Writer-director Edgar Wright says his film, “Last Night in Soho” reflects on two of his obsessions: the 1960s and time travel and how our perceptions of nostalgia play into that.
Since moving to London at 20, Edgar Wright has spent hours upon hours in the central neighborhood of Soho. He’s written and edited his movies there, and the writer-director now lives only blocks away from the apartment where much of the action takes place in his recent psychological thriller“What were these buildings before?” the director asks, speaking shortly before the film’s release in October. “It’s something that keeps me awake at night. I can’t stop thinking about it.
“For a long time, I had the story and I had the songs and I had this massive phone book of research,” Wright recalls. “When I was editing ‘Baby Driver,‘ I had lunch with Sam Mendes and he just mentioned apropos of nothing, ‘Oh, have you ever met Krysty Wilson-Cairns? I think you guys would get on like a house on fire.
Aesthetically, Wright looked to the Technicolor films of the era and drew inspiration from a range of filmmakers, including Michael Powell, Basil Dearden and William Wyler. He looked at films like “Peeping Tom” and “Sapphire,” many of which embraced a vibrant color palette. The costumes, production design and hair and makeup evolve as the story cracks open, with each visual choice tracking the psychological unraveling of the characters.
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