Edgar Wright goes behind the scenes of the Last Night in Soho dance scene

The choreography between Anya Taylor-Joy, Thomasin McKenzie and Matt Smith required very few special effects.

Last Night in Soho out this week on DVD and blu-ray (and it’s also available on VOD, including on Premiere Max). Among the bonuses, several makings-of detail the making of this film with its particular atmosphere, where a young girl (Thomasin McKenzie) fascinated by the 1960s will suddenly be transported to the London of that time to follow the journey of a woman (Anya Taylor-Joy), who dreams of becoming a famous singer. A story that will gradually turn into a nightmare, the director Edgar Wrighthimself fascinated by this period, having thought of his film as a warning against our own fantasies about a time that we have not experienced.

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Once the heroine is asleep, she therefore switches to the past, and then begins a fascinating game of mirrors between the two women, the modern heroine appearing as the reflection of her model who was her age six decades earlier. This represented a logistical headache for their scenes together to be credible, says the director throughout the bonuses: for example, he called on the Phelps twins (George and Fred Weasley in Harry Potter) to welcome the two actresses in the performance hall of the Café de Paris: they could thus play face to face to make believe that they were observing themselves in a mirror, while the two brothers played the same role of butler, on the side from one to the other. The director deciphered this passage for the New York Times below :

Anya Taylor-Joy sings the Last Night in Soho soundtrack and meets Matt Smith in an excerpt

For this same sequence, crucial in the story since it represents the first dive of the main character into the heart of the atmosphere of the 1960s, the director of the Cornetto Trilogy also filmed an impressive choreography between the two heroines and Matt Smith, central character of the plan. His female partners circle around him, having the face of Anya, then Thomasin, then Anya, etc., while a crowd of extras twirl around them. A stunning dance, which didn’t require a lot of special effects, the team reveals: “It was simply choreographed with talent, not only between Matt, Anya and Thomassin, under the direction of the incredible dancer Jennifer White, but also with the complicity of the cameraman”, explains Wright. He and the dancers have to be in the right place at the right time to be able to “switcher” in a fraction of a second. So, while the camera circles around Matt Smith, Thomasin McKenzie hides by his side, then she switches places with Anya Taylor-Joy, and while she dances with her partner, she hides in the corner death of the camera, follows the movement in rhythm so that they can swap places again a few moments later. The editing also obviously allows you to cheat on certain shots, and in the end, only one digital visual effect was designed for this dance, for a very short moment where the faces of the two actresses follow one another on the screen too quickly to be able to turn. that “in truth”.

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Focus Features has shared an extract of these interesting bonuses, to be found in full within the blu-ray of Last Night in Soho. Note that this is not the first time that Edgar Wright has had fun staging a musical scene: he is notably famous for having designed the choreography of the fight against zombies in Shaun of the Deadto the tune of “Don’t Stop Me Now”Queen, and of course all the “battles” of Scott Pilgriminfluenced by the worlds of comics, video games and the rock music scene.

Before Baby Driver: Edgar Wright in 3 cult musical scenes

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