Nick Frost has been wowing fans of British comedy and geek-related films and television programs, going back more than a decade, to his roles in both the nerdy BBC sitcom Spaced and Edgar Wright’s 2004 “rom-zom-com” (romantic comedy with zombies) Shaun of the Dead.

Usually cast in supporting parts, as the cinematic “best friend,” the 42-year-old Brit gets his first true starring role in Cuban Fury, a romantic comedy based on one of his “original ideas.” In the film, his office drone character, Bruce Garrett, gets to woo his beautiful new American boss (Rashida Jones, TV’s Parks & Recreation), but to do so he has to “do battle” with an obnoxious co-worker (Chris O’Dowd, Bridesmaids) and rekindle his love affair with Latin dancing.

Cinephiled’s Jeff Michael Vice recently interviewed the very busy British actor by telephone.

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Jeff Michael Vice: Not to gush too much, but I’ve been a fan of yours going back to Spaced, Nick. So thanks so much for agreeing to do this interview.

Nick Frost: You can gush all you want. I like it, and I always love talking with fans.

JMV: It’s mentioned in the press notes and production synopsis that Cuban Fury was based on a story by you. Exactly how long ago did you come up with it? And how much has the concept changed since then?

NF: Well, none really. Exactly what you see on screen is what I originally envisioned. It all spawned from a dream I had five or six years ago, in which I was dancing Salsa and where I got the girl. Fast forward a few years later, and I has the notion to pitch the idea to my agent and some writer friends, who were oddly enthusiastic. Getting the script and production rolling from there wasn’t hard at all. Then it suddenly sunk in that we were actually going to do this, and I thought, “Oh, shit, what have I gotten myself into now?” (Laughs)

JMV: Let’s talk a little bit about your dancing background. How much training and experience do you have in that regard? Your moves have sure changed a lot since the Spaced days.

NF: It’s funny. I actually choreographed all my moves in that (dance club) scene in Spaced. But that was basically waving my hands in the air to dance and house music, got your hands pumping as the beats are thumping. The dancing in the movie sure is a sharp contrast to that. (Laughs)

But this was something I really committed to, and was serious about. Together with a partner and by myself with a coach, I practiced seven hours a day, seven days a week, for seven months. I hope the results speak for themselves, and that I did all of them proud.

JMV: Oh, it shows. And I mean that in a good way.

NF: Thanks. It was worth it.

JMV: Also, between this movie and The World’s End, you’ve turned into something of an “action star.” How physically demanding has this been, and what sort of training have you done in preparation?

I actually shot Cuban Fury before The World’s End, and we wrapped about a week before that one began production. It was very physically demanding, so Edgar got a more shapely version of me. You’re welcome, Edgar! (Laughs)

But if I’m being completely honest, I think my scenes in The World’s End really benefitted. I feel like they have a balletic, lovely flow because I was doing dancing. I’m really not sure I could have pulled them off if I hadn’t done Cuban Fury.

JMV: And along those lines, I think the scene that’s going to surprise people is the “dance-off in the parking lot,” involving your character and the one played by Chris O’Dowd. How much of that is actually you in the scene? And how many takes did it require?

NF: Aside from maybe two bits in there, that’s all me. That whole scene was shot over the course of five days. And it was under brutally hot conditions, which was no fun at all.

But I’m very proud of it. And I’m sure Chris is as well. We both were determined to do as much of our own work as possible. There were a couple of doubles. One of mine, Robert Charlemagne, is a very large man who can move like a ballerina. I figured if he could do that, I had to try to do my best as well.

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And I love the way (director James Griffiths and cinematographer Dick Pope) shot the scene. It’s chopped up into little bits, like the action from The Bourne Identity. I think it’s a really clever way to do it.

JMV: Not to spoil anything, but how did you get Simon (Pegg) to show up?

NF: I’d done things like that for him before, so I figured it was time for him to repay the favor! (Laughs)

But in the original script, there was a bit in which a driver in the parking stops to gawk at the goings-on, and I had the thought, “Wouldn’t it be fun to get Simon in there?” He’s my mate, so it didn’t take too much to convince him, and luckily his schedule was free.

There were actually a couple of different versions of that scene we did. Maybe those will turn up as a DVD extra.

JMV: And I’m trying to think how to phrase this properly. Obviously, this is a film “fantasy.” But what kind of consideration went into casting Rashida (Jones) as your love interest in the movie? And how much thought went into whether it would be something people could believe or buy into?

NF: Hey, now! Who’s to say that true love doesn’t look past body types and our preconceptions of beauty? (Laughs)

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I really, truly, don’t find the situation unbelievable or far-fetched at all. And Rashida and I worked very hard on our characters. We wanted it to feel as natural and as realistic as it could possibly be, even in this type of material. For me, it works completely.

JMV: Thanks to your work with Edgar Wright and Simon Pegg, you’ve become something of a “cult figure.” Obviously, you’re not at “superstar” status yet, but you’re getting there. How does that feel?

NF: Am I getting there? I really don’t know. But I do get recognized a lot more, get a lot more offers for things that I never would have believed. I’m a very lucky man, and I’m grateful for that every day. Obviously, I owe a lot of that to Edgar and Simon, and I would do anything for them.

(Sighs) I figure if I get to keep doing this kind of good work for the rest of my days, I really can’t ask for anything more.

JMV: You also have a couple of other things we’ll be seeing soon: The Boxtrolls (a big-screen comedy being released in theaters in September), Mr. Sloane (a BBC television comedy) and Sober Companion (an American television movie) What can you tell about those?

NF: It’s crazy, Simon and I were talking one day about our projects, and didn’t even realize we were both in Boxtrolls. (The two longtime friends both voice characters in the animated feature.) We’re both very excited for it, though. It’s based on an idea by a cartoonist named Graham Annable, and it’s just bonkers.

Mr. Sloane brings me back to British television, which is very exciting. And I’m very keen to work with Justin Long on Sober Companion. Those last two are both very risky, but I’m excited for them.

JMV: Speaking of Simon and Edgar, anything in the works with the three of you that you can discuss?

NF: Nothing that’s set in stone. I’m sure we’ll all come together again at some point and knock about some ideas. But now that the trilogy (Wright’s Cornetto Trilogy, consisting of Shaun of the Dead, Hot Fuzz and The World’s End) is done, we’re not exactly sure where to go.

And I’m sure the fans would prefer that we rush it, but we want to take our time, to make something we can all be proud of – something that will please everybody. So please be patient. It will be worth the wait, I promise.

JMV: And lastly, your “Invincible” shirt in Paul intrigued me. How much of a comics fan are you, and are you reading that particular book? The artist, Ryan Ottley, is actually a friend of mine and a big fan of yours.

NF: You’re kidding, right? (Laughs) It’s my favorite comic. I’ve actually got art from the comic all around my home and office. He’s an amazing artist. I was very happy we got the book and his art into the movie. Everyone should be reading Invincible!

JMV: I couldn’t agree more. Again, thanks so much for your time, Nick. Best of luck with the film and all your future projects.

NF: And to you as well, mate!

The R-rated romantic/dance comedy Cuban Fury is playing in select cities starting April 11.