Edgar Wright and Krysty Wilson-Cairns on making 'Last Night in Soho' as an exploration of the trials of being a young woman in the 1960s and today.
Writer-director Edgar Wright and star Thomasin McKenzie discuss Diana Rigg’s casting and connection to 1960s London, a key setting in the horror-thriller.“That’s literally what happens to Anya Taylor-Joy in her first scene,” said Wright. “And I’d have to think Diana even was making the connection herself. The instant reaction of seeing it sort of conjured up a good memory first, and a darker memory immediately afterward. I think that pretty much sums up the movie.
“Something that I find truly nightmarish — and I guess there’s an element where I’m sort of giving a sharp rebuke to myself — is the danger of being overly nostalgic about previous decades,” said Wright. “In a way, the film is about romanticizing the past and why it’s ... wrong to do that. When people use the phrase ‘the good old days,’ it’s to suggest that there was a decade where everything was perfect and nothing was bad. And of course that’s not true.
““You’ve been on the journey with Eloise and seen everything that she’s seen with the knowledge that she has,” said Wright of the scene. “She can see things, but when she repeats it in a more formal way, like in a police interview room, they’re obviously looking at her like she’s crazy. My answer ... is I believe Eloise.”
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