Photographs and interview by GREG WILLIAMS
As told to JANE CROWTHER

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Mission: Impossible’s tech nerd tells Hollywood Authentic about his directorial dreams, DJing and what he’s learnt from Tom Cruise.

Simon Pegg moved to his current home in Hertfordshire 13 years ago from London when the experience got to be too much like living in one of his own films. ‘I was living in Crouch End, and that’s where we shot Shaun of the Dead,’ he explains as he welcomes me to his country house. ‘So I couldn’t really complain when people came up to me on the street. I don’t mind it but obviously after a while it gets a little tiring.’ The move to the country was also prompted by needing more space for his growing brood: he lives in this home with his music publicist wife, Mo, daughter, Tilly, two Schnauzers and a Cockapoo, called Cookie. The Schnauzers, Willow and Branwell, are currently winding round his feet as he gives me the tour of his garden.

He shows me his ice plunge which he jumps into every day (‘I do 3 degrees for three minutes’) and his DJ spot – a music room at the end of the garden kitted out with CDJ-3000s and shelves of vinyl. Pegg now DJs at parties and festivals having self-taught himself three years ago. ‘DJing reminds me of doing stand-up comedy, in that you have an audience, and they react immediately to what you’re doing. Stand-up is like, they either laugh or you die. With DJing, they either dance or you die!’

He’s a long way now from where he started doing stand-up gigs. A Gloucester boy who grew up around musicians at his Dad’s music shop with a cinema just down the road, Pegg’s love of acting was fostered by an amateur dramatic mum and movie-fan dad. He attended Bristol university to study theatre, film, and TV where he started a comedy club with Dominic Diamond, David Walliams, Jason Bradbury and Myfanwy Moore. His stand-up there led to getting an agent (he’s still with the same one) and a role on Big Train. The experience moved him onto co-writing and appearing in cult TV show Spaced and then to writing and working with Edgar Wright and Nick Frost on Shaun Of The Dead. That built out to the ‘Cornetto Trilogy’ and acting in films such as Star Trek, Star Wars, Ice Age and Mission: Impossible.

Nowadays the writing is done in his office, located away from the main house and a treasure trove of film memorabilia (also the setting for a Rick Astley music video). Inside he has the numbers from the house in Spaced, artwork based on Edgar Wright’s work, a photograph of Harrison Ford cracking his Indy whip at Elstree, an oscilloscope from his film Lost Transmissions and a bloodied shirt from Shaun Of The Dead. ‘There’s one here, and then there’s one in Peter Jackson’s museum in Wellington, and then there’s one in a museum in Seattle. They’re the only three I know the whereabouts of.’ Part of the Cornetto Trilogy, Pegg laughs as he recalls the genesis for the recurring ice-cream gag. ‘We came up with the idea of [Nick Frost’s character] Ed eating a Cornetto in the morning because he was hungover – that was Edgar’s hangover cure, a strawberry Cornetto. And then at the Shaun of the Dead premiere, we got free Cornettos, and we were like, ‘Oh, man, this is great. We got free ice cream. We should put one in the next film as well.’ So we did. Shaun is red-and-white strawberry. Hot Fuzz is blue and white for the police. And The World’s End was green mint choc for the aliens.’

It’s in this private sanctuary that Pegg writes, he’s currently adapting a book he holds the right to and hopes to direct. ‘When I work with Edgar, it’s the ideal situation because we write the film, and then when we’ve written it and we’re happy with it, he becomes the director and I become the lead actor. That way, we have total autonomy. I think as a director, if you can write the thing, you’ve already done half the job by the time you actually get to set, because you’ve envisioned it, and you’re aware of the shots you want to use. But it’s such a weird time in the film industry because everything’s changed so much with exhibition and the way we consume cinema. Cinema’s pricing itself out of the market slightly, and the idea of going to see a small drama at the cinema now feels like: ‘Well, why would I do that? I could just watch it at home. What’s the point of seeing it on the big screen?’ But it’s not just the big screen, it’s the community of watching a film with other people, you know? A whole vast array of differing people who you might not agree with politically on various reasons, but you all share this experience. It’s a tribe of ours that I think we’re losing. When I was a kid, there was the television, and there was the cinema. TV was a square. You couldn’t see films. You saw a cut-and-shut version of films. You didn’t see them until five or six years after they’d been on at the movies. Now that’s totally different. We all own TVs that have the right aspect ratio for cinema, and we can get them immediately. We can see them in cinematic terms because the sound and the picture is so good. It’s no one’s fault. I think lockdown had something to do with it. People started to realise they didn’t have to leave their house, you know? But then concerts have gone back. Other collective events have gone back. It’s just cinema that seems to be clinging on by its fingernails at the moment.’

His latest project is cinema writ large. He’s reprising his role as tech whiz Benji in Mission: Impossible – Final Reckoning, apparently the final film in a eight-movie series powered by cinephile and champion of the theatrical experience, Tom Cruise. ‘Tom has only ever done movies. He’s not interested in doing anything else. For him, that experience is really important. And I agree with him. It’d be a terrible shame if theatrical exhibition disappeared. It would be a tragedy. That’s why I like being part of the Mission franchise. It’s wildly exciting, and big in its scope. But it’s also a kind of twisty-turny story, and there’s great characters in it. [Producer/director] McQ and Tom are always very, very insistent that we concentrate on character more than the stunts, because the stunts don’t mean anything if the characters aren’t relatable or you don’t fall in love with them. There’s art in entertainment. But there doesn’t have to be entertainment in art. Entertainment is an overrated function of art. There you go. That’s my university head talking.’

