Watch the 1960s Revival in ‘Last Night in Soho’

Hi, I’m Edgar Wright. I am the director and co-writer of Last Night in Soho. In this scene, Thomasin McKenzie’s Eloise rents a room in Fitzrovia, just north of Soho, and she, let’s say, supernaturally unfolds. And he is about to enter his 60s in his dreams. A young fashion student who comes to London and is obsessed with the ’60s and is about to go into the ’60s in a very big way. Now, Cilla Black is playing here, and one of the most complicated things in this whole shoot was getting these neon lights to be in time with the music, sometimes at different movie speeds. And you see a French bistro next door with the colors of the French flag, they flash blue, white, red, and then it starts to flash back into the past and it turns red, red, red. And that was so complicated that it melted my brain, and I’ll never do an effect like this again, but I’m glad it looks so slick. [MUSIC – CILLA BLACK, ‘YOU’RE MY WORLD’] “(SONG) They shine in your eyes. As the trees stretch out.” Now this shot of him pulling back the sheet is actually a physical shot, and then the digital magicians at Double Negative created a kind of space around him. And now he wakes up in this black void and walks down a street into the bright lights of the West End. If you watch the movie in theaters or with good soundstage, you’ll notice that the soundtrack changes from front-facing stereo to all surrounds at this point.We wanted it to be the audio equivalent of the transition from Kansas to Oz in Wizard of Oz.And the shot here is actually London’s busiest It was shot with some digital work on one of the main streets of Haymarket, where you can see period cars, period extras and the Piccadilly Circus in the background from 1965. But to get this chance we had to give the city of Westminster five months notice. end.” And now here we are on a set. This is designed by Marcus Rowland. And here’s a very clever magic circle thing going on. Thomasin McKenzie comes down and there’s a mirror and there’s Oliver Phelps playing the head waiter. And as he goes over the mirror, he goes over the set of two and the identical twin. She slides back to reveal James Phelps and Anya Taylor-Joy standing on the other set. Now it’s all mirror choreography and no glass by our awesome choreographer Jennifer White. Right when they touch their fingers here, they touch each other’s fingers. And then the magicians in Double Negative They do clever things like putting a bevel on the glass and putting their fingers like fingerprints on the glass they’re tapping on. And that’s one of the many complex pieces in a very complex scene. I hope you had fun.