No one in the film world had a Year in Music quite like Edgar Wright.
Almost right on the heels of “The Sparks Brothers,” his documentary tribute to a duo celebrating its 50th anniversary of eccentric rock heroism, came “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.Wright, who’d earlier proved himself as no slouch in the soundtrack department with heavily music-based films like “Baby Driver,” joined Variety‘s Music for Screens conference for a keynote conversation in which he spoke in considerable detail about the philosophies of how he treated music in these two strikingly different projects.
Watch our chat, above, or read a lightly edited version of our conversation, bellow.Variety: First, let’s just talk about what culminated for you this year before we get to the individual projects.
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