There is a universality to comedy.

We don’t watch the film anymore because we’ve seen it so many times, so we’ll introduce it, walk out and we’ll come back in right about when I wake up in the morning and walk over to the shop and everything’s changed.

It’s a fun world to exist in, and I relish doing those movies as much as I do the smaller ones. They’re always immense fun. I don’t know if I am – unless we do a Benji film, I don’t think I am an action hero really.

When you meet people that you know from other films – as often happens to me, and as tends to happens to you when you’re an actor, you constantly meet people that you’ve seen in other films. But when it’s people who’ve kind of had a seismic effect on your life, it’s quite extraordinary.

If I did a TV show, it would have to be in North London because I’m a bit of a homebody, and my work takes me away from home enough. But yeah absolutely. Television has never been more exciting than it is now.

The revolution of video had a massive affect. We grew up in a time where suddenly you could own films. Before, they had a theatrical run, and then perhaps they’d come back, or you’d catch them in a retro cinema.

There are actually quite high profile British TV star cameos in it that you probably wouldn’t even notice, that the British wouldn’t even notice, let alone the American audience.

Now there’s a whole generation of filmmakers who grew up making their own films with video cameras, and have dined entirely on a diet of popular culture. It’s been reflected in a lot of their work. It’s self-reflective, it’s quite knowing, but it’s very literate.

It’s hard, really, to make any physical movement that hasn’t been done in another film. If you grab someone’s hand, it doesn’t mean you’re referencing other films with grabbing hands.

The main jokes in this film are about big things, love and life and zombies – we all get that.