纪录片自媒体解说素材-新闻动态参考-埃德加·赖特（Edgar Wright）拍摄“火花”，并在1960年代在“昨晚在苏活页”中吓到了英国人/Edgar Wright on Shooting ‘Sparks’ and Making 1960s Britpop Scary in ‘Last Night in Soho’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/03291qgwmttkgo3.jpg埃德加·赖特（Edgar Wright）拍摄“火花”，并在1960年代在“昨晚在苏活页”中吓到了英国人
Edgar Wright on Shooting ‘Sparks’ and Making 1960s Britpop Scary in ‘Last Night in Soho’
电影界没有人像埃德加·赖特（Edgar Wright）那样在音乐中拥有一年的音乐。几乎就在“火花兄弟”（Sparks Brothers）的紧随其后，他的纪录片向二人庆祝其怪异摇滚英雄主义50周年的纪录片《昨晚在Soho》（Soho）出现了，这是一部流血的超自然惊悚片，几乎是电影音乐剧，这是一部电影剧院音乐剧的一倍配乐挤满了1960年中期的大多数女性英国流行音乐。在屏幕会议上进行主题演讲，他对他在这两个截然不同的项目中如何处理音乐的理念进行了相当详细的详细说明。观看上面的聊天，或阅读我们的对话的轻微编辑版本，Bellow.variety：首先，让我们谈谈今年为您服务的最终导致我们进入各个项目。你今年有两部电影，一个是音乐纪录片，另一个是一部非常丰富的电影。对于您作为音乐迷来说，您必须感觉自己过着最好的生活，能够背靠背做这类项目。赖特：是的，以不同的方式有梦想成真元素。 “昨晚在Soho”中的音乐是我非常热情的东西，与您真正喜欢的歌曲一起工作总是很激动，在某些情况下可以做一些有趣的事情。我认为可能是因为以前的项目，也是Kirsten Lane的一个很棒的音乐清除人，一些出版商相信我们能够用自己的歌曲自己做的事情，这是一些经典的60年代流行歌曲。然后，就“ Sparks Brothers”纪录片而言，我很长一段时间以来一直是Sparks迷，我只是觉得将这个故事带到屏幕上是我的责任。作为火花粉丝，我感到不满，以前没人做过关于他们的纪录片。所以要告诉整个故事其中 - 正如您所知，他们的第一张专辑是今年50年前 - 就像一项梦想的工作，试图解开所有这些。火花 - 没有双关语 - 可能是为了那部电影。有了“婴儿司机”，您已经谈论过，作为一名大学生，您将如何坐下来听这首乔恩·斯宾塞（Jon Spencer）的歌曲，想象一下追逐汽车，然后想，然后想：“我如何在周围制作一部电影这个？”当您第一次在“ Soho的昨晚”中首次考虑时，这是类似的吗？是的，我猜想这部电影的三种不同方式，音乐是一种起点。第一个梦想中有一个舞蹈号码，它设置为格雷厄姆·邦德组织（Graham Bond）组织的封面“韦德（Wade In The Water）”，这是一首现场曲目，就像1964年在1964年发行的专辑《 Live in in Live在Klooks Kleek》中。我曾经听过那首歌，我只是开始想象我脑海中的视觉效果。我对“婴儿司机”说了这一点，这是真的其中的一些序列，您可以在其中获得此电影版本的联觉，您可以想象它将是什么，只是基于音乐。，就像十年一样……以及让我前进的一件事……提醒人们继续开发它，就是在电影中播放这个播放列表。因此，我会不断地挑选我想使用的这些英国60年代中期的曲目，这些曲目都是类似的语气和感觉。我为这部电影制作了播放列表，以提醒自己，就像冰箱上的邮政笔记：“必须在soho’中制作'昨晚！”在某个时刻，播放列表的长版本是300首歌曲，然后我将其降至50或类似的东西。对十年的痴迷。我出生于1974年，所以怀旧十年来有些好奇没有进来。也许您错过了出生之前的冷却器十年的想法，这是我后来开始担心的，无论这实际上是一个问题。我是否痴迷于60年代的现代生活撤退？这就是电影的目的，撤退到过去的想法似乎是无法应对今天的。但是，痴迷的开始是我父母的唱片收藏。他们没有那么多唱片，我不记得我长大后听到他们播放这些唱片了。但是他们有一个60年代专辑的唱片盒，当我的哥哥出生时，他们似乎停止购买专辑，所以一个盒子里有很多60年代的专辑，而没有70年代的专辑。因此，也许从5岁或6岁开始，当我学会了如何使用唱片播放器时，我只会播放这些专辑。独自一人留在屋子里，听白专辑重复一岁时，您开始想到：这是怎么回事？ （他们哈d）那个时期的大多数甲壳虫专辑，以及其他东西，例如Motown和Otis Redding和一张滚石专辑 - 只有第一张专辑，而我曾经没有其他内容，我曾经发现这很好奇。