Last Night In Soho

I started writing the score for Last Night In Soho back in April 2019, the script’s evocation of neon lights flashing rhythmically outside a bedroom window on Charlotte Place bringing about early ideas that I would send to Edgar to play in rehearsals and on-set.   This was to become our most collaborative effort yet, layers of instrumentation, spoken word and sung vocals coming together to create a soundtrack unlike anything I’d done before.

I wrote a lot before the film was shot, long experiments we called “Mirror Suites”, always being endlessly surprised and delighted at which pieces would then later appear in the edit.  This in turn would lead me to write more, having heard through someone else’s ears those elements which could become central to the story we were telling.  A piano refrain, originally overdubbed late at night almost as an afterthought within a larger piece I was working on, would suddenly become a solo, ringing through the nighttime streets of Soho.

An opportunity to work with Anya Taylor-Joy early on in the shoot for her audition performance of “Downtown” led us to realise just how her voice could become central to the musical identity of the film.  Anya’s singing acts as a siren song throughout, continually calling out to Eloise an all of us, and her performances inspired whole new developments as the score evolved.  This music was designed to weave seamlessly in amongst the brilliant songs of the era, sometimes combining with them as the world disintegrates around our characters,

It was a wonderful film to be a part of, and I was thrilled when the score was nominated for an Ivor Novello award in 2022.