Edgar Wright here. Last Night in Soho is a film that I directed and co-wrote. Thomasin McKenzie’s character, Eloise, has just moved into a new apartment in north Soho’s Fitzrovia neighbourhood and appears to be, how shall we say, “supernaturally switched on.” Moreover, she is about to step into the decade of the 1960s in her subconscious. In London, she’s a young fashion student obsessed with the ’60s, and she’s about to make a big move back in time. Cilla Black is performing right now, and one of the most challenging aspects of this shoot was timing the neon lights to match the music, which changed at various points during the shoot.
A French bistro with the colours of France’s flag is next door, and the lights flash in the colours of the French flag as she begins to relive her past. And that was mind-bogglingly difficult, and I’m glad it turned out so well because I’ll never attempt another effect like it again. For me, you are my whole world. [MUSIC: CILLA BLACK]. “(SINGING) They shine in your eyes. When the trees are tall enough.
” The void around the shot where she pulls back the bed sheet was created by the digital wizards at Double Negative from a physical shot. A short time later, and now she’s walking down an alley toward the West End, she awakens in the middle of this pitch-black space. A good sound system will notice that the soundtrack changes from front-facing stereo to full surround sound at this point in the movie. We wanted it to sound like the Wizard of Oz’s transition from Kansas to Oz.
This scene was filmed on London’s Haymarket, one of the city’s busiest streets, using period vehicles and extras, as well as some digital work to create the illusion of Piccadilly Circus in 1965. That shot was only possible because we gave Westminster five months’ notice. This is the end of my life.
(SINGING) And now we’re on a set. Marcus Rowland created this. Magic circles are being used in an inventive manner as well. There’s a mirror, and Oliver Phelps is playing the maitre d’ for Thomasin McKenzie. In the other set, James Phelps, his identical twin, and Anya Taylor-Joy can be seen walking across the mirror as well.
There is no glass in this mirror choreography done by Jennifer White, our brilliant choreographer. In this position, their fingers are tapping each other’s. There is also a bevel on the glass and a fingerprint-like imprint where Double Negative’s geniuses tap their fingers. A complicated scene had numerous complicated parts, and this was one of the more difficult ones. Thank you for reading.
