No one in the film world had a Year in Music quite like Edgar Wright. Almost right on the heels of “The Sparks Brothers,” his documentary tribute to a duo celebrating its 50th anniversary of eccentric rock heroism, came “Last Night in Soho,” a bloody supernatural thriller that nearly doubled as a movie musical, thanks to a soundtrack jam-packed with mostly female-fronted British pop hits of the mid-1960s.
Wright, who’d earlier proved himself as no slouch in the soundtrack department with heavily music-based films like “Baby Driver,” joined Variety‘s Music for Screens conference for a keynote conversation in which he spoke in considerable detail about the philosophies of how he treated music in these two strikingly different projects. Watch our chat, above, or read a lightly edited version of our conversation, bellow.
Variety: First, let’s just talk about what culminated for you this year before we get to the individual projects.
Wright, who’d earlier proved himself as no slouch in the soundtrack department with heavily music-based films like “Baby Driver,” joined Variety‘s Music for Screens conference for a keynote conversation in which he spoke in considerable detail about the philosophies of how he treated music in these two strikingly different projects. Watch our chat, above, or read a lightly edited version of our conversation, bellow.
Variety: First, let’s just talk about what culminated for you this year before we get to the individual projects.
- 12/6/2021
- by Chris Willman
- Variety Film + TV
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