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Edgar Wright Interview: Last Night In Soho | Screen Rant

Edgar Wright's psychological thriller, Last Night in Soho premieres in theaters on October 29. Starring Anya Taylor-Joy, Thomasin McKenzie, Matt Smith, and Diana Rigg, the film transports viewers to the London in 1960s. When aspiring fashion designer Eloise (McKenzie) finds herself mysteriously able to enter the 1960s she encounters starlet Sandie (Taylor-Joy) and finds herself drawn deeper and deeper into the past.

Related: Why Last Night in Soho is Edgar Wright’s Most Exciting Movie Yet

Screen Rant spoke to writer and director Edgar Wright, who wrote the script alongside Krysty Wilson-Cairns, about making the film and whether or not he wants to direct a musical next.

Screen Rant: I encourage anyone who watches this movie to immediately go watch the behind-the-scenes footage of the dance number with Anya, Thomasin, and Matt. My brain couldn't process that was all done live. Can you talk about pulling that scene off, putting that together, and how much time was spent on that scene?

Edgar Wright: I think the key to it was that we rehearsed it a lot. That's the thing. Because those sequences happen in dreams, one of the things of doing these unbroken takes are these very complicated bits of choreography - where there's body-switching and all these sort of sleight-of-hand switches - is that the more you could do it in one take, the more you're not breaking the spell of the movie in the same way that, Eloise, the spell is not broken in the dream. 

It was always the idea to have this dance sequence where Thomasin is suddenly in Anya's body and back again. And so, we conceived it as one long shot. And I think, actually, what happened was that I just storyboarded it in a rough way, in terms of what I wanted to happen and where I wanted things to start in the music. Then Jennifer White, the choreographer, had said, "Oh I've come up with these sort of transitions and then, I've got some other options." So she had some other options. And I said, "Let's do them all! It's so thrilling to watch. And let's just see how long we can go with it.”

So, it became maybe twice as long as I was originally envisioning. But I'm so proud of the shot. And I think, yes, eventually on the Blu-ray extras and stuff you'll be able to see the dress rehearsal for the shot. And also an aerial angle of that. Because also, it's a dance between four people: Matt, Anya, Thomasin, and the camera operator, Chris Baines, the Steadicam operator, he's the fourth dancer.

Between Anya's singing, the choreography, the awesome soundtrack you got here I feel like you're getting closer and closer to doing a full-on musical. I'm curious if you had given any thought to that, would you be interested in a musical?

Edgar Wright: You're not the first person to say that. Alfonso Cuarón watched the movie early on and he said afterward, "Dude, just make a musical already!" (laughs) I really love the form. I mean, obviously, there's elements in, going back to Shaun of the Dead and, obviously, much stronger in Scott Pilgrim, but much stronger in Baby Driver and Last Night in Soho.

I would. I would love to do a musical. I think it's about finding the right one or finding something if it's something that's written for the screen. Sometimes stage to screen transfers can be tricky and it doesn't always come off. But then, there are some musicals where they come straight from - something like Bob Fosse's Cabaret is probably one of the great examples of musical-to-film transfer. But I'm also a sucker, as you probably know, for all of the 30s Busby Berkeley films. So yeah, if I could find the right thing, it would be a thrill.

I mean, someone has to do Mamma Mia 3...

Edgar Wright: What's it going to be called? Here We Go Again, Again?

Mamma Threea.

Edgar Wright: Mamma Threea: Here We Go Again. Again.

Next: What Edgar Wright’s Favorite Horror Movies Tell Us About Last Night In Soho

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