop comedy "Hot Fuzz."

And it's entirely possible they're getting a bit punchy.

Submitted as evidence: Before I walk into a conference room at the W Hotel for a half-hour sit-down with the British comedy stars, the publicist peeks into the room, where they're wrapping up a phone call to a radio station.

"Oh, good," she says. "They're putting their clothes back on."

"Hot Fuzz," which has already done boffo box-office in the UK, reunites the team behind the cult zombie comedy "Shaun of the Dead." It's about London supercop Nicholas Angel (Pegg) getting transferred to the safest village in England -- a tiny hamlet patrolled by simple, booze- and DVD-loving bobby Danny Butterman (Frost).

Of course, the village (played by Wells, Somerset, "England's smallest cathedral city" and the actual hometown of director Wright) ends up being about as safe as Twin Peaks. And the movie turns into an over-the-top goof on American buddy-cop movies -- with most of the humor coming from the fact that Tony Scott action-filmmaking techniques are applied in a locale where Rick Steves might take you on a pub crawl.

I talked with (the recently re-clothed) Pegg, Wright and Frost about "Hot Fuzz," what makes a great buddy-cop film, the perils of shooting in your hometown, and much more. An edited transcript follows the jump.



COMEDY MIGRATION and
THE QUEEN'S BADGE

MIKE RUSSELL: Man, you guys must be beat. You've been promoting "Hot Fuzz" since -- what? -- last year's San Diego Comic-Con?

EDGAR WRIGHT: Yeah. We've been promoting it since before we started editing. The editing went pretty much from Comic-Con to this January.

Q. Having seen the film, I can imagine how complicated that editing must have been.

EDGAR WRIGHT: Yeah, yeah. Absolutely. Huge.

SIMON PEGG: What was it? Six-and-a-half thousand edits?

Q. On some level, does making something that pokes fun at Tony Scott action-movie editing bolster your respect for Tony Scott?

EDGAR WRIGHT: I kind of had it anyway, to be honest. I mean, there is a goofing element, obviously. But the thing is, I appreciate what Tony Scott does. The joke, really, is to apply that kind of bombastic tone to much-smaller stories or locales. Particularly the idea of doing [quick-edit] montages during the most boring parts of the job -- treating it like it was a car chase, like it was out of "Man on Fire."
I came out of this with even more respect for my fellow action directors, because we did this on quite a modest budget, and I realized how challenging and tough it is. Not that I didn't know that already -- but now I look at their films and I marvel at them even more, really.

Q. Yeah. I mean, even if you don't like "Domino," "Domino" is an astonishing feat of editing. I wasn't fond of the film, but I admired it in the sense of, "Wow. That was hard to make."

EDGAR WRIGHT: Oh, yeah. I kind of enjoyed it for that.

SIMON PEGG: Edgar really likes you now.

EDGAR WRIGHT: I can see why people would not like that film. However, I look at it as if it were an exercise in pushing the envelope…. It's amazing.

Q. Simon, I really enjoyed your piece in the Guardian about irony and Americans. Since we last talked, "The Office" remake has become a huge hit in the States. Is the sensibility of new-wave British comedy migrating here? Are you sensing that?

SIMON PEGG: I think so. I think there's been a bit of a shift, and I think it might have a lot to do with BBC America and the Internet and the accessibility of those things. Sketches are getting passed around now on the Internet just because they're funny, not because they're from anywhere in particular. I think we're opening up a bit more.
I don't think it's necessarily a significant wave of British comedy; I think it's all about accessibility. We've had really great comedy in the UK since "Python." I think it's more about the fact that we're opening up to each other a bit more. With "Borat" being a success, it does seem like there's a little more of an exchange going on.

Q. You've said that villagers on location kept walking up to you and asking you questions as if you were an actual bobby while you were in costume.

EDGAR WRIGHT: Yeah, they did.

SIMON PEGG: The tourists in Wells did that, as well. There's a cathedral there -- which you don't see in the film, because Edgar matted it all out -- and eventually it was just easier to know where the tourist-information office was than to explain to a 95-year-old woman, "I'm not actually a policeman."

NICK FROST: They have a little gully that runs down the side of the street in Wells, which is runoff from the fountain, a little stream. And a lady fell over there, right in front of me, just before a shot -- so I sprang into action. Once you have that uniform….
There's actually a great picture the on-set photographer took of the little old lady on the floor, with me holding her bag and another officer attending to her. It could be a recruitment poster.