最终结果是什么您想知道60年代的迷恋是否健康？没有人愿意为怀旧而完全怀旧，或者认为一切曾经变得更好。但是有黄金时代，就像您在这部电影的配乐中探索的英国流行黄金时代一样。您最终是否采取了反内痛的立场，或者您觉得：“嘿，这种时尚和这种音乐真是太酷了。我们仍然可以庆祝它。那时一切也很糟糕。”关于浪漫化过去的危险，这更谨慎。选择忘记糟糕时期是错误的。在电影的电影《电影》（Eloise）是电影的年轻主角埃洛伊斯（Eloise）对“ 60年代”的抒情般的抒情，并说“那时一切都更好。”戴安娜·里格（Diana Rigg）说：“音乐更好，是的……”，这是她的确。更重要的是承认，如果您是时间旅行者回去，就像我们的角色在某种程度上一样，没有坏事，您就无法获得好处……但这是真正的礼物，在那个时期内配乐，因为我想专注于60年代音乐的某个时期，即60年代中期（例如'64 -5-6），并且没有太多的迷幻之后60年代的东西，因为我觉得那样覆盖了。我以为那一刻就在爱的夏天之前。但是配乐是如此英国人，如此英语。您有多有意识地获得具有这种非常特定的英国吸引力的行为？像Cilla Black这样的人，如果您在Engla长大nd，您可能会认为她到处都是超级巨星，但她确实不在美国。我想达斯蒂·斯普林菲尔德（Dusty Springfield）搬到了美国，右，显然是佩特拉·克拉克（Petula Clark）？在英国，有趣的是，Cilla Black不仅是60年代的歌手，而且在80年代和90年代作为游戏表演主持人中，她实际上变得更加著名。长大后，她是“盲人约会”的主持人，这是“约会游戏”的英国版本，因此许多在英国年轻的人认为Cilla Black是“盲人约会”和不是甲壳虫乐队的朋友和洞穴俱乐部的外套检查女孩。另一个具有讽刺意味这些歌曲由Bacharach和David撰写。 [笑。]当时，当有一首很棒的歌曲时，那将是急于o首先可能会受到封面的打击。因此，我想在配乐上有很多歌曲，Dionne Warrick首先受到了打击，但在英国，Cilla Black击败了她……实际上，很有趣的是，有很多看到这部电影的人回答他们只知道原始歌曲的封面，但不知道原件的封面。桑迪·肖（Sandie Shaw）的歌曲“总是在那里提醒我的东西”在80年代重做，巴里·瑞安（Barry Ryan）的歌曲《埃洛伊斯》（Eloise）也被该死的80年代所掩盖。阿琳·泰勒（Arlene Taylor）的歌曲“我家中有一个鬼魂”，当曼彻斯特工业独立乐队The Fall覆盖它时，我第一次听到。 ..所以我喜欢这样做。您将原始歌曲放回原处。他们说：“哦，他们制作了乔治·哈里森（George Harrison）的60年代版本。” [笑]“ Soho”和音乐有很多音调转变与此有关。因为您正在做精神上的时代，所以从60年代中期开始的许多音乐都有光明，浮动的精神。但是电影所处的地方并不轻巧。您是否曾经担心过，我们能否拥有所有这些有趣，令人毛骨悚然的歌曲，并仍然保持这种情绪有时变得非常严峻？从某种意义上说，强调是有趣的。在某些情况下，电影中有很多女歌手歌曲，我总是觉得很多人都有令人心碎的色彩，他们感觉就像是泪水染色的东西。 Cilla Black Songs Sandie Shaw歌曲具有苦乐参半的元素，我认为这确实是关键。即使像Cilla Black的歌曲“您是我的世界”（这是意大利风格的翻拍，一开始都有这些弦乐，听起来像是伯纳德·赫尔曼（Bernard Herrmann）的得分。 …当那首歌开始并有那些尖锐的弦乐时，听起来它可能像伯纳德·赫尔曼（Bernard Herrmann）的得分一样进入，然后变成了这个郁郁葱葱的民谣。因此，我非常故意使用了这些东西。然后还有其他歌曲有点跳舞，但是当加上一个险恶的场景时。可以变得很险恶。我认为我们使用沃克兄弟（Walker Brothers是众多滑稽舞者之一，为桑迪·肖（Sandy Shaw）的《木偶》（Puppet on String）做例行。在场景中，Anya Taylor-Joy的角色显然在某种程度上进行了这种例行公事，对此并不满意，并且非常彩绘。我之所以使用这首歌的原因是因为那个时候是一位非常成功的歌手的桑迪·肖（Sandie Shaw）那年参加了欧洲电视网歌曲比赛……而桑迪·肖（Sandie Shaw）的经理挑选了五首歌曲，其中一首是“木偶在弦上，她讨厌的；她以为歌词是性别歧视和厌恶女性主义的，不想这样做，有点像被迫这样做。 Lo和Dehold Hat Song被公众挑选代表英国，然后赢得了Eurovision Song竞赛。