THE DEADBOLT: The two movies you've made have been SO different. I don't want you to pick your favorite, but was there an experience that you enjoyed more?

JENNINGS: They both come with their own rewards and I'm not saying that to be politically correct or for fear of offending anyone on either film. That was our FIRST film. It was glorious. We got to invent this whole thing based on something we'd grown up loving. That was amazing. You've got 75 Vogons running over a hill - good times. You've got your own spaceship! There's thousands of things I would do differently, given the chance, but that goes with everything.

GOLDSMITH: It's that thing - Hitchhiker's was two years. A LOT of those two years was fantastic. Some of those two years was horrible and I'd rather not have them. Same thing sort of goes for Son of Rambow. It was a year. Some of it was great. In fact, all of the filming was great, but the financing side of it was the most frustrating thing ever for us.

JENNINGS: That's been the worst thing for us in our working relationship. That's been the hardest thing.

GOLDSMITH: You can't help but question yourself after so many people say "No." You say "Maybe they're right." It's quite depressing.

THE DEADBOLT: So what if Hitchhiker's had made $300 million more. Does Restaurant at the End of the Universe go forward?

JENNINGS: If it had made more money, yeah.

GOLDSMITH: I think it's as simple as that.

THE DEADBOLT: And you guys would have done it?

JENNINGS: We had to sign a contract saying that we would - all actors, everyone involved. That was the deal.

GOLDSMITH: Whether we would have done it is a different matter.

JENNINGS: You have the right to turn it down. Even though you're contracted to do it, it would be dumb of them to insist if you were to say "I hate this. I'm not doing it."

GOLDSMITH: I think we would have thought about not doing it because we had just two years of monsters and space and part of the enjoyment of making films is the experience of trying new things. That's why Son of Rambow is so different from Hitchhiker's and to go back and do the same thing again.

THE DEADBOLT: Imagine if you had to do two, three, or four. Sam Raimi's been making Spider-Man movies for ten years.

JENNINGS: I don't know how he does it. I don't know how he does it. He must have to get into some kind of zen state.

GOLDSMITH: The bills make you do it.

JENNINGS: That's true. I'm sure his wife isn't complaining. They've probably got the best kitchen in Hollywood. That sounds deeply cynical. I'm sure he enjoys it. Otherwise, he wouldn't do it, I suppose.

THE DEADBOLT: But you don't see yourself...

JENNINGS: No. The next thing we're doing is going to be an animated film, which we're writing ourselves. We have no idea how we're going to do it, whether it be 3-D, cel, model, or whatever. It's early days. We're still, literally, sitting down here in between meetings and hashing out the story. It's exciting because it's uncharted territory and I hope that goes for everything we do. It's easier to do things if you're repeating but it's far more rewarding to try out stuff that's a bit of a test as well.

THE DEADBOLT: Let's talk about how amazingly fantastic your music videos are...

GOLDSMITH: Let's stop there.

JENNINGS: High five! Group hug!

THE DEADBOLT: Do you only do videos for bands you like?

JENNINGS: Yeah.

GOLDSMITH: Now.

JENNINGS: I'd say we did it, on the whole, always for bands we liked or songs we liked. The very, very early days we'd kind of take whatever was coming because there was the complete joy of doing something. Once you get used to "I can do this now" then you need to up the ante. We did a video once for Mike and the Mechanics and we did it for the money and that was when we learned a very big lesson of only do what you love or it will turn out mediocre.

THE DEADBOLT: So, Vampire Weekend comes to YOU?

JENNINGS: No, that was a different case where one of Nick's old friends runs the label, who actually gave Nick his first video when we were halfway through college. I had spoken to him about the band and then he'd actually sent us another track by someone on the label and we'd turn it down but said "If Vampire Weekend want to do anything, let us know." And he sent through "A-Punk".

THE DEADBOLT: Do you think the art of the music video has changed the way people look at movies?

GOLDSMITH: I think it went through a stage, and hopefully we're out of it now, where everything got really cutty in movies. Everything was chop-chop-chop because that's what people thought music videos were. But I don't think that lasted too long - that period.

JENNINGS: There's still films that use that hyper-kinetic cut, but it's different.

GOLDSMITH: It definitely felt like there was a period where people wanted the "music video guys" to do a film 'cause it will be "chocka-cha!"

THE DEADBOLT: And when you see that now it already feels dated.

GOLDSMITH: YES.

JENNINGS: So dated. In a way though there was a whole generation of music video directors that reacted against it. People like Spike Jonze. I'm sure he did some videos that were frenetic but, on the whole, there was a reaction against "make the band look glossy". There was a chance to try and make something fantastic to stand the test of time.