Q. I hope that ends up on the DVD.

NICK FROST: I got in trouble for smoking. I was smoking in the uniform one day, between shots, and someone phoned the station up and said, "I've seen one of your officers smoking." So I had to smoke 'round the back of the pub.
Once you've got the uniform on, you definitely feel responsible. You know, you've got the Queen's badge on -- you've got to behave in a certain way.
We actually had proper police with us on-set, for security -- and Simon and I would go stand and chat with them between shots.

SIMON PEGG: We felt more at home with them than we did with the normal people.



'STILL MAKING THE FILMS,
ARE WE?'

Q. Jesus said, "A prophet is welcomed everywhere but in his own country." And Edgar, you're from Wells [where all the small-village stuff was shot].

EDGAR WRIGHT: Jesus who?

Q. Which leads me to ask: What it was like to come home and make a genuine full-scale movie where you made videos when you were in your teens?

EDGAR WRIGHT: The only downside for me of that whole period was that I was working so hard; when I'm shooting, I don't really have time to switch off at all. And the sad thing about that was that the entire cast and crew were in my hometown -- staying in the local bed-and-breakfasts and hotels, drinking at all the bars I used to go to and all the restaurants I used to go to -- and I didn't have time to hang with any of them. So that was strange. I was totally focused on what I was doing, as I should be.
But because it was my hometown, we probably got away with a bit more murder than we would have elsewhere.
We shot the main action sequence in the center of the town. So you'd get people walking through all the time -- old teachers that would come by and say hello. I kept bumping into old girlfriends…. An ex-girlfriend's dad, who I hadn't seen for like 15 years, came up --

NICK FROST: Did he hate you when you went out with her?

EDGAR WRIGHT: No, we used to get on really well! So he came up after 15 years and said, "Hello, Edgar! How's it going?" And I said, "Hey -- check this out!" And then, literally, a car stunt happens. And he goes, "Ah! Great! Nice to see you!"

SIMON PEGG: "Still making the films, are we?"



EDGAR WRIGHT: I used to work in the same supermarket we use in the film. I used to be a shelf-stacker there for five years -- it was my Saturday job.

NICK FROST: One day a week, you lucky bastard.

EDGAR WRIGHT: No, no -- I'd do one day a week when I was at school, and then five days a week on holidays. And at that point I was making amateur films. So when I'd be stacking nappies -- diapers -- or breakfast cereals, there was one guy there named Darren who would go, "Aren't you the famous film director Edgar Wright?" That was his running joke whenever I was doing something particularly rubbish. We were filming a scene at Danny's flat, and he lived two doors down. And he goes, "Didn't you used to work in Gateway?" [laughs]
In a weird way, the Simon Skinner character is based on my supermarket manager -- not that he was sinister; he was really lovely -- but I found it quite sweet that he was so proud of his job. It was like he was really the de facto mayor of the town. He was the manager of the local supermarket, and he was the big cheese; he got as much respect in town as any of the councilors.
He was very supportive of me doing films, but he liked to wind me up. One time, I was cleaning up baby sick behind the checkout, and he walked up behind me and said, "Oh, he's not in Hollywood yet, is he?! Not in Hollywood yet!" And he's screaming this across the store.

SIMON PEGG: When we filmed the supermarket sequences, the interiors were filmed somewhere else. And Edgar put on a shelf-stacker's uniform to do a little cameo in the background. And I'm not going to say he was comfortable in it, but he didn't take it off for the rest of the day.

EDGAR WRIGHT: I felt quite comfortable as a shelf-stacker.

NICK FROST: It was like coming home for him. Little tie. Name-badge.

Q. Is the climactic assault in the supermarket in any way meant to gut-check that brilliant chase in the middle of "Raising Arizona"? I know from our last interview that that's one of Edgar's favorite movies….

EDGAR WRIGHT: Well, definitely during the part where two characters are fighting and you see the feet going 'round -- that was my one nod to "Raising Arizona."
I think, really, that the whole inspiration for that end sequence was video games inspired by action films and now vice versa. I loved the idea that you set up all the locations early on, and now it's going to play out as a series of shoot-'em-up levels: "Town Square." "Supermarket."

