Transcript Kill Bill

Advanced Portfolio Research –
Media A2
Jane Lawrance
61589
Definition of Postmodernism
Defining Postmodernism is very hard to do as it is a
very open term and covers a variety of different ideas.
Put simply, being postmodern in media is taking an
existing idea and challenging people to see it
differently. Trying to take new meanings using old
ideas. Re-vamping. Re-styling. Re-thinking.
Genre Theory
I always hope that if one million people
see my movie, they saw a million
different movies”
– Quentin Tarantino
Hollywood Film
Steven Spielberg famously said; “If a person can tell me the idea in 25 words
or less it’s going to be a pretty good movie” this suggests that Hollywood films
have very simplistic clearly defined genres and do not like to deviate within
their work. Hollywood has very fixed conventions when it comes to film
making because of this. The Ancient Greeks took it upon themselves to use
the term genre as a sort of quality control to their plays. They were labelled
as either ‘Comedy’ or ‘Tragedy’.
Alternative/ Creative Film
Django Unchained (2013) Quentin Tarantino
Reservoir Dogs (1992) Quentin Tarantino
This new age of film defies the conventions of the
Hollywood films and instead challenges its audiences. The
genres of these films are less clearly defined and are open
to multiple interpretations. Tarantino is known for
producing postmodern films and being extremely diverse
and creative with his genres, frequently creating hybrids,
sub and mixed genres.
Lacey’s Model on Genre
Producers
Genre
Audiences
Film
Lacey suggests, with this model,
that genre is a ‘Negotiation’
between Audiences and Producers.
However, it is debateable who has
the greater influence on the film’s
final cut. Hollywood critics suggest
that the producers have the greater
influence or dominance because
they decide and have the last say
over the output.
An example of the ‘negotiation’
between these points is Kill Bill
(2003) Quentin Tarantino where the
genre is not conventional, Tarantino
mixes different genres to defy these
conventions.
Adorno and Horkheimer
Adorno and Horkheimer were
European critics of Hollywood.
They said that Hollywood’s mass
production of film created a
repetitive ‘standardisation’ of
conventions that where
dominated with one ideology that
communicates to the lowest
common denominator of ‘mass
consumption’. Their critic has
helped film evolve with the use of
‘sub genres’, ‘mixed genres’ and
‘Hybrids’.
Theodor Adorno and Max Horkheimer
Genre and Conventions
Kill Bill (2003) Quentin Tarantino
Kill Bill (2003) Quentin Tarantino
Genre is a French word, the word is used to categorise films by the similarities
and stereotypes they have.
Genres normally hold codes and conventions which audience expect to see in a
certain genre; E.g. Blood in the trailer suggest the film will be in the horror
genre. Postmodern films play with this by creating hybrid genres, for example;
Kill Bill (2003) Quentin Tarantino uses martial arts and film noir (femme fatales)
to create a hybrid genre.
Genre Theory
Django Unchained (2012)
Quentin Tarantino
Postmodern films like to challenge
the conventions of other films by
creating sub, mixed and hybrid
genres. Tarantino is a great example
of this as all of his films steal ideas
from other films and use hyper
violence to challenge the themes of
these films; examples of this
include; Inglorious Basterds (2009)
Quentin Tarantino and Django
Unchained (2012) Quentin
Tarantino. Because of this Tarantino
can be called an Auteur because he
has his own style; Poetic violence.
Inglorious Basterds (2009) Quentin Tarantino
Hollywood genre originated from the
Greek idea of genre to categorise films
so the audiences knows what they are
watching. The problem with this is, if
you’ve seen one of these big budget
Hollywood genres, you have seen
every other film in the genre. Where’s
the fun in that?
Postmodern film, on the other hand,
aims to excite its audiences keeping
them interested because their genres
are harder to define. This is because
postmodern films mix up their genres
creating sub and hybrids e.g. Spoof
Horror, Rom-Com. These films create
new film favourites and in some cases
Scream (1996) Wes Craven creates all
new iconography. As well as this
Tarantino uses other films iconography
in his films; e.g. the yellow jumpsuit in
Kill Bill (2003) Quentin Tarantino.
Scream (1996)
Wes Craven
Kill Bill (2003)
Quentin Tarantino
Postmodern Films
• Postmodern films challenge genre
conventions using intertextual
references.
