There is more than meets the eye with our Last Night in Soho brief, so we asked the film team for more clues to help with your artwork. Here’s what we found out:
1. Soho has a dual-identity:
The story of Last Night in Soho focuses a lot on the juxtaposition of Soho, with its bright lights and darkness and brutality and beauty. Soho is home to nightclubs, theatres, cinemas and is a hub of creativity, but it’s also full of sin, strip clubs, brothels, and strange characters: “That’s the thrill of Soho. The heart of the glittering showbiz industry and the famous den of iniquity, home to prostitutes, hustlers, and all manner of vice,” says Director, Edgar Wright.
“It is, in other words, a story full of contradictions” says screenwriter Krysty Wilson- Cairns, whilst Matt Smith describes it as: “A thriller that’s shadowy and dark and dance-y and strange and really colorful.”
“That dual identity inspired LAST NIGHT IN SOHO,” says the team.
2. The 60s were not as they seemed:
The film is heavily inspired by the past, but as with the rest of the film, there is always more than meets the eye when it comes to the 60s era.
“Part of the inspiration was that I wanted to make a film with a female lead. But also, I was conscious that many of these ‘60s films, mostly written by men, were cautionary tales about girls coming to London,” Edgar says. “At the time, they probably felt quite ground-breaking. But now some seem sensationalist and moralistic like they’re slapping down the idea of liberation and girls being able to make it on their own.”
Wright wanted to offer some kind of corrective to that and to challenge that cliché. So to accentuate this, the exploitation and vice of the era became the backdrop for his story.
3. Costume inspiration came from both past and present:
Throughout the storyline, past and present mix and meld together until the crimes of the past haunt the present-day heroine. Wright had to decide how to navigate those intertwined worlds, and this entwinement even encompassed the costume design, with looks referenced from both 60s icons and modern fashion influencers.
For the look of the characters, major touchstones were Brigitte Bardot, Cilla Black, Julie Christie and Petula Clark as Dicks- Mireaux assembled documentary and film references, watched Wright’s mood reel and went to visit modern fashion students to get a sense of their approach.
4. Bright colors soon fade:
At the beginning of the film, all the color references are bright and ‘technicolor’, feeling attractive and bold, ‘springy and fresh’ - but as the story unravels and darkens, so does the look and feel of the film.
Both the “make-up and costumes begin to change as Sandie’s story develops. The color fades from Sandie’s face, her outfits get steadily darker and her sense of reserved elegance is eroded. “We upped the hemline a bit more,” Costume designer Odile Dicks-Mireaux. “It’s much more naked; now she’s dressing to seduce men in a more obvious way.”
“Eloise reflects the same evolution, also moving into darker colors and heavier make-up. The colors subtly shape and reflect the story’s themes, taking us from neon brights to something much, much darker. In that respect, they tied in perfectly with Marcus Rowland’s production design and the film’s extensive Soho location shoot.”
5. It’s a journey of cold hard secrets:
Edgar Wright and The Cast and Crew of Last Night in Soho are keen to let the story unfold one secret at a time - with no spoilers:
“In Last Night in Soho, our heroine Eloise goes on a journey. First from the country to the city, and then to another time… I would love the audience to go on that journey too when the film opens on October 29th. We purposely pushed the film back to this autumn date, not just so that it can hopefully be enjoyed on the biggest screen possible, but also so the nights would be longer and the audience could go in cold... literally...What happens in Last Night in Soho, stays in Soho…”
You can find more information on the brief and enter your artwork HERE