这是60年代任何女歌手最大的欧洲热门歌曲之一，这是她积极讨厌的歌！因此，在设计那个场景时，必须是“弦上的木偶”- 我们必须在桑迪·肖（Sandie Shaw）在胁迫下唱歌的那种歌曲，而安妮·泰勒·乔伊（Anya Taylor-Joy）在胁迫下跳舞。这些事情进展的确切部署了很多想法。开幕场面，彼得和戈登的热门歌曲几乎像是浪漫喜剧电影音乐剧的开始一样。电影开始时有点红鲱鱼。这对您来说很有趣，在女主人公的卧室里开始用风格化的场景开始惊悚片，在那里她为这首美妙的歌曲带来了美好的时刻吗？是的，绝对。而且那首歌的选择 - “无爱的世界”，这又是一个明亮而微风t in歌词的忧郁色调。彼得和戈登的彼得·阿瑟（Peter Asher）几周前看了这部电影，并给我发了电子邮件，因为我认识他的女儿……。看过电影不仅用他的歌打开，而且您还会看到专辑的封面，而且您看到了他的脸，他对这部电影感到非常兴奋。作为在60年代Soho场景中周围的人，他对他认为我们对这一时期的工作的好工作的好话对我来说意义重大。诱饵和开关，“嗯，这部电影是什么？ ……您看到的第一张图片是一件有趣的镜头吗只是在她祖母在该国的房子里。从某种意义上说，这有助于立即建立整部电影将要出现的是感知与现实之间的区别。绝对是desi在某种程度上，要愚弄你两次 - 她在这一刻的魅力和更苛刻的现实方面投影了。唱歌的替代版本。不一定要担任这个角色的人必须是一名世界一流的歌手，因为她的职业生涯在电影中没有成功，因此我们不一定要相信她是一名超级巨星。但是她必须是一位可信的歌手。那是在演员中出现的事情，例如“你真的可以做到吗？”这很有趣，因为当我在首映式看到anya时，她提醒我我不知道她可以唱歌。也许我问她，她说：“是的。”但是我不知道当我们写那个场景时她会唱歌有多伟大。实际上，场景是剧本的较晚补充。 …是我的合着者克里斯蒂·威尔逊·凯恩斯（Krysty Wilson-Cairns），建议有试镜现场，这样我们实际上可以看到如何看待她很有才华。而且，一旦想到她在几个小时后进行试镜并唱着无伴奏的想法，我们又有了这首歌清单，就像“哦，她应该唱歌'市中心'。”但是我没有知道Anya在她进来并与我们的作曲家史蒂夫·普莱斯（Steve Price）进行了会议之前，与他和一位钢琴家度过了一个下午，以努力演唱这首歌。我记得史蒂夫叫我说：“她的声音很棒。”从某种意义上说，这是一种非常惊喜。然后我们录制了这些额外的版本，因为当预告片在5月出现时，它使用了她的Acapella版本的“ Downtown”，我们有了那首曲目，但是电影本身的曲目只有90秒。我们没有录制整首歌。预告片问世后，人们说：“您要发布Anya的“市区”版本？”所以我对史蒂夫说：“我们为什么不记录其余的？”我发短信说：“嘿，我知道这听起来很疯狂，因为您录制了一年以前，但是您想记录其余的内容，然后我们将其释放为一个？在戏剧发布后的许多月后，在Netflix上。突然之间，世界有一个更广阔的世界，发现火花和电影。您如何发现向可能从未听说过火花的听众进行传福音之间的平衡，然后是在剧院中看到它的最初核心您如何平衡为邪教服务和为新手服务的需求？即使在为电影资助的MRC交谈时，即使是为这部电影融资的MRC，那里的人也不是Sparks粉丝们对这个想法的热情。因此，我知道重要的是，这是一个庆祝活动，这一点很重要。这就是我对L的感觉音乐文档，甚至是我喜欢的文档：有时他们会在乐队的先验知识中。如果您喜欢乐队，那就太好了，但是有时您想发现一支乐队，例如：“我对（他们）不太了解：让我们看纪录片。”我知道我不仅想让现有粉丝变得有趣，而且还为从未听说过的观众玩耍。当您制作文档时，您是否考虑过Moviemakers的工作，也不是与艺术家共同的共同之处。喜欢火花？因为显然，火花可能对所有条纹的艺术家可能会鼓舞人心，这是一种幸存，蓬勃发展，有时不蓬勃发展的行为，但始终保持这种独立的视野。但是，如果Sparks一路上有一张翻牌专辑，他们可以继续下一张专辑。在电影制作中，经济压力可能会更高，在那里很难成为特质，或者有邪教观众并继续像您一样工作。我绝对认为像电影制片人一样，我很欣赏他们的视野和W的持久性AIT让观众赶上他们。但是您是对的 - 您想取得一定的成功，有人会为下一部电影提供资金。有了Sparks，我认为在某个时刻，他们与带有标签的专辑离婚，并设法找到了不必依靠标签来实际制作专辑的工作方式。因此，我认为这可能是一个释放过程，因为我认为从“小贝多芬”开始，他们找到了一种完全制作专辑的方法，然后找到某人发行它。与他们一起拍摄电影，首先是与雅克·塔蒂（Jacques Tati）一起崩溃的，然后在80年代与蒂姆·伯顿（Tim Burton）一起，在伯顿（Burton）处于他名声和热门连胜的绝对顶峰的那一刻。