The moment Edgar Wright knew he wanted to make movies - Upsmag - Magazine News


The moment Edgar Wright knew he wanted to make movies

Edgar Wright is one of Britain’s most beloved filmmakers. Having created the absurdist sitcom asylum in 1996 and the still-relevant spaced in 1999 with frequent collaborators and equally loved Simon Pegg and Nick Frost, Wright has cemented his place in British cinema history. With Pegg and Frost, Wright would make the Three Flavors Cornetto trilogy, including 2004’s horror spoof Shaun of the Dead2007’s buddy cop movie Hot Fuzz and, completing the film trio, the sci-fi comedy World’s End in 2013. Wright also co-wrote the highly regarded indie-laden action comedy Scott Pilgrim vs. The Worldwhich also found release in 2013.

Wright was born in Poole, Dorset, in 1974 but primarily grew up in Somerset, attending The Blue School in Wells, where he is honored with a plaque. His drama teacher at the school had a cameo in Hot Fuzz. Wright went about making short films in his youth in the 1980s and 1990s, using a Super-8 camera gifted to him by a family member, before graduating onto a Video-8 that Wright won in a TV competition.

Many of these shorts were genre parodies, which Wright would later become renowned for. Wright later received a National Diploma in Audio-Visual Design from the University of Bournemouth in 1994 before making his first feature-length debut with A Fistful of Fingersa western spoof, which received a short cinema release and a broadcast on Sky Movies.

In an interview with The Talks, Wright reveals the moment he knew he wanted to make films. He said: “It was when I was 14. I knew that I wanted to do something in movies, but obviously I live in in the country in the West of England, so it’s not something that I thought was an achievable goal. I didn’t know anyone from the film industry, I had no ‘in’ whatsoever. But my parents were very encouraging towards me and my brother to sort of just follow our creative ambitions. Like, if you went to a careers officer at school and said I want to be a film director, they’d say, ‘Yeah, OK, sure…’ But my mum and dad would never say, ‘No, you can’t ‘. They bought me and my brother a Super Eight camera when I was 14 and we started sort of messing about with that.”

He added: “And around the same time, there was a documentary on TV in Britain called The Incredibly Strange Movie Show [hosted by Jonathan Ross,] who would interview different directors every week, like Jackie Chan, George Romero, John Waters, Russ Meyer, all these kind of legends. It was revolutionary stuff for a lot of people. One of the episodes was about Sam Raimi and detailed the fact that he made evil Dead when he was 18, and before that, he had just been making Super Eight shorts with his friends at school. When I saw that, I was just like, ‘That’s it’. So that was really the moment. I had no idea of ​​any connections in the business, I had no money or anything to start with. But now there was this sort of goal, which was to try and do that.”

Arguably, horror is the genre that has influenced Wright the most (although comedy is undoubtedly an influence too). asylum is something of a Lynchian nightmare, only performed by the cast of the Young Ones. It features Simon Pegg wrongly held in an insane asylum and has David Devant & His Spirit Wife perform live music at the end of each episode. It was also the first collaboration between Wright, Pegg and Jessica Stevenson, who went on to make spaced together.

On horror’s influence, Wright said: “I think the thing is within the genre, there are so many different kind of tones and semitones, especially when you start crossing genres, it becomes a bit like alchemy. It’s difficult to get right — and then no two movies are quite the same. Shaun of the Dead isn’t quite like American Werewolf in London, which isn’t quite like Evil Dead 2, they all have slightly different sensibilities. Within the horror genre itself, you know, some people would say that Ingmar Bergman’s persona is a horror movie, all the way through to Eight Legged Freaks. That’s what I think is amazing about this genre, or any movie genre! It’s so expansive, you can tell any story within it.”

The director concluded: “But the thing about making a horror movie or even just a psychological thriller, is you have to find a subject that scares you or is disturbing to you. so with Last Night in Soho, it was more the tragic aspects that interested me, the thing about lives cut short or people who died too young. Lives derailed. I find those things unspeakably sad. There’s also moments of sleep paralysis, and that’s something that certainly scares me. Any kind of invasion into your safest place is a terrible thing!”

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