To mark the release of lastnightinsoho, edgarwright hopped on a call with CaryFukunaga to discuss the psychological toll of moviemaking, challenging audience expectations, and ghosts, both real and imagined.
Edgar Wright is back. The director, who kept busy during the pandemic by releasing the music documentaryLast Night in Soho, is a psychological horror starring Thomasin McKenzie as an aspiring fashion designer who is haunted with visions of a mysterious woman in 1960s London, played by. The film, which doubles as love letter to the city Wright calls home and an ode the Italian giallo tradition of moviemaking, is once again packed with references and the kinetic style Wright has become known for.
WRIGHT: I’m hoping that’s what happens. I keep getting asked in interviews, “So what’s next?” And it feels like I’m giving them a bullshit non-answer by saying, “I really don’t know, I have to get through this, and then I have other scripts.” I have to get to either a literal or metaphorical clean-desk moment where I can start a day by not answering emails about.
WRIGHT: If I did the sequel—and in fact I’ve already written a script—I’d have to find a way to make it fun for me. The idea of doing a straight Xerox is just not interesting because, as you know, these films take at least two years and in our cases, because of the pandemic, they took even longer. WRIGHT: The reason I do those end-of-year playlists is that it forces me to listen to lots of new music, because I think too often you can get into a rut of listening to the things that you like. I’m quite voracious in terms of listening to music. In, the character listens to music to drown out his tinnitus. In a similar way, I’m somebody that has to listen to music for motivation, and I’m not really comfortable with quiet, so I do have almost like a running soundtrack.
WRIGHT: Reshoots are often seen as a negative term, where the studio is making you do something you don’t want to do. But for filmmakers, if it’s something they want to do, it’s called additional filming. That’s my theory. FUKUNAGA: It’s that classic thing in horror films, where you want the character to say it in a way that you know the police will understand better. But that’s her obstruction; that’s her character block at that moment.
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