Q. "Hot Fuzz" could be adapted into a very … interesting video game.

SIMON PEGG: Well, I pointedly say, "We're going after the big boss" -- the final-level boss. Our multiple-ending thing, as well, is a staple in action cinema.
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'BUDDY COP FILMS ARE
ESSENTIALLY ROMANTIC
COMEDIES FOR GUYS'


Q. Does the sort of '80s/'90s action movie you're goofing on belong to America or the world at this point? One of the big directors you're goofing on here -- Tony Scott -- is in fact British.

EDGAR WRIGHT: Though Tony Scott has never made a film in the UK.

SIMON PEGG: It more a Hollywood thing -- Hollywood as a state of mind. Hong Kong, as well. Hollywood has borrowed a lot recently from Hong Kong action cinema.

EDGAR WRIGHT: And Hong Kong was originally producing its own variation on American action cinema. And then it goes back the other way.



SIMON PEGG: But it's definitely something that was kind of nurtured here in America, and belongs here -- that high-octane, exciting, really over-the-top action cinema. It seems to me that this is a culture where that can exist: Obviously, the gun laws are different here, there's a great sort of aspirational mentality here. The idea of high adventure -- this nation was almost founded on an adventure, in terms of discovering this land mass. Whereas, in the UK, it's just not.
The central joke of the film is that: It's taking something that shouldn't be there and putting it there.

EDGAR WRIGHT: I like how you linked up the buddy-cop film to the discovery of North America. [laughs]

SIMON PEGG: I'm not saying I'm not going to say that again, because I think I've hit upon something: This is the first interview where I've made a connection between the birth of American action cinema and the birth of a country.

EDGAR WRIGHT: I think what he's saying is that there should be statues of Freebie and The Bean in Washington.

Q. Manifest Destiny Avid-farts! While watching "Hot Fuzz," I was laughing at concepts and incongruities as much (or more) than I was laughing at jokes. I'd be laughing to myself, going, "They're giants fighting in a literal miniature village! That's the movie right there!"

EDGAR WRIGHT: To tell you the truth, the bits in the movie that make me laugh the most are the bits where we're trying to be really straight-faced. What gives me the giggles is when Simon and Nick's performances are really intense and the score is really full. Like the moment after Danny and Angel have a spat, and then they make up in the morning, and David Arnold's score is in full-on sentimental mode.
We had a test-screening in Long Island, New York, and there's was one guy who told us he liked the film, but there was one thing he really didn't like about it: [puts on American accent] "Sometimes the score got a little bit faggy." That is the joke! That's the score from "Man on Fire," about the least-"faggy" film you could ever come up with!

SIMON PEGG: I like watching it with an audience, and watching them laugh at that really lovely shot Edgar did where I, um, vanquish someone, and the camera cranes up over the village in the rain. All the beats are there for a proper action film -- but there's something about the setting that just kicks it over into comedy.
And that's what we found a lot of the time -- we didn't have to do that much with the format to make it funny. The humorous beats already existed, you know? But they'd seldom been put across as being funny.
You know, the scene at the end of "Lethal Weapon," with Mel Gibson stripped to the waist being cradled by Danny Glover, is only not funny because the rest of the film is not supposed to be. Hold on -- it's the gayest thing in the world!

EDGAR WRIGHT: The more testosterone in a film, the more it starts to sound like, "Methinks the lady doth protest too much." It's interesting.
We just had a "Hot Fuzz-tival" thing in Austin, and we're doing one here tonight, as well.

Q. You're showing "Bullitt" here in Seattle, right?

EDGAR WRIGHT: Yeah, yeah -- I'm going to go and watch that, because I've never seen it on the big screen.
But it's funny how buddy-cop films are essentially romantic comedies for guys. All of the beats you'd find in some of the older romantic comedies -- "It Happened One Night" or "Bringing Up Baby" -- are exactly the same as the beats in "Freebie and the Bean," "48 Hrs.," "Lethal Weapon"…. Two people are thrown together. They hate each other. But do they really hate each other? You know what? They love each other!
Basically, any romantic comedy and any buddy film hit the same beats. "Hot Fuzz" is exactly that: It's homoerotic, but we never really "seal the deal." That's not the point. The point is to make a funny, but quite tender, relationship movie between two guys.
An executive from New Line who saw "Shaun of the Dead" said, "'Shaun of the Dead' is like a romantic comedy between two guys." And it kind of is, but it's nebulous. We take that even further in this one.