最后，他们确实与Leos Carax（“ Annette”）脱颖而出。而且，以一种怪异的方式，像Leos Carax这样的人可能与Sparks相似，因为有人非常特质和不是一个人……我以最好的方式说这句话……使用火花，我认为他们的操作方式之一是他们似乎并不是在追逐趋势。他们正在做自己想做的事，如果碰巧碰到一些时代精神，那就太好了。我总是想知道火花，如果您在70年代中期去了他们说：“您现在想获得体育场摇滚乐的成功吗？还是您想在50年后让人们谈论整个作品，并像一年后的两部电影一样？”我想认为他们会选择后者。因为这是一些乐队变得非常非常大的乐队，因为他们要么火焰出来，要么成为自己的致敬乐队。您知道，我喜欢滚石乐队 - 它们很棒 - 但似乎他们总是在1981年以来一直在自己的热门歌曲之旅中进行。这没什么错！但是有了火花，以一种怪异的方式，缺乏巨大的主流成功使他们饥饿，苗条，能够以更大的BA的方式进行实验NDS真的做不到。显然，您是摇滚纪录片的学生。您已经看了很多人是粉丝，也可能想着想如何做。您做出了一些非常个人的选择。您并没有专注于个人生活，从风格上讲，您可以为那些不想坐下来典型纪录片的人而变得有趣和观察。您是否对最近的摇滚或流行文档变得对与错了，您是否有一个关键的想法？嗯，有了Sparks，因为它是介绍，我想，让我们通过工作来谈论它们。因为他们不是真正想谈论自己的私人生活的人。他们相信，舞台上的内容和记录在案中的内容比他们的生活中发生的事情更有趣。因此，如果他们对自己的个人生活有点笼罩，我尊重这一点。有很多岩石文档具有“您知道的音乐，您不知道的男人”的钩子。这就是兴趣G，但有时您需要更多关于音乐的信息。而且我不会以任何名字提及任何纪录片，但这就像“告诉我两者！”因为在50年的时间里，人们不会知道这些歌曲。我真正喜欢的是纪录片，使乐队在时间及其影响力之内进行背景。 …现在是20年前，但我记得真的很喜欢朱利安·坦普（Julian Temple）关于性手枪的“污秽和愤怒”。显然，这是一个很短的职业，但它使您对他们的出生方式有了一个很好的主意 - 不仅是人民，而且是文化和政治中发生的事情，可以产生该乐队。 …有时候有艺术家，因为人们认为您已经知道所有的热门歌曲，所以他们专注于个人互际事物。我想知道有时候是否有一些乐队比音乐更重要。当我想到像Oasis这样的乐队时，我的第一个想法与歌曲无关。更多的是兄弟讨厌彼此的肠子s。警察有惊人的歌曲，但我比我对他们的杀手目录所做的纪录片多了，我更多地想到了乐队中的杂物，这是什么有趣的，实际上，只是看着“ Get Reck”，就是这样。设法两者都做。因为您看到了一个乐队努力将其保持在一起的黑盒记录器，但您也从字面上看到他们在编写歌曲。对我来说，这是完美的，因为我确切地知道现在的动态以及它的难度 - 您有内在和外部压力 - 但是您还可以看到人们实际上写作并看到这些歌曲融合在一起你的眼前。 …有些纪录片我已经看了我已经喜欢乐队并已经知道他们的歌曲的纪录片，所以我仍然喜欢它。但是我确实认为：如果一个18岁的孩子正在看这个，而他/她/她从未听过这张热门单曲？您不想给他们一些单曲的背景吗？让他们听到l在说话的头再次开始之前！我认为，好吧，如果这些电影很棒，那么当艺术家早已不复存在时，这些电影就会出现，并且您不想给（子孙后代）为他们是谁的最佳背景吗？
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. You had two films this year, one a music documentary and the other a very music-heavy film. For you as a music fan, you have to be feeling like you're living your best life, being able to do those kinds of projects back to back.
