Wright’s credits include Baby Driver, Shaun of the Dead and the documentary The Sparks Brothers.
Throughout the film, the shadow of the past looms large.
But in the movie, nostalgia is tinted with menace as Eloise’s dreams become nightmares that haunt her waking hours.
A lot of the times I was frequently left alone, in the days before the internet and even having a portable TV in my room, I would just listen to those records a lot and sort of almost just disappear into that decade through the music.
And Soho is sort of a bit of a lore unto itself because for hundreds of years, it’s been a place where artists and, I guess, the underworld kind of mingle.
Historically, it’s been kind of seen as a den of iniquity in terms of the criminal underworld and the sex industry, and I guess in the time that I’ve been there, all of that’s sort of been gentrified out, but not quite.
And I watched many of those films, and I thought it was interesting because the majority of them are written by men and directed by men, and you start to get this sense that those films were the old guard slapping the wrist of the younger generation, so it was like a rebuke to the progressive movement.
The female singers of the mid-’60s, it was obviously an incredible time for performers like Cilla Black, Petula Clark, Dusty Springfield, Sandie Shaw.
But even that experience was something that makes me smile because even the last time I saw her, and clearly she was getting ill and frail, and she was so funny and so fierce and fabulous that I even just walked down the garden path after spending 90 minutes with her, doing the work, but also still gossiping.
But you can choose to be sad about something like that, or you can just thank your lucky stars that you got a chance to work with her and know her at all — and that’s what I choose to do.