Q. Sure. They "meet cute" in "Lethal Weapon." And of course there's that line in "48 Hrs.": "He's the best partner I've ever had!"

SIMON PEGG: And when they get nervous about that, they bring in Rene Russo. But it doesn't fit so well. I think that's why they kill Patsy Kensit in the second "Lethal Weapon" -- "He can have a girlfriend, but he's Danny Glover's, really."
It's so funny being in the audience when Angel and Danny are talking on the settee together, and Danny's sort of looking at Angel longingly, and you can feel the audience going, "Oh, my God -- they're gonna kiss!" I love their discomfort. It's great.

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'BUSTING' and the
'30-YEAR-OLD BOY'
INVERSION


Q. I was reading your interview in Empire, and Edgar brought up "Busting" a few times as an example of a great buddy movie. I saw that when I was a kid -- and I seem to remember it having some amazing foot chase in the middle.

EDGAR WRIGHT: Yeah, yeah. That's the best thing in it. Some of those films really stand up -- like, watching "Freebie and the Bean" the other day, at this festival that we curated, aside from a very dodgy homophobic scene right at the end, Alan Arkin is fucking amazing! Some of those scenes really hold up.
"Busting" I've only ever seen on a really shitty VHS copy -- but halfway through, there's a foot chase and a stand-off in a convenience store that is absolutely amazing, and the camera-work is great, and you're thinking, "Wow." That's exactly the sort of thing that inspires me.
There are films that are outright classics, like "Dirty Harry" or "The French Connection" or "Serpico." But then there are movies that are okay, but have amazing bits in them, like "The Seven-Ups" -- it's all right, pretty good, and then the car chase in the middle is absolutely astonishing. Same thing with "Busting": It has good stuff in it, but it has one brilliant action scene that makes the whole movie.
And I'm a connoisseur of foot-chases in general, which is why I put two in "Hot Fuzz."

Q. I love Simon's "Terminator 2" run in those chases.

EDGAR WRIGHT: There's nothing wrong with a good foot chase.



Q. A lot of your work up to now has focused on what you could call "30-year-old boys" -- where guys struggle with their desire to keep living like they're in college well past their prime. But in "Fuzz," we meet a totally driven careerist who has to get in sync with sleepier, more laid-back surroundings.

EDGAR WRIGHT: Nicholas Angel lacks what Shaun had too much of. Shaun had too much free time and is like a sloth. And Nicholas Angel is not complete -- is not a human -- because he can't switch off.
And that kind of thing came from what you see with real cops. When you become a police officer and you see what's going on around you, it's very difficult to hit the "off" switch and relax at all. There's a phrase that turned up during our research: There are officers who get "job drunk" -- they can't stop being cops.
We did ride-alongs in London, and the detectives make you aware of their street-smarts. There's a scene where Angel says, "There's always something going on around you," and points out some of the things that may be happening in the streets: "Why is he wearing a coat in warm weather? Why does he have his hat down? He must be hiding something!"

SIMON PEGG: And Angel's right about all those things, by the way.

EDGAR WRIGHT: We'd be on a ride-along, and we'd see three people standing outside a train station, and the police officer would say, "The two in the front have the money; the one behind has the drugs. And if you run after them, they'll run in three different directions, so you can't catch them with the money and the drugs."
And we thought, wow -- if you can see all that happening, a door of perception is opened that you can never shut again.

SIMON PEGG: It would be like being Superman. You've got all these powers, and you feel bad if you don't use them.

Q. My father worked in law enforcement for 30-odd years, and he was totally like that. He'd always be asking me, "Did you notice that guy over there?"
One time -- this was my favorite -- we were sitting in an open-air park and he sniffs the air and goes, "Someone's smoking marijuana."

EDGAR WRIGHT: [laughs] Is he retired now?

Q. He is. But he's a P.I. now, so he hasn't turned it off at all.

EDGAR WRIGHT: A gumshoe! You should bring him tonight!