WRIGHT: Yeah, there’s dream-come-true elements to it in different ways. The music in “Last Night in Soho” is stuff that I feel very passionately about, and it's always a thrill to work with a song that you really love and in some cases do something interesting with it. I think probably because of previous projects, and also a great music clearance person in Kirsten Lane, some publishers trust us in terms of what we're able to do things with the songs themselves, and that was with some classic ‘60s pop hits. And then in the case of the “Sparks Brothers” documentary, I've been a Sparks fan for a long time and I just felt it was my duty to bring that story to the screen. I felt aggrieved as a Sparks fan that nobody had done a documentary about them before. So getting to tell the whole story of that — and as you know, their first album was 50 years ago this year — it was just like a dream job, trying to unpack all of that.
Going first into “Last Night in Soho,” I was imagining what some of the sparks — no pun intended — might've been for that film. With “Baby Driver,” you’d talked about how, as a college student, you would sit around and listen to this Jon Spencer song and imagine a car chase set to it, and then think, “How can I build a film around this?” Was anything like that when you were first thinking about in “Last Night in Soho”?
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. I said this about “Baby Driver,” and it's true with some of the sequences in this, where you get this movie version of synesthesia, where you imagine what it's going to be, just based on the music.
But then on top of that, I had had the idea for the film for a long time, like a decade… And one of the things that kept me going … as the reminder to keep developing it, was to amass this playlist of the music that I wanted to be in the film. So I would be constantly cherry-picking these British mid-‘60s tracks I wanted to use that were all of a similar sort of tone and feel. I make a playlist for the film, as a way of reminding myself, like post-it notes on the fridge: “Must make ‘Last Night in Soho’!” At a certain point, the long version of the playlist was 300 songs long, and then I got it down to 50 or something like that.
