Edgar Wright on Shooting ‘Sparks’ and Making 1960s Britpop Scary in ‘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.

Yeah, I guess in three different ways with that movie, music was a kind of jumping-off point. There’s a dance number in the first dream sequence, and it’s set to the Graham Bond Organization’s cover of “Wade in the Water,” a live track from like an album made in 1964 called “Live at Klooks Kleek.” I used to listen to that song and I would just start to imagine the the visuals in my head.

The basic premise of the movie is not sort of anti-nostalgia in terms of being like, “Everything’s terrible now, and guess what? Everything was terrible back then as well.” It’s more a note of caution about the danger of romanticizing the past. It’s wrong to romanticize it to choose to forget the bad times.

The other irony about having the British chicks like Sandie Shaw and Dusty Springfield and Cilla Black on the soundtrack is that I realized, looking through the soundtrack, that the majority of the songs are written by Bacharach and David. [Laughs.] At that time, when there was like a great song, it would be a rush to who could have a hit with the cover first. So I guess quite a few of the songs on the soundtrack, Dionne Warrick had hits with first, but in the U.K.

The opening scene, with the Peter and Gordon hit, almost plays like it’s the start of a romantic-comedy movie musical. It’s kind of a red herring at the beginning of the movie. Was that fun for you, to start a thriller with a stylized scene in the heroine’s bedroom where she’s having this wonderful moment to this wonderful song?

It’s funny, because when I saw Anya at the premiere, she reminded me that I didn’t know that she could sing. Or maybe I’d asked her and she’d sort of said, “Yeah.” But I didn’t know how great she could sing when we wrote that scene. Actually the scene was a late addition to the script. … It was Krysty Wilson-Cairns’, my co-writer’s, suggestion to have an audition scene so we can actually see how talented she is.

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