• Another way we categorise films
other than genre is ‘style’ of the
director known as Auterism.
Inglorious Basterds (2009) Quentin Tarantino
• Tarantino’s postmodern style can
label him as an auteur. He is known
for his hyper violence; take no
prisoners movies such as Django
Unchained (2013) and Inglorious
Basterds (2009).
Postmodern Theory
“I steal from every movie ever made”
- Quentin Tarantino
Postmodern Theory
Postmodernist are all about making challenging
films. By creating a hybrid genre they can
explore new ways of representing and relating
themes through film. The postmodern age is
challenging, it takes the ideas of our age; digital,
computer and the nuclear advances and tries to
confuse our ideas about them and make them
global ideas.
Ideas from the 1960s onwards reflect society’s
insecurities in a media saturated world. Where the
ideas appear unclear. This is called a global
homogenised culture. The ‘postmodern condition’;
feeling unsure about the world. Not knowing your
place anymore, postmodern films explore this anxiety.
Postmodernism challenges ideas in a confused world.
They use references and update ideas (Hybrids) to off
challenging narratives, representations and use of a
high art style.
Postmodern uses in media
Postmodern films use several techniques to create the
new interesting effects in their films. Here are a few
examples;
Narratives that question whether
the progress we are making now is
for the ‘good’ of society. A critique
of our mass producing ways. E.g.
Blade Runner (1982) Ridley Scott.
Narratives which involve themes
that challenge film narrative
conventions (Anti Heroes/ unclear
or mixed representations). E.g. Pulp
Fiction (1994) Quentin Tarantino.
Non- Linear narratives – Anything that
challenges the conventional 3 act
structure by disrupting the chronology of
the narrative. E.g. Kill Bill (2003) Quentin
Tarantino, Memento (2000) Christopher
Nolan.
Anti-Narratives – disrupt the
narrative, Guy Ritchie uses
this, E.g. Sherlock Holmes
(2009) and Snatch (2000) Guy
Ritchie.
Meta – reference – when the audience
is made aware they are watching a
‘film’. i.e. Talking to the camera. E.g.
Being John Malkovich (1999) Spike
Jouze.
Values/ ideology – postmodern media products tend to leave judgements up to the
individual and challenge morals rather than making their values/ ideology obvious.
Intertextuality – making references
to other media texts for effect, for
pleasure or as ‘homage’, to show
respect, makes an audience active
with the text. E.g. Kill Bill (2003)
Quentin Tarantino – makes
references to Film Noir, Yakuza,
Martial Arts and Spaghetti Western
films.
Intertextuality is also used in ‘Parody’ or
‘satire’ of other texts. E.g. The Simpsons and
South Park.
Simulacra/ hyper reality – put
simplistically, postmodernists argue that as
a result of media saturation we live in a
new reality where the differences
between the ‘real world’ and the ‘new
media reality’ are blurred. This allows a
new outlook on representation. E.g. The
Matrix (1999) Andy and Lana Wachowski.
High art styles – filming techniques that challenge
conventional ideas (art house films) e.g. Anime used in
Kill Bill (2003) Quentin Tarantino.
Bricolage – Almost stealing images/objects
from other films or styles; usually used to
create new meanings through high art styles.
E.g. Yellow Jumpsuit in Kill Bill.
Mixing/ blurring the genres of
film to create new hybrids/ new
versions.
Pastiche is a straight copy of the
original text. E.g. the remakes of
Oceans 11 (2001) Steven Soderbergh,
Shaft (2000) John Singleton and Get
Carter (2000) Stephen Kay
Postmodern theorists
Jean-Francois Lyotard
He had the idea of challenging metanarratives, or grand narratives. The type of
narrative was normally found in Hollywood
films and so the postmodern film makers
wanted to move away from the
conventional and challenge it.
Lyotard wanted to get rid of old fashioned
dominant ideas, saying that the ‘fixed’
truths from the past must be challenged
due to our confused postmodern condition.
Tarantino has embraced this and loves to
challenge Hollywood narratives, for
example; Django Unchained (2012) Quentin
Tarantino challenges the conventional slave
film narrative.
