The co-writer of Edgar Wright’s Last Night In Soho says that her writing process for the film was similar to her previous outing, 1917.
The co-writer of Last Night In Soho, Krysty Wilson-Cairns, says that her writing process for the film was very similar to her previous outing, 1917. Last Night In Soho is directed by talented English filmmaker Edgar Wright and is his first directorial feature in four years since 2017’s action-packed Baby Driver. Initially set for release in fall 2020, the film like many others got pushed back by at least a year due to the ongoing COVID-19 pandemic. It finally opened to American audiences on October 29th and currently holds a fresh rating of 73% on Rotten Tomatoes.
The story follows an aspiring fashion designer in the present day who starts having dreams of 1960s London where she finds herself entangled in a dark twisted mystery after an encounter with a dazzling club singer. The film marked writer Krysty Wilson-Cairns’ first collaboration with Edgar Wright and her second feature film credit after working with Sam Mendes (American Beauty, Skyfall) on the acclaimed World War I film 1917, for which she also received an Academy Award nomination for Best Original Screenplay.
Wilson-Cairns was recently interviewed by SlashFilm while promoting Last Night In Soho and was asked about the similarities in the writing process and the stylization between her latest psychological horror and her previous effort, 1917. She mentioned how the protagonists of both films are “different” yet “very similar” at the same time and stated that eventually, “the style of both of them is to let you into the characters’ inner worlds.” Her quote can be read below:
“Both of them are, I suppose, different and very similar. And ultimately, the style of both of them is to let you into the characters’ inner worlds. With ‘1917,’ you walk every step with George MacKay and you understand everything that he’s going through and you’re taking in the moment. And with ‘Last Night in Soho,’ the use of the mirrors is the idea of Ellie’s fracturing idea of reality. Who is she and who does she want to be? What is she trying to become?”
Wilson-Cairns explained how the above stylistic choices were “all about character” which at the end of the day is “all that really matters when you’re writing.” The Scottish screenwriter also shared her opinion on how it’s important to “write visually” as film is a “visual medium.” She did admit that co-writing with someone as experienced and accomplished as Wright made the process easier for her and also mentioned how she didn’t need to leave any instructions for any other department working on the film because of the detailed and visual nature of her writing.
Wilson-Cairns also worked on Showtime’s Penny Dreadful and contributed to the comic book series of the same, so this isn’t her first venture in the horror genre. It’s quite clear that her methods and writing approach proved to be the missing piece that perfectly accompanied the visual style and complexity of both 1917 and Last Night In Soho. The opportunity to work with two of the best modern-day directors in the film business is not something that every writer comes by easily and to have done so with the utmost success is a testament to Wilson-Cairns’ talent and promises more to come from the gifted young writer.
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