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Listen "Ep316 - Edgar Wright & Krysty Wilson-Cairns on ‘Last Night in Soho’"
Episode Synopsis
“It stretches back at least 10 years,” said Edgar Wright about the story idea for Last Night in Soho.
Edgar, who is well known for his musical taste, in movies like Shaun of the Dead, Scott Pilgrim, and Baby Driver, seems to write, direct, and edit with the score or soundtrack in mind.
With this setting in mind, Edgar eventually crafted the character of Eloise (Thomasin McKenzie), an aspiring fashion designer who discovers she can enter the 1960s, essentially through the life of a dazzling wannabe singer named Sandie (Anya Taylor-Joy), until the glamour of this world “splinters into something darker.”
Krysty Wilson-Cairns, who has writing credits for Penny Dreadful and 1917, was introduced to Wright while he was editing Baby Driver by Sam Mendes (Skyfall, 1917). “Sam is a mutual friend and said we should get together.”
In this interview, the writers talk about their detailed outlining process, stories that haunt you, how soundtracks can change the writing process, and how to write surgical bits of dialogue.
If it’s your first time listening, make sure to subscribe and visit my new website for information on the YouTube channel, the blog, this podcast, and my new book ‘Ink by the Barrel’ which takes advice from these 200+ interviews at the link below…
Follow us on Instagram: @creativeprinciples
If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!
Edgar, who is well known for his musical taste, in movies like Shaun of the Dead, Scott Pilgrim, and Baby Driver, seems to write, direct, and edit with the score or soundtrack in mind.
With this setting in mind, Edgar eventually crafted the character of Eloise (Thomasin McKenzie), an aspiring fashion designer who discovers she can enter the 1960s, essentially through the life of a dazzling wannabe singer named Sandie (Anya Taylor-Joy), until the glamour of this world “splinters into something darker.”
Krysty Wilson-Cairns, who has writing credits for Penny Dreadful and 1917, was introduced to Wright while he was editing Baby Driver by Sam Mendes (Skyfall, 1917). “Sam is a mutual friend and said we should get together.”
In this interview, the writers talk about their detailed outlining process, stories that haunt you, how soundtracks can change the writing process, and how to write surgical bits of dialogue.
If it’s your first time listening, make sure to subscribe and visit my new website for information on the YouTube channel, the blog, this podcast, and my new book ‘Ink by the Barrel’ which takes advice from these 200+ interviews at the link below…
Follow us on Instagram: @creativeprinciples
If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!
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