But to go even further back, to maybe one of the seeds of the idea at all, was my obsession with the decade. I was born in 1974, so there's something curious about having nostalgia for a decade that you weren't in. This idea that maybe you've missed out on the cooler decade before you were born is something that later I started to worry about, whether it was actually a problem. Was me obsessing about the ‘60s a retreat from modern life? And that's what the film becomes about, the idea that retreating into the past seems like a failure to deal with the present day. But how the obsession started was my parents' record collection. They didn't have that many records, and I don't remember when I was growing up ever hearing them play those records anymore. But they had a record box of ‘60s albums, and they seemed to stop buying albums when my older brother was born, so there were lots of ‘60s albums in one box and no ‘70s albums at all. So maybe from the age of 5 or 6, when I learned how to use the record player, I would just play these albums. Left alone in the house, listening to the White Album on repeat as a 5-year-old, you start to conjure up ideas of: What is this all about? (They had) most of the the Beatles albums of that period, and other stuff like Motown and Otis Redding, and one Rolling Stones album -- only the first one and none of the others, which I used to find quite curious.
What was the end result of your wondering whether your ‘60s fascination was healthy? No one wants to be totally into nostalgia for nostalgia's sake or think that everything used to be better. But there are golden ages, like the golden age of British pop you you explore with the soundtrack to this movie. Did you end up taking an anti-nostalgia stance or did you feel like, “Hey, this fashion and this music are so cool. We can still celebrate it”?
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. There is a very loaded comment in the film when Eloise, the young lead of the movie, is waxing lyrical about the ‘60s to somebody who was actually there, and says “Everything was better back then.” And Diana Rigg says, “The music was better, yes…” That's as far as she'll go. It's more just an acknowledgement that, if you were a time traveler going back, as our character does in a way, you can't have the good without the bad...
But it was a real gift, soundtracking it with that period, because I wanted to focus on a certain period of ‘60s music, the mid-‘60s — like ’64-5-6 — and not have so much the psychedelic later ‘60s stuff, because I felt like that had been so well covered. I thought there was something about that moment just before the Summer of Love.
Of course the film sort of announces its Britishness from the very title forward. But the soundtrack is so British, so Anglophile. How conscious you were of getting acts that have this very sort of specific British appeal? People like Cilla Black, if you grew up in England, you would probably assume she was a superstar everywhere, but she really wasn't here in the States.
I guess Dusty Springfield carried across to the States, right, and obviously Petula Clark? What's funny in the U.K. is that not only was Cilla Black a big deal as a singer in the ‘60s, but she actually became more famous with a different generation in the ‘80s and ‘90s as a game show host.. When I was growing up, she was the host of “Blind Date,” which was the U.K. version of “The Dating Game,” so a lot of people who were younger in the U.K. think of Cilla Black as being the host of “Blind Date” and not the Beatles’ friend and the coat-check girl at the Cavern Club.
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. 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., Cilla Black beat her to the punch… It's interesting to me actually that quite a few people who've seen the film respond to songs that they only know the covers of, but not the originals. The Sandie Shaw song “Always Something There to Remind Me” was redone in the ‘80s, and the song “Eloise” by Barry Ryan was covered by the Damned to the ‘80s as well. The song by Arlene Taylor, “There's a Ghost in My House,” I first heard when the Manchester industrial indie band the Fall covered it. .. So I like doing that. where you put the original song back in. Somebody even said to me the other day that they thought we'd actually created the original James Ray version of “I've Got My Mind Set on You.” They said, “Oh, they did a ‘60s version of the George Harrison song.”
There are a lot of tonal shifts in “Soho,” and the music has a lot to do with that. Because you're doing the pre-psychedelic era, there's a light, buoyant spirit to a lot of the music from the mid-‘60s. But the places the film goes to are not light and buoyant. Did you ever worry, like, can we have all these fun, spiffy songs and still maintain this mood that gets pretty grim at times?
In a way, underscoring was the fun of it. And in some cases, with a lot of the female singer songs that are in the movie, I always felt that a lot of them have the tinge of heartbreak and they feel like tear-stained stuff. The Cilla Black songs Sandie Shaw songs have elements of a bittersweet edge to them, which I thought was really key. Even like the Cilla Black song “You’re My World,” which is a remake of an Italian hit, has these strings at the start which sound like a Bernard Herrmann score. … When that song starts and you have those sharp strings, it sounds like it could go into like a Bernard Herrmann score, and then that it turns into this lush ballad. So I used those things quite deliberately. And then there are other songs which are kind of dance-y, but when coupled with a sinister scene. can become quite sinister. I think the way we use the Walker Brothers cover of “Land of a Thousand Dances” is something that starts kind of fun and starts to turn dark.
