The psychological thriller "Lost in the Night soho" is a feature film launched by Edgrethe, the director of "Desperate again", who has been in conflict for four years.
Through a rich visual and retro soundtrack, the story between the protagonist Eloise and actress Sandie is told, and the dream and darkness of Soho in London in the 60s are brilliantly outlined. Integrating issues such as violence and showbiz rules, "Lost in the Night" is not only Edgaret's first attempt at horror film shooting, but also one of his few stories from the perspective of female characters, and the film is full of elements such as culture and music in London's old neighborhoods, which is the atmosphere of the times that he urgently wants to restore.
Looking at "Lost Night Soho" from a behind-the-scenes perspective, how much effort did the director put into it?
"This movie is about anything that is good and has its bad side." —Director Edgar Wright
The story was inspired by director Edgarette's receipt of a stills book called "Hammer Glamour" more than a decade ago, and after discovering that many horror actresses from the 1950s and 1970s had suffered misfortunes and even ruined their careers, he began to think about the atmosphere of the times behind it.
After Edgarette learned that director Quentin Tarantino made "Once Upon a Time, There Was a Hollywood", he was even more determined to prepare for the filming of this film.
"In the mid-1960s, London was a cultural centre that led the world in fashion, music, film, art and photography."
Edgaret explained that under the influence of a large number of B-grade horror films and record music in the 60s, he wanted to recreate the booming entertainment industry at that time, and on the other hand, he also wanted to expose the dark history of the entertainment industry, so he insisted on going to the field shooting, and began to prepare the soundtrack at the screenwriting stage.
"It's the only place in London that's open 24/7." Edgaret said.
As there are almost no cold back slots in SoHo, in addition to working closely with local authorities to block certain roads in some parts of the morning, the crew must also tolerate passers-by entering the camera and drunk people entering the set, and they even have to use their time effectively to shoot in two different blocks at the same time.
At this point, one of the crew's most frequent things needs to do is mentioned: grab the sky! On the one hand, it is necessary to catch up with the pace of time, and try to make the daytime drama filmed during the day and the nighttime drama filmed at night; on the other hand, it is also saving money. After all, there are so many people in the crew every day, and the cost of working one more day is infinitely magnified.
When the protagonist Eloise first meets actress Sandie, Edgarette shows the process of the two alternating with each other through an out-of-body perspective.
Edgaret explained that except for the first shot that was edited, the other clips here are all using techniques such as shots, lighting, stand-ins, choreography, etc., to skillfully complete a shot to the end, and actor Matt Smith also explained:
"We run behind the camera, dodge, jump, and keep going around in circles or avoiding the camera so that the visuals work."
Looking at the present, what crew can do one shot to the end? Not to mention that in that environment where the lighting and camera are not as good as other crews, how much effort the director and actors have put into it can be imagined. And more importantly, in such an environment, perfect works can be presented, and the skills of the people behind them can be seen.