We leave the office to shoot some hoops with a Louboutin basketball and onto Pegg’s soundproofed screening room guarded by a storm trooper, with signed Laurel and Hardy photos on the wall. Pegg and his daughter watch at least two movies a weekend in the chilled out space that boasts curtains in front of the screen and a Kaleidoscope system where Pegg has digitised his vast DVD collection. Next door, his gym is signposted with a pub sign from The World’s End. Fitness is a key part of his sobriety, having given up drinking 15 years ago. It also became more important as he made Mission: Impossible films. ‘The first time I really rediscovered keeping in shape was on Ghost Protocol and then it just became part of my everyday. I got in shape for Hot Fuzz, and then I let it go again. If you watch Ghost Protocol, I lose about 20 lbs in an edit. There’s a scene of us outside in Red Square and then it cuts indoors, and I’ve got cheekbones! But now it’s part of my mental health routine as well. If you have an addictive personality, then the trick is to swap out the addictions for something that’s better for you, you know? It gets the endorphins pumping, and it makes you feel good. When I’m working I’ll do some calisthenics in my trailer before I go to make up.’

We head back outside to another passion of Pegg’s; the pizza oven. He talks me through his routine of getting the temperature to 300 degrees and having the patience not to put the pizza in too early. ‘I’ve had a lot of abortive pizzas, I’ve got to say. But eventually you get the technique, and then they come out beautiful.’ The artisan nature of his pizzas brings him back around to considering cinema. ‘There’s a lot of talk about the sheer number of IP-based cinema… but it was an interesting year at the Oscars for independent cinema and these films that were brilliant movies that weren’t relying on any kind of brand recognition. Which does show that there’s a market for that kind of stuff. I suppose the key to success is, it’s always the low production value – or low production costs – and a big comeback. That’s the golden egg. You make the film for nothing, and it makes everything. But the trouble is, it’s hard to make a film that everyone is going to go and see, if it’s small and thoughtful, you know, because people like big things. And I guess that’s what every producer wrestles with. Every film, every studio – how do you make great art and make money?’

‘My background is comedy, and the trouble with doing comedy is that no one subsequently ever takes you seriously. It’s a very overlooked skill-set, I think. They’ve just announced a category at the Oscars for stunt performance, which is great, but I’d like to see a category for comedic performance, because not everybody can do it. If there had been a category for comedic performance, then Jim Carrey would be weighed down with Oscars, you know? I’ve seen so-called straight actors attempt comedy and fail. But I’ve seen a lot of very good comedy actors be very good at dramatic acting.’

For now Pegg is consolidating everything he’s learnt in his career for his next steps. ‘I’ve learned a lot from Christopher McQuarrie because he always professes that he’s learning all the time. Steven Spielberg blew my mind when I worked with him because he just sees in film – that’s how he sees the world. I’m always really impressed by people that can do things I can’t do. You know, musicians or artists or people that have an amazing skill that I lack. But with directing, I feel that’s attainable. Having worked with Edgar so much, I just feel like it’s time to have a crack at that.’

I ask what he’s learnt from Cruise over the years. ‘I get asked about him all the time because he very rarely speaks about himself in public. You know, even in private, he’ll always switch the conversation back to you. But everyone’s so desperate for some kind of concrete information about him because he’s such an enigma. But I think that’s part of his success, that he’s maintained that. He’s maintained the interest in himself simply by just taking a step back, because he can. His journey is extremely simple when you look at it. He’s just always given 100% to everything that he does. Everything. To him, it’s quite simple: if you do that, then you get to be that, you know? He’s an eternal student of film. He’ll know what lens suits a scene, or he’ll know what piece of equipment we should use. He is across every facet of the production. But he’s just so diligent, and so invested in what he’s doing. The idea of doing it and half-arsing it, or phoning it in, would never cross his mind. He’s just not that way. He sets the tone, really. ‘Perfectionist’ is often used as a backhanded compliment. Edgar’s a perfectionist as well. Mediocrity is not in either of those people’s vocabulary. It makes for an intense experience. You know, I’ve been in these films for 20 years now, and every one of them has been an adventure, in the truest sense of the word, whether we’ve been in Vancouver or Morocco or the Arctic Circle or Venice or Rome. Tom sacrifices a certain amount of normality, I think, for the life he lives. That’s not to suggest he deserves any kind of pity. But I think he has given up something I really value, which is complete normality. But I think he knows that’s what it takes to be him, you know? He’s the last movie star, I think. I don’t think there’s anyone else like him.’

I point out that Pegg doesn’t live a totally ordinary life himself and he laughs. ‘I can still walk down the street quite easily and not be seen. The downside to having a career where you become recognisable are far, far less than the upsides of doing your hobby for a job. That, I really relish. But it’s just keeping a balance. As a rule, I try to never be away from home for longer than four weeks, if I can.’ He’s about to hit the road again with the Final Reckoning global press tour – possibly the last time he’ll be promoting the series. ‘It’s a whole IMF go-bag of mixed emotions,’ he says of the close of this chapter of his life. ‘It’s exceeded my wildest dreams. Twenty years of my life, that started with an unexpected phone call from JJ Abrams. It’s been a wild ride, literally at times. I feel very lucky to have been a part of it.’