Pegg, who’s work in the cult TV series Spaced, as well as appearances in popular movies such as Shaun Of The Dead, Hot Fuzz and the Star Trek reboot have made him a much-loved figure, signed up for Twitter in January 2009, only to then completely ignore the platform for the next 18 months.
“I resisted Twitter for a long time, initially because I didn’t understand it. The IT whiz where I work suggested I secure my Twitter name in case somebody made off with it. I agreed this would be a good idea, desperate not to lose something I didn’t know I had.”
It was only when his friend and frequent writing/acting collaborator Nick Frost started tweeting that Pegg decided to give Twitter a proper go.
“I didn’t think about it again for a year and a half, until I discovered that my friend Nick Frost had started tweeting. Nick is equally, if not more, private than me and I was surprised that he had waded into the murky waters of this social quagmire.”
A friendly kick from another British institution on Twitter helped Pegg find a larger audience, and increased his enjoyment level.
“Along the way, though, earning those followers was a lot of fun. I was given a helping hand by @stephenfry, who recommended me to his legion of friends, gaining me 20,000 new souls in just 24 hours.”
Pegg, who is now closing in rapidly on a million followers, is philosophical about the attractions of Twitter.
“Tweets have become a sort of contemporary haiku, sometimes artfully worded moments of linguistic economy and inventive abbreviation,” he writes. “Whether these compressed sound-bytes are fascinating info flashes cleverly shaped by the narrow funnel from which they emerge – or just so much twaddle – Twitter has emerged as the most talked-about cyber-nexus out there.”
For the full article, and to read the rest of Pegg’s thoughts, you’ll need to pick up this week’s New Statesman.
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