Jean Baudrillard
Jean Baudrillard liked the idea
of Simulacra/ Hyper reality. He
said that it is important to
explore the difference between
the real and the fake because
we live in a virtual world of
confusing reality and there for
sometimes we don’t know the
difference. Postmodern film
makers reflect this e.g. The
Matrix (1999) Andy and Lana
Wachowski.
Frederic Jameson
Following Adorno and Horkheimer’s
analysis of the culture industry, Jameson
discussed his own views on
postmodernism in his critical discussion
of film, narrative and the visual arts. He
claimed that postmodernism is
characterized by a use of Pastiche in
film. That everything is ultimately a copy
of something but by copying it we
should challenge the past ideas.
Postmodernists take ideas from the past
and challenge them BUT unlike Jameson
they update the themes and morals
creating Hybrid genres and not straight
copies. E.g. Inglorious Basterds (2009)
Quentin Tarantino has ideas borrowed
from The Dirty Dozen (1967) Robert
Aldrich.
Narratives
Narrative theory
In this section I will explore the theorists; Propp,
Todorov, Strauss and Barthes.
Each of them had theories on narratives and
structure that are still used today by Hollywood
and Postmodernists alike.
Vladimir Propp
Vladimir Propp analysed the basic plot
components of Russian folk tales to
identify their simplest irreducible
narrative elements. In doing so he was
able to identify the norm for film
narrative structures and come up with
character profiles for these films too,
for example; Hero, Villain, Damsel and
Helper.
Postmodernists tend to play around
with these roles and create new ones
such as The ‘Postmodern Cowboy’
usually found in Dystopia films. E.g. 28
Days Later (2002) Danny Boyle.
Tzvetan Todorov
Todorov was a philosopher who
studied narrative structure he
came up with his 3 act structure
which is titled with 3 words;
Equilibrium, Disequilibrium and
New-Equilibrium. Postmodernists
like to play with the order or these
and create films that start at the
Disequilibrium or even those that
mix up the three entirely. E.g.
Memento (2000) Christopher
Nolan.
Levi Strauss
Levi Strauss believes the use of
opposing themes helps to create a
better structure. The theme that
are used consist of: Age, Gender,
Ethnicity, Sexuality, Social Class etc.
Postmodernist like to explore and
challenge these themes in their
films; e.g. Jackie Brown (1997)
Quentin Tarantino explores and
challenges Ethnicity and Gender.
Roland Barthes
Barthes created Enigma codes
also known as the mystery of
film. Throughout films you ask
questions about the
information you are given, the
mysteries in these films are
called Enigmas, like a code to
be cracked and are used
frequently in postmodern films
such as; Sherlock Holmes
(2009) Guy Ritchie.
Crime Genre
From the Original Gangsters
to Postmodern Crime
Origin of the Crime Genre
The Lodger (1927) Alfred Hitchcock
Crime Genre originated in the
1920s silent era from Hollywood
Gangster films. Crime has evolved
through the years but tends to keep
one common theme, each era
tends to reflect society’s crime
waves and fears. For example; the
1930s films reflected the
prohibition era of the 1920s where
Blackmail (1929) Alfred Hitchcock
organised criminal acts were
facilitated by the prohibition of
alcohol. To the left we see three of
the first crime films all of which are
directed by Alfred Hitchcock.
The Pleasure Garden (1925) Alfred Hitchcock
Generic Iconography
Themes: ‘Ascension’ Killing/Gang Rivals / Heists
Characters: The Alienated Hero/ Buddies/ Hit Men/
Henchmen/ Bent Cops/ Good Cops/ ‘Canaries’- rats/
Femme Fatales
Mise en scene: Tuxedos/ Suits/ Dark Lighting/ Dark
Rundown sets/ High Status Cars
Sound: Moody Scores/ ‘Wise Guys’ Language
Time line
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•
•
•
•
•
•
1930
1940/50
1940/50
1960s
1970/80s
1970/80s
1970/80s
1990 to present
1990s
Original Gangster Films
Film Noir
British Noir
Crime Capers
Gritty Gangster Epic
Blaxploitation
Gritty British Crime
Postmodern Crime
British Postmodern Gangster
1930s - Original gangster
Jean Parker and George Raft in
Lime house Blues (1934) Alexander Hall
This era of Crime films reflects
the prohibition era of the 1920s.
