On one hand I'd like to be a filmmaker rather than specifically a British filmmaker. Quentin made a statement at Cannes a couple of years ago which caused a bit of controversy where he said there was no British film industry because anytime any British director makes a successful film they fuck off to Hollywood. There's some truth in that. Obviously there are directors like Ken Loach and Shane Meadows and Mike Leigh who are sort-of commentators, but at the same time nobody really thinks any less of Alfred Hitchcock for spending two thirds of his career in Hollywood. This country couldn't be more proud of Alfred Hitchcock.

I'd love to do both; I'd like to straddle. I don't want to be like Robbie Williams and put on an American accent. He's got an espresso addiction, and I so have I, actually! I read that somewhere, that he'd been admitted to rehab because he's addicted to espresso and I was thinking, "Hey, I'm addicted to espresso! Maybe I need to go to The Priory as well!"

We were on tour together for most of last year. I feel like we've all been in each others' pockets for most of the year! People think we all live in the same house like The Beatles!

Simon, as an actor, gets to do three times as much stuff as me because we write together, and then he was filming Run, Fat Boy, Run while were editing Hot Fuzz. My part of the process is much longer than his. We stay in contact throughout the whole post.

Just before the strike I'd finished a draft of Scott Pilgrim and a draft of Ant-Man; October/November. And I am a part of the WGA because I joined when I started working on three US scripts.

But I don't know whether that means we'll be able to start writing [the third Wright/Pegg/Frost collaboration] right away because Simon and Nick are writing something and Simon's doing Star Trek. So I'm not writing it right now but we have the idea and we plan to start work on it quite soon.

The strike would be frustrating if it was affecting only me, but it's affecting everybody. It's everybody's problem. And I totally agree with what the strike's about because the whole residual issue is bullshit.

I think the key thing will be whether it disrupts the Oscars as well because I can't imagine Hollywood will let that happen in the same way that the Golden Globes was completely cancelled. Ironically, the replacement for the Golden Globes telecast on Sky Movies is Hot Fuzz!

It's a fallacy that the show was cancelled because we had a chance to do the third one and we just didn't write it for various reasons. I can't speak for Simon and Jess but from my point of view I was just exhausted at the end of the second series. Both series were enormously all-consuming and at the end of the second one I was just done. I haven't done any TV since because it just wiped me out, completely.

It's six years now. I shouldn't speak for Simon and Jess but from my point of view you couldn't do a series now and pick it up from where the last series left off. We did that coda at the end of the documentary on the collector's edition. I thought this, even at the time, that you could preserve those characters in their late twenties forever. Even The Young Ones quit while it was ahead. But that said, I was really impressed with Before Sunset and I thought I could happily watch one of those every ten years. But sometimes it just doesn't work so well and you don't want to see those characters grow old.

But every time the three of us get together, even while we were doing that making-of documentary for the special edition, we started brainstorming the first scene of a potential new one. But it would have to be a lot later and it's kind-of a difficult thing to know whether you could go back. I don't know.