I'd have time travel fantasies about going back to the 60s and think about, you know, in that way of,

wouldn't it be cool to be at that show? Wouldn't it be great to be at that gig? And then it starts

getting bogged down in other issues where I just think like, what if I had to foil an assassination

and I couldn't remember the date or? And then I just start to think about nostalgia itself is,

is dreaming about the past?

Is that a problem? Is it actually a failure to deal with the present day?

And are you in retreat from modern life?

No. Hello, and thanks for joining us for another episode of the Director's Cut, brought to you by the Directors Guild of America. Today's episode takes us behind the scenes of director Edgar Wright's new

drama, Last Night in Soho. The film follows an aspiring fashion designer, who encounters an

ambitious singer when she mysteriously travels to the 1960s, but their facade of glamour soon

cracks into something much darker. In addition to Last Night in Soho, Mr. Wright's directorial credits include the feature

films Baby Driver, Scott Pilgrim versus the World, and Sean of the Dead, as well as episodes

of the television series Spaced, Sir Bernard Stately Holmes, and Asylum.

Following a recent screening of the film at the DGA Theater in Los Angeles, Mr. Wright spoke with fellow director Phil Lord about filming last night in Soho.

Listen on for their spoiler-filled conversation.

Hello, congratulations, my wonderful friend, Edgar.

Thank you. Nice to see you all here.

It's the first time I've been back in this theater forever. It's nice to see you.

Thanks for coming.

We're in a theater together again. This is not my first time.

This movie is a unicorn. It's a major motion picture that is adapted from nothing.

Tell me about the genesis of this project.

...