In this era real mobsters such as
Al Capone took control of
bootlegging through their
speakeasies. Most of the crime
was in reaction to the prohibition
of alcohol. E.g. ‘Little Ceaser’
(1930), ‘the Public Enemy’ (1931),
‘Lime house Blues’ (1934).
1940/50s – Film Noir
This era has iconic imagery and
takes its inspiration from the
1930s. Film Noir uses minimal
sets and dark lighting to update
the themes of the time and
create a more sinister look. These
films reflected wartime turmoil
and included confused roles for
the gender being forward the
concepts of the alienated hero
and the femme fatales. E.g. ‘the
Big Sleep’ (1946), ‘Key Largo’
(1948) and ‘Touch of Evil’ (1958).
Lauren Bacall and Humphrey Bogart in
Key Largo (1948) John Huston
1940/50s – British Noir
Richard Attenborough as ‘Pinky Brown’ in
Brighton Rock (1947) John Boulting
British Crime followed
Film Noir conventions
trying to document the
darker side of civilian life.
British Noir normally
reflected the post war
anxieties of society. E.g.
Brighton Rock (1947) and
The Third Man (1949).
1960s – Crime Capers
Oceans Eleven (1960) Lewis Milestone
The ‘swinging 60s’ brought forward a new type of social and
economic optimism and the crime films of the era embraced it
and started to positively portray art with light hearted narratives
and ‘loveable rogues’. E.g. Oceans 11 (1960) Starring Frank
Sinatra, Dean Martin and Sammy David Jnr.
1960s – British Crime Capers
These British Crime Capers mixed the concepts of comedy movies
and heist movies together using ‘Cheeky Cockney’ Characters of
the Ealing Comedy era. They often used romantic European
settings a great example of a British Crime Caper is ‘the Italian
Job’ (1969).
1970/80s – Gritty Gangster Epics
Al Pacino in Scarface (1983) Brain De Palma
These films focused on
reflecting the economic
downturn of the 1970s
with hard hitting bosses
‘Dons’ and drug pushing.
E.g. the Godfather
(1972), Mean Streets
(1973) and Scarface
(1983).
1970/80s - Blaxploitation
These filmed aimed to
reflect the civil rights issues
of the time with mainly all
black casts and directors,
except for Shaft. The films
dealt with issues of racism,
prostitution and drug use by
often switching or using
stereotyped characters. E.g.
Shaft (1971) and Foxy Brown
(1973).
Pam Grier in Foxy Brown (1973)
1970/80s - Gritty British crime
Michael Caine in Get Carter (1971)
These films emerged
from the harsh economic
depression from the late
60s and early 70s, the
films reflected the
importance of gangland
figures such as the Kray
Twins. E.g. Get Carter
(1971) and THE Long
Good Friday (1981).
1990 - British Postmodern Gangster
Lock, Stock and Two Smoking Barrels (1998) Guy Ritchie
Borrowing ideas from British
Crime iconography, often using
the idea of ‘New Laddism’ of
the 1990s. Hybrids offered
mixed representations and
heavily stylised production,
giving a new twist to existing
ideas. E.g. Lock, Stock and Two
Smoking Barrels (1998), Sexy
Beast (2000), Layer Cake (2004)
and London to Brighton (2006).
1990 to Present Postmodern Crime
These films reflect the
postmodern age of film where
society is overloaded with
ideas and so borrows and
references the past with new
challenging narratives. A
method used to create these
new films is to create Hybrid
genres by using heavily stylised
and blurred representations.
E.g. Pulp Fiction (1994), the
Usual Suspects (1995) and Get
Shorty (1996).
Uma Thurman in Pulp Fiction (1994) Quentin Tarantino
Dystopia
Utopia and Dystopia,
what’s the difference?
28 Days Later (2002) Danny Boyle
Metropolis (1928) Fritz Lang
A Utopian world is a ‘perfect’ world. A Dystopia
on the other hand is the opposite of a Utopia,
so it’s an imperfect world. As well as just being
imperfect it is a world that is alien to us and
how the world is now. Most Dystopia and Postapocalyptic films are set in the unsettled future
and show their audiences something they are
unfamiliar with; these films tend to tackle fears
we have about the future and the unknown.