In a scene where things start to take the dark turn in the movie, Anya Taylor-Joy is one of many burlesque dancers doing a routine to Sandy Shaw’s “Puppet on a String.” In the scene, Anya Taylor-Joy's character is clearly doing this routine somewhat under duress, and is not happy about it and has a very painted-on smile. The reason I used that particular song is because Sandie Shaw, who was a very successful singer at that point, was doing the Eurovision song contest that year... And Sandie Shaw’s manager picked out five songs, one of which was “Puppet on a String,” which she hated; she thought the lyrics were sexist and misogynistic drivel, and didn't want to do it and was sort of forced to do it. Lo and behold hat song got picked by the public to represent Britain, and then it won the Eurovision song contest. It was one of the biggest European hits by any female singer in the ‘60s – a song that she actively hated! And so in, in designing that scene, it has to be “Puppet on a String” –we have to use that song in that context of Sandie Shaw singing it somewhat under duress, and Anya Taylor-Joy dancing to it under duress. A lot of thought went into the exact deployment of where those things go.
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?
Yeah, absolutely. And also the choice of that song — “A World Without Love” is something where, again, it's sort of bright and breezy, but has a bit of a melancholic tinge to the lyrics. Peter Asher of Peter and Gordon saw the movie a couple of weeks ago and emailed me, because I know his daughter …. Having seen the movie not only opening with his song, but also you see the album cover and you see his face on it, he was really thrilled with the movie. And as somebody who was around in the ‘60s Soho scene, his kind words about how what a good job he thought we’d done with the period stuff meant a lot to me.
But actually even in that scene itself, in terms of the bait-and-switch of, “Well, what is this movie? Is this going to be a fun romp or a horror movie?”… The very first image that you see is Eloise silhouetted in a doorway in what seems to be a beautiful ball gown, and then when she switches the lights on, you realize she's just in her grandmother's house in the country. In a way, that helps set up straight away that what the whole film is going to be about is the difference between perception and reality. It’s definitely designed to fool you twice, in a way -- with what she is projecting in terms of the glamor of this moment, and the harsher reality of it.
Anya Taylor-Joy sings “Downtown” in the film, and then there's several versions of her singing alternate versions of that that you guys have put out. It's not that necessarily that someone cast in that role has to be a world-class singer, because her career is unsuccessful in the movie, so we don't necessarily have to believe that she's a superstar. But she has to be a credible singer. Was that something that came up in casting, like, “Can you actually do this?”
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. And as soon as the idea came up of her doing an audition after hours and singing kind of a cappella, again, we had this list of songs that was like, “Oh, she should sing ‘Downtown.’” But I didn't know how well Anya could sing until she came in and did a session with Steve Price, our composer, and spent the afternoon with him and a pianist to kind of work out how to sing the song. I remember Steve calling me saying, “Her voice is amazing.” It was a great kind of surprise in a way. Then we recorded those extra versions because when the trailer came out in May, which used her acapella version of “Downtown,” we had that track but the track in the movie itself was only 90 seconds long. We didn't record the entire song. As soon as the trailer came out, people were saying, “Are you going to release Anya's version of ‘Downtown’?” So I said to Steve, “Why don't we record the rest of it?” And I texted Anya saying, “Hey, I know this sounds crazy, because you recorded this a year ago, but do you want to record the rest of it, and then we release it as a single?”
To shift gears from Anya to Ron and Russell Mael: People are still talking about “The Sparks Brothers,” partly because it just premiered on Netflix, many months after the theatrical release. and suddenly there's a wider world getting into it and discovering Sparks as well as your movie. How did you find that balance between doing evangelizing to an audience who may have never heard of Sparks, and then the initial core that came out to see it in theaters because they've been obsessed with this band for 30, 40, 50 years/ How do you balance the needs of serving the cult and serving the newbie?
Even in terms of getting the film financed, in talking to MRC, who financed the movie, the people there that weren't Sparks fans were going on my enthusiasm for the idea. So I knew that it was important that it was an introduction as much as it was a celebration. And that's something I feel about a lot of music docs, even ones that I like: that sometimes they assume prior knowledge of the band. And that's great if you’re into the band, but sometimes you want to discover a band, like, “I don't know much about (them): Let's watch the documentary.” I knew that I wanted to not only make it fun for existing fans, but play to an audience that have never heard of them before.
