29, tells the story of Eloise , a young woman in the present day who is obsessed with the music and style of 1960s London, and who travels there to study fashion.
Wright’s newest film finds him steering away from comedic terrain and into a realm that is murkier and more horrific.
We all indulge in personal time-travel reveries and regard them as harmless, something Wright readily admits to.
But if we reflected more carefully on these fantasies and what they mean, Wright said more soberly, we’d realize the traps we were setting for ourselves.
London is the metropolis that has most fascinated Wright, who has lived and worked there for some 27 years.
By 2012, before he shot his sci-fi pub-crawl comedy “The World’s End,” Wright was already contemplating a film that would explore the darker side of London and juxtapose the modern era and the period preserved in sensationalistic 1960s films like John Schlesinger’s “Darling,” which starred Julie Christie, and Edmond T.
Wright, in turn, told her the story of “Last Night in Soho” and Wilson-Cairns was hooked by it.
Some of Wilson-Cairns’s contributions to the script include the awful, obscene pickup lines lecherous men hurl at Eloise.
She steered Wright away from his original idea of depicting Sandie’s 1960s sequences as musical numbers that would otherwise have had no dialogue.
Though the director had planned to cast her as the demure Eloise, Taylor-Joy said in an email that as more of her film and TV performances were released, he switched her to the part of the more outgoing Sandie.
“We were exactly the same age at the time that I was filming it,” McKenzie said.
But then Rigg continued to reflect on the nightclub.
Wright said that the impact of Rigg’s remarks did not strike him immediately, but he felt it more profoundly as he drove home from the set.