For example; The Day After Tomorrow (2004)
Roland Emmerich, 2012 (2009) Roland
Emmerich, 28 Days Later (2002) Danny Boyle
and Metropolis (1928) Fritz Lang, they all
represent the fears of their times: Global
Warming, The apocalypse, deadly viruses and
Technology taking over.
Generic Conventions
The generic conventions of Dystopia films are:
•
That they are set in a dystopian world: A fictional
reality in which everything is bad, typically set with
a totalitarian ruler or an environmentally degraded
world. The opposite of a Utopia.
•
Dystopia films normally explore postmodern
themes through their use of challenging narrative
themes; they offer their audience hyperrealism and
an uneasy futuristic nightmare using pastiche to
create hybrid genres.
•
Narratives take place in the aftermath of an event;
typically war, plague, alien invasion etc.
•
Most of the movies ‘disasters’ have man-made
causes.
•
Dystopia films reflect society’s fears: cold war,
medical advances, environmental change,
technology, economic cash etc.
•
Agrarian societies often develop.*
•
Possibility of human demise; survivors struggle to
survive.
•
The films create a sense of finality, in some cases a
new beginning/ survival/ re-birth.
*Agrarian – Agricultural based. Farming and Living simplistically. Societies return to a preindustrialised world.
The Day After Tomorrow (2004) Roland Emmerich
Character types
There are several different character types used
within Dystopia films because of the dystopic world
several unconventional characters are used to show
how people react differently within new
environments. Some of these include;
•
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The ‘ Postmodern Cowboy’ in 28 Days Later (2002) Danny Boyle
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•
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The Heroic Protagonist Male in 2012 (2009) Roland Emmerich
The Heroic Protagonist Male - The most
conventional character ever the main role being
young, male, heroic, without weakness, etc.
The ‘Post-modern Cowboy’ – A loner, pushed into
the narrative without choice, there is a constant
threat of violence and danger towards him but he
survives against the odds.
Groups/Tribes (animal like) seeking to profit from
violent anarchy. Hero encounters these tribes they
will more than likely try to hurt or kill him. He will
confront them on his terms (Savage, anarchic
responses).
Human Survivor groups – small groups from preapocalyptic modern world, struggling to survive the
new world. Look to the hero for help and remind
him of the past and its humanity and sometimes
they offer hope for the future.
The Helper – often from the alien/infected race
who plays assistant to the hero in his quest.
Sub genres
Dystopia normally stems out in to loads of sub genres
as the themes that are challenged in such films are so
wildly different and can be tackled in different ways.
These are just a few of the sub genres seen within
Dystopic films;
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•
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Science Fiction – These films give a sense of ‘science
gone wrong’ where the future is controlled by a big
brother scenario; these films relate to the fears of the
societies at the time e.g. Metropolis (1928) Fritz Lang,
Blade Runner (1982) Ridley Scott, The Terminator (1984)
James Cameron and The Matrix (1999) Andy and Lana
Wachowski.
Post-apocalyptic – End of the world scenario, limited
survivors. Includes ideas of Darwinism, this reflects the
notion of survival, normally explores the concepts of us
adapting to new environments, who will survive and
eventually advance the new order and new society? E.g.
Planet of the Apes (1968) Franklin J. Schaffner, Mad Max
(1979) George Miller and The Road (2009) John Hillcoat.
Horror – presenting a chaotic world of mutants/ zombies
created from human genetic research. E.g. Dawn of the
Dead (1978) George A. Romero, 28 Days Later (2009)
Danny Boyle, I am Legend (2007) Francis Lawrence and
World War Z (2013) Marc Forster.
The Terminator (1984) James Cameron
The Road (2009) John Hillcoat
World War Z (2013) Marc Forster
Time line
1920s 1960s 1970s/80s 1990s to present -
Pre - war
Post - war
Advances in Technology
Advances in Medicine and
Science, Environmental
Disasters.
1920s – Pre-War
Society has fears of
mass production and
totalitarianism. Films
normally showed this
through Big Brother
Style Scenarios. E.g.
Metropolis (1927)
Fritz Lang.
Metropolis (1927) Fritz Lang
1960s – Post-War
Planet of the Apes (1968) Franklin J. Schaffner
Society fears a cold
war, nuclear
Armageddon and
invasion. PostApocalyptic ideas
start to emerge. E.g.