As you made the doc, did you think about what moviemakers do and don't have in common with artists like Sparks? Because clearly Sparks can be inspirational to probably artists of all stripes as an act that's survived and thrived and sometimes not thrived, but always kept this independent vision. But if Sparks had a flop album along the way, they can go on to the next one. The economic pressure might be higher in filmmaking, where it’s hard for be idiosyncratic or have a cult audience and continue to work like you have.
I definitely think there are like filmmakers that I admire who have a persistence of vision and wait for an audience to sort of catch up with them. But you're right — you want to have a level of success where somebody will finance the next movie. With Sparks, I think at a certain point they divorced from doing albums with labels and managed to find a way of working where they didn't have to rely on a label to actually make the album. Thereby I think it was probably quite a freeing process, because I think from “Little Beethoven” onwards, they found a way to do the albums completely their way and then find somebody to release it.
What’s interesting in the movie that there's this B-plot with them trying to make films, first with Jacques Tati, which falls apart, then with Tim Burton in the ‘80s at a point where Burton was at the absolute zenith of his fame and hot streak. And then finally, they do get one off the ground with Leos Carax (“Annette”). And in a weird way, somebody like Leos Carax is probably quite a similar fit to Sparks in terms of somebody who's very idiosyncratic and not somebody… I say this in the best way… With Sparks, I think one of the ways that they operate is that they don't often seem like they're chasing trends. They're doing what they want to do, and if it happens to hit some zeitgeist, then great. I always wonder with Sparks, if you went to them in the mid-‘70s and said, “Would you like to have stadium rock-band success right now? Or would you like, in 50 years, to have people talking about the entire body of work, and be like two films out in one year?” I would like to think they’d choose the latter. Because it is a thing with some bands that get really, really big that they either flame out or become kind of a tribute band to themselves. You know, I love the Rolling Stones — they’re amazing — but it seems like they're always just on their own greatest hits tour since 1981. Nothing wrong with that! But with Sparks, in a weird way, the lack of huge mainstream success kept them hungry and lean and able to experiment in a way that bigger bands can't really do.
Clearly, you're a student of rock documentaries. You've watched a lot of them as a fan, as well as maybe thinking about how you wanted to do one. You made some very individual choices. You didn't focus a lot on personal life, and stylistically you made it fun and watchable for somebody who might not want to sit down for a typical documentary. Did you have a key thought or two about what the recent spate of rock or pop docs have gotten right and wrong?
Well, with Sparks, because of that thing of it being an introduction, I thought, let's talk about them through the work. Because they’re not people who really want to talk about their private lives. They are in the belief that what's on stage and what's on record is more interesting than what's going on in their lives. And so if they are kind of like a bit cagey about their personal lives, I respect that. There are a lot of rock docs that have that hook of “the music you know, the man you don't.” And that's interesting, but sometimes you want more about the music. And I'm not going to mention any documentaries by name, but it's like, “Tell me about both!” Because in 50 years’ time, people won’t know these songs. What I really like is documentaries that contextualize the band within the time and their influences. … It’s 20 years ago now, but I remember really loving Julian Temple’s “The Filth and the Fury” about the Sex Pistols. It's obviously a very short career, but it gave you a really good idea of how they were born -- not just the people, but what was happening in the culture and in politics to spawned that band. …
Sometimes there are artists where, because people assume that you already know all the hits, they concentrate on the inter-personal stuff. And I wonder sometimes if there is some bands where that then becomes the legacy more than the music. When I think about a band like Oasis, my first thought isn't about the songs. It's more about the brothers hating each other's guts. The Police have amazing songs, but I more think about the acrimony within the band, having seen more than one documentary about that, than I do about their killer catalog.
What’s interesting, actually, just having watched “Get Back,” is that it manages to do both. Because you see the black-box recorder of a band struggling to keep it together, but you also literally see them working out the songs. That to me is perfect, because I know exactly what's going on now in terms of the dynamics and how difficult it is — you've got internal and external pressures — but you also get to see people actually writing and see these songs coming together in front of your eyes. … There are documentaries that I watch where I already like the band and already know their songs, and so I still enjoy it. But I do think: what if an 18-year-old was watching this, and he/she/they had never heard this hit single? Wouldn’t you want to give them a bit of context of what the single was? Let them hear it for a little bit before the talking heads start again! I think, well, if these films are great, these films are going to be around when the artists are long gone, and don’t you want to give (future generations) the best context for who they were?
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