But in a weird way, I found myself tumbling backward to find the source of those movies’ influences as well. Are you invested in the debate, or in how it’s categorized?Įdgar Wright: I mean, I enjoy giallo films, and certainly they were an influence. There’s been a lot of conversation about whether Last Night in Soho should be considered a giallo film. the World, and more indelible referential movies spoke to Polygon about the movie’s horror roots and inspirations, the giant playlist of films he gave his cast to consider as inspirations, and why he doesn’t want to play the Stanley Kubrick auteur game.

Ahead of the film’s release, the writer-director of Shaun of the Dead, Hot Fuzz, Baby Driver, Scott Pilgrim Vs. They extend to music, as well - he’s said the entire film started as a series of impressions around the ’60s playlist he curated from his parents’ records.īut he wants viewers to understand that they don’t need to know any of this to watch the movie, which stars Thomasin McKenzie as a shy London fashion-school student having visions that connect her with a 1960s wannabe stage star (Anya Taylor-Joy) and her unsettling new love interest (former Doctor Who star Matt Smith).

His list of film inspirations is long and thorough. He admired the Café De Paris in 1961’s West End Jungle, so he re-created it as a prominent set for one of Soho’s key scenes. He loved Rita Tushingham in Tony Richardson’s 1961 drama A Taste of Honey so much, he cast her as a grandmother in Soho. Cinephiles may recognize a shot from Roman Polanski’s Repulsion here, a color scheme from Dario Argento’s Suspiria there. Edgar Wright’s new horror-thriller Last Night in Soho is packed with visual references.

Nobody wanna see us together cast