Q. I'd love to -- but I came up here from Portland. He would love "Hot Fuzz."

SIMON PEGG: The movie's kind of pro-police, in a way. Part of the reason for writing the movie was that we thought it would be interesting to try and make the police look heroic rather than renegade or corrupted, which you see a lot. Particularly a bobby, which is a pretty uncool figure.

EDGAR WRIGHT: Particularly in British films, the bobbies are portrayed as being bumbling, idiotic, and/or corrupt. And what we thought we'd do in "Hot Fuzz" is make them bumbling, idiotic, corrupt -- and then make them cops. And because they get to kick ass at the end, that kind of excuses everything that's come before it.
The police that have seen it in the UK love it.

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IN WHICH WE
GEEK OUT
ON SHANE BLACK

Q. Edgar, you've said in interviews that the gangster film has been in vogue in England over the cop film -- at least all the way back to "Get Carter," and I'm sure it goes back further than that. And when police-centered shows in England are hits, the ones I've seen tend to take their cue from "Prime Suspect," where the detective is just this miserable person.

EDGAR WRIGHT: Or drunk.

SIMON PEGG: And has problems.
I think with the absence of guns in the UK, we had to turn to the procedural aspects of policing in order to come up with police dramas. And that is what left a huge gap in the market for a gun-wielding, badass British supercop.
I think the British working class has had a kind of affair with gangsters since the Second World War; gangsters helped the working-class people get what they needed to get through the war. So there's always been this romanticized view of gangsters -- and that filtered down into how people made their films.

EDGAR WRIGHT: And we were kind of tired of those films -- though there are brilliant exceptions, like "Get Carter," "The Long Good Friday" and "Sexy Beast," which are fantastic. But some of the others are a lot of posing and posturing; I get the feeling that a lot of the directors have only seen the first half of "Goodfellas" -- where there's the glamour and everybody has funny nicknames. "Let's just have variations on Johnny Two Times from Goodfellas!"
It's sort of the same way people misconstrue another great film, "Scarface" -- where it's now come to be seen as a lifestyle. [laughs] There's a hilarious documentary on the DVD where people are quoting "Scarface" like it's their bible -- their template.



Q. You use action to get laughs in "Hot Fuzz," but it strikes me that straight action films also produce laughs with their violence. I'm thinking specifically of that scene in "Die Hard" when Bruce Willis shoots the German through the table -- "Where are you going?! No more TABLE!" -- and John McClane says, "Thanks for the advice." It's Peckinpah bloody, but you're laughing your ass off.

EDGAR WRIGHT: Well, that's the thing with violence -- it produces a release within the audience. When I was making my amateur films, it was always so great to get a cry of mass disgust out of an audience.
You watch anything with sudden violence in it, the audience will be shocked, and then they'll start laughing. You watch "Final Destination," with that bus scene, and the audience is laughing for three minutes afterward. It's kind of a big shocker. I never saw "The Omen" in the cinema, but I'll bet it was exactly the same.
A lot of people have asked us about the violence in "Hot Fuzz," and why it has to be that violent. But the PG-13 action films you get now, versus what they used to do back in the '80s, when they were hard Rs…. I mean, even "Beverly Hills Cop" is a lot more violent than you would remember. And if you factor in "Die Hard," "Lethal Weapon," "Robocop," "The Last Boy Scout"…. I think "Last Boy Scout" is the absolute apex of wisecracks and violence. It's two hours of wise-ass dialogue and people getting punched and dying.

Q. I got to interview Shane Black -- I loved "Kiss Kiss Bang Bang"; I thought he was working through a lot of his issues with the buddy-cop film. And I asked him, "When you and Tony Scott were making 'Last Boy Scout,' were you intending to make an action movie that was also a spoof?" And he basically said, "Nah."

EDGAR WRIGHT: Last week, I got to know Shane Black -- and I think Shane is very modest about his legacy, and I think he plays down all the films he's done. "Last Boy Scout" is one of my favorites -- I absolutely love that film. I think it's a true neo-Mickey Spillane kind of film. But you talk to him about it, and he kind of dismisses it entirely.
"Last Boy Scout" even predates Tarantino in terms of being self-reflexive. It was kind of the first action film of that type that was eating its own tail. There's a joke in it about "Lethal Weapon 2," which Shane Black was taken off of: He wrote a script for "Lethal Weapon 2" that was nixed because he had Riggs die at the end. And so "The Last Boy Scout" has a bit of a dig at "Lethal Weapon 2," where one character says, "It's the '90s now -- you can't kill someone without saying something funny afterwards. Like, if someone gets killed by a surfboard, they should say, 'Surf's up!'" -- which is a line from "Lethal Weapon 2" that Shane Black didn't write. He's totally biting the hand that feeds him.
He's seen "Hot Fuzz" -- he's one of the first people we invited to a screening in L.A.

