TSPDT

Key Production Countries: UK, USA
Key Genres: Comedy, Action Comedy, Action, Romantic Comedy, Horror Comedy, Sci-Fi Comedy
Key Collaborators: Nira Park (Producer), Marcus Rowland (Production Designer), Eric Fellner (Producer), Tim Bevan (Producer), Paul Machliss (Editor), Simon Pegg (Leading Actor/Screenwriter), Nick Frost (Leading Actor), Bill Pope (Cinematographer), Steven Price (Composer), Jonathan Amos (Editor), Chris Dickens (Editor), Paddy Considine (Leading Character Actor)

"In Wright’s films (including Shaun of the Dead, Hot Fuzz, and Baby Driver), music and sound effects are foregrounded with visuals to achieve everything from cheeky editing wipes and character introductions to cartoonishly intrusive physical comedy. Sound punctuates camera movement in an Edgar Wright film. It makes jokes. It reveals character flaws. The notion of the “music video director” has become somewhat pejorative. But Wright stands as a bold exception: a director who prioritizes intricate, dense, and (most importantly) fun sound mixes." - Film School Rejects, 2020

"There aren't many film directors alive who can send a shiver through cinema with a tagline that reads: "A [director's name] film." It's a rarefied stratum: a Martin Scorsese film; a Quentin Tarantino film; a Coen Brothers film. There are even fewer British directors who can do that – Ridley Scott, of course. Christopher Nolan. And Edgar Wright. You know what that "An Edgar Wright film" promises: kinetic, rich, light-footed, witty, and totally in love with cinema. Between his cult, millennium-straddling sitcom Spaced, and 2017's Baby Driver, he made Scott Pilgrim Vs The World and the Three Flavours Cornetto trilogy, three of the most deeply loved, and deeply British, films of the 21st century: Shaun of the Dead, Hot Fuzz and The World's End. Then, he headed to Hollywood." - Tom Nicholson (Esquire, 2019)

"Edgar Wright is one of the most creative and energetic directors of our time, generating strong critical reviews and deep respect within the movie industry for his original and and well-made films. Wright is primarily known for his comedy and frenetic editing style, with most of his films containing a fast pace and unique editing flourishes that help elevate his material above his contemporaries." - Nathan Sharp (Screen Rant, 2021)

"Wright started his career making British TV comedies, most notably Spaced. It was here that he hooked up with Simon Pegg and Nick Frost. That was a match made in heaven and the trio set off to make the Cornetto Trilogy." - Kevin Lawlor (ComingSoon.net)

"Working with his cohorts, Simon Pegg and Nick Frost, Wright created his enduring saga, The Cornetto Trilogy—named after, of all things, a British ice cream treat. Starting with Shaun of the Dead, a hilarious revival of the genre that refuses to die, Wright went on to make Hot Fuzz, a madcap takedown of action films, and then The World’s End, an apocalyptic sci-fi comedy. While each is distinct in its on way, similar themes, gags, and actors knit the trilogy together as a cohesive work and demonstrate the genius of Wright’s craft." - Focus Features, 2017

"After cutting his teeth with quirky sitcoms and genre comedies in his native England, Wright has transformed into a can’t-miss director whose original projects, while often filled with affectionate pop culture homages, are a breath of fresh air in a theatrical landscape dominated by IP-driven blockbusters. From rambunctious, referential comedies like Hot Fuzz to the bold rom-com-cum-action-movie graphic novel adaptation Scott Pilgrim vs. the World, Wright has been hailed as the “patron saint of fanboy culture.”" - Miles Surrey (The Ringer, 2021)

"I didn’t really go to film school. I went to art college and I did a foundation course, but I never went on to a film and TV degree course. And so there is a huge element of it for me that’s self-taught. When I was a teenager with a Super 8 cam and then a video camera that I won in a competition, I watched films that I liked and just tried to copy what they’d done without really knowing exactly how they’d done it. It was an estimation of the visuals onscreen. I didn’t really know what a Steadicam was or what it looked like, but you try and figure things out yourself." - Edgar Wright (The Hollywood Reporter, 2022)