Planet of the Apes
(1968) Franklin J.
Schaffner.
1970/80s –
Advances in Technology
This generation fear
technological advances,
genetic modification,
computers and robots
having power and
authoritarian states. E.g.
Blade Runner (1982)
Ridley Scott and The
Terminator (1984) James
Cameron.
Blade Runner (1982) Ridley Scott
The Terminator (1984) James Cameron
1990s to Present –
Science and The Environment
28 Days Later (2002) Danny Boyle
Society starts to fear the fast advance in science leading to
cloning or genetic research gone to far. Dystopia themes start to
come through in the films. Environmental disasters are also
incorporated, the human race is nearly always the problem. E.g.
28 days later (2002) Danny Boyle, District 9 (2009) Niell
Blomkamp and 2012 (2009) Roland Emmerich.
Postmodern film directors
Quentin Tarantino
Taratino is known for his hyper violent movies. One of
his past jobs was working as a shop assistant in a
video store, as a result he watched a lot of films and
openly admits to using ideas from other films in his
own, examples include; Reservoir Dogs, 1992
(influenced by the original Oceans 11, 1960), Django
Unchained, 2012 (Influenced by Django, 1966) and
Inglorious Basterds, 2009 (influenced by The Dirty
Dozen, 1967). He loves to take ideas from these films
and re vamp them. His postmodern style is heavily
stylised, uses controversial/ challenging
narratives/representations and plays with genre
conventions.
He is also known for bringing back Actors from the
original films to act in the new ones. E.g. Pam Grier in
Jackie Brown (1997) was in Foxy Brown (1974) and
Franco Nero was in the original Django (1966) and
has a small part in Django Unchained (2012).
Use of Strong Female Roles
Taratino is also known for his use unconvential
representations, often using strong women as his
protagonists to challenge conventions. These films
include; Kill Bill (2003) uses Intertextual
referencing and Bricolage. It brings together loads
of styles from several different genres; Spaghetti
Westerns, Yakuza, Bruce-lee films and Film Noir. As
well as this Taratino borrows camera techniques
from these styles such as fast zooming and
extreme close ups. As well as this Tarantino uses
Antripamoric animation using accentuated
features from graphic novels.
Jackie Brown (1997) is another one of Tarantino’s
films that empowers the female protagonist. He
has borrowed the font style from the original 1974
film Foxy Brown which also stars Pam Grier as well
as this the film is very 70s orientated set with black
civil rights movement, soul music.
Guy Ritchie
Ritchie is a British ‘mockney’
director famous for his stylised,
stereotypical depictions of
criminal underworlds using fast
paced editing from fast to low
motion to freeze frames.
Some of his films include:
Lock, Stock and Two Smoking
Barrels (1998)
Snatch (2000)
Sherlock Holmes (2011)
David Fincher
A US Director, started off
working on Music videos,
including: Madonna and
Aerosmith. He then moved on
to films dealing with
challenging narratives.
His films include:
Alien 3 (1992)
Se7en (1995)
The Social Network (2010)
The Girl with the Dragon
Tattoo (2011)
Jim Jarmusch
Jarmusch is a well known director
famous for his static camera work
(deadpan) and personalised
narratives and showing an
uncommon viewpoint of the world.
He was parodied in The Simpsons
as the strange ‘Art House’ director.
His films include:
Night on Earth (1991)
Dead Man (1995)
Ghost Dog: The way of the Samurai
(1999)
Spike Jonze
Jonze came to fame through
directing music videos,
including; Bjork and the Beastie
Boys. He uses off beat and
hyper real narratives and sets
that involve live action and
surreal animation with CGI
sequences.
His films include:
Adaptation (2002)
Jackass (2002)
Christopher Nolan
A British born director.
He is famous for his nonlinear narratives and
cross cutting scenes of
parallel action.
His Films include:
Memento (2000)
The Dark Knight (2008)
Inception (2010)
Edgar Wright
British Director, Actor and
Producer sprung to fame after
working with Simon Pegg on
the TV Series “Spaced”. He is
known for his use of parody
and comedy.
His films include:
Shaun of the Dead (2004)
Hot Fuzz (2008)
Scott Pilgrim VS The World
(2010)
The Worlds End (2013)