Q. He's the target audience for that movie.

EDGAR WRIGHT: Oh, totally. It's like a valentine to his stuff.

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OLD WOMEN
WITH LARGE ARMS


Q. Conan O'Brien once remarked on how frustrating it was that people thought he and Andy Richter were a comedy team off-stage as well -- that they went home and slept in a bunk bed wearing matching nightcaps.
Simon and Nick: Now that you've done two very funny films together, is the "comedy team" label something you embrace or reject?

SIMON PEGG: We don't do it because we're trying to promote ourselves as a double-act; we do it because we enjoy working together. (And with Edgar, it's sort of a triple-act.) We just do it because it's a great way of working.

NICK FROST: We're like Damon and Affleck. We're good together, and we like working together, but we're happy to do other things.

SIMON PEGG: We are like Daffleck. Can I be Ben?

NICK FROST: Okay. I just want to be in the "Bourne" movies.

EDGAR WRIGHT: Porn movies?

NICK FROST: BOURNE.

SIMON PEGG: The way we're perceived is important in some respects, but not in others. It's up to us to prove or disprove any kind of labels upon us if we're not happy with them.
But I just love working with Nick. It's a very easy, very comfortable environment to be working in. I wish I had that on every job I did.

Q. Any thoughts on what genre you guys might tackle next? Given Nick's new sci-fi series "Hyperdrive," are you hoping it won't be sci-fi?

NICK FROST: No -- I'd love it to be sci-fi. I'd love to see us have a go at a space battle.

EDGAR WRIGHT: The way we approach things is more about things that we feel we haven't seen. It's not necessarily that we're kind of ticking through the genres. "Shaun," and particularly "Hot Fuzz," are films we felt weren't made in the UK, and we wanted to provide our version of them.
After we did "Spaced," I was keen to do a film -- and while there were a lot of great British films, there was nothing of the ilk that I really liked and that inspired me: Tarantino, the Coen Brothers, or Wes Anderson…. Comedy or genre that had its own quirks.
A lot of the films that inspired us didn't emanate from the UK. And that was the case with "Shaun," and particularly with "Hot Fuzz" -- where we were doing a genre that had never been done in the U.K. There are no sort of British action films. And no, James Bond does not count, because James Bond is never in the U.K.

NICK FROST: He's always in Jamaica.

Q. You're making movies that don't spoof the genres in question so much as embody them, from weird angles.

EDGAR WRIGHT: Well, let's go back to "Last Boy Scout." Surely "Last Boy Scout" does exactly the same thing, even though Shane Black won't admit it. It is an example of that genre which is also riffing on itself.

Q. Oh, absolutely. Obviously, much has been made of your amazing and rather alarmingly large cast of veteran English character actors -- many of whom had played villains in Hollywood movies. How did they respond to the chance to do hard-core action moviemaking at their age? I imagine Paul Freeman comparing everything to the truck chase in "Raiders."

SIMON PEGG: The great thing about working with the likes of Edward Woodward, Billie Whitelaw or Paul, or Timothy [Dalton], or Jim [Broadbent], was that they all totally bought into the screenplay, and they did it with absolute, 100-percent commitment. It was a testament to their professionalism and why they're still working, I think. I left that film with even more respect for those people. They wholeheartedly bought into it.

EDGAR WRIGHT: And Stuart Wilson, let's not forget, is the baddie in "Lethal Weapon 3," "No Escape," "Mask of Zorro." He's in "The Rock." Stuart Wilson, out of all of them, knows his way around some automatics.

NICK FROST: And Billie Whitelaw didn't seem to bat an eyelid when she was firing that big Hungarian-made machine gun. It looked like it was made for her.

Q. That's true: The old women did seem to enjoy bearing large arms.

NICK FROST: I love women with large arms.




Posted: Mon - April 23, 2007 at 12:00 AM        

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