director edgar wright said on thursday that when the facebook page reached 100k likes he would release the new trailer early, and also kiss all the fans "with tongues". today he came through on half his promise! watch the trailer here until i figure out how to embed it.
there we go
bonus: huge ass interview from the shoot with michael cera, jason schwartzman and edgar wright. listen to it here (part one & part two) or read the whole transcript here. edited down but still tl;dr version under the cut.
Because you’re so meticulous with what you want, and because you’re so meticulous with each of your shots – and you kind of edit the film to some extent in your head already – how are you pacing yourself? How are you staying focused throughout this whole four, five month process?
EDGAR WRIGHT: It’s funny, too, because working with Bill – I think in the first week of shooting – we did 200 slates … um, in six days. And everyone was commenting on how much it was and how fast it was, and I said to Bill – I said, ‘at the moment, I get to go back and make a film every 3 years, so I’ve been waiting 3 years to get back on set.’ So when I start going, I get out of the gate with a kind of fury and stuff because I’ve been thinking about it for a long time. The thing about this film is that I made it extra difficult for myself in terms of it being not just comedy, and not just visuals, but there’s action and music as well. All those four separate things require so much care and TLC, and any one of those things would be complicating in a different film, and this one has all of it.
You’ve been working so hard on this, but everyone we’ve been talking to today has been really up and going … so are they, like, on painkillers, or is it just like the vibe of the set … or, what keeps everyone going?
WRIGHT: Well, firstly the cast are all very young. They’ve got the energy of 20-year-olds. The cast has just been amazing together, and I think it’s just a really good ensemble. It feels really like having a cast full of ringers in terms of everybody in every tiny part is really great. And so to have like big ensemble scenes with ten of them in the same scene, or five of them in the same scene, it’s just really good fun.
We just talked to Alison and Johnny, and they seem perfect for their roles, but was there any pressure to get name actors? It seems like you got the right people for the right parts, which is strange for an American movie in some ways; it’s not like names or whatever …
WRIGHT: Universal never really gave me any problems about casting bigger people, because in a way Michael has starred in two $100 million-plus movies, and also a lot of the other people, though they're not the biggest names, people certainly know who they are. You know who Jason is, and who Chris is, and Mary has a sort of rising profile. I think, then, when you have 20 of those people in the same film, it’s really good. We have fantastic people in lots of small parts, so I think it’s kind of a nice in a way – and the thing I’m really pleased about with this film, as opposed to some of the other comedies out there – and even stuff I’ve done before – is that it has a lot of funny women in it. Really a large part of the cast, and even the books are not just about his love life, but his exes and family, and friends.
One of the things I loved about the comic book was the visual gags where people come on screen with title cards and stuff. How did you incorporate that, or how are you planning to incorporate that?
WRIGHT: Well, I’m planning to be pretty true to the books in that respect, because one of the things that intrigued me about the books – or one of the things that got me interested – was that I felt like there hadn’t been a bigger film that dealt in sort of like a comedy comic book film. There are either ones going for the more fantastical and more gritty, or other ones going for an entirely different universe, and what I liked about this is that after I read the first book it reminded me of Spaced, in terms of combining the mundane with the fantastical. And so I think it came down to why not use those graphics, who not have that aesthetic to it – and in a comedy you can do a lot of things that you can’t do in a straight action film.
What does it do to your filmmaking style to do an adaptation instead of something original?
WRIGHT: There will be bits where you’ll be able to see the page come to life, but I think in terms of the overall flow, it’s probably more similar to the stuff I’ve done before. But I was really inspired by the artwork, and I guess the final product is an amalgamation of that and my style of shooting things.
How did the music come about? Where did you begin deciding what to use?
WRIGHT: Bryan had playlists for all the books, in the back of the books, and he kind of introduced me to some artists that I wasn’t aware of. Certainly a lot of the Canadian music that I wasn’t aware of. I mean, I knew who Metric were, but I wasn’t familiar with some of the other bands. And in terms of bands, what we tried to do was find a real band for each of the fictional bands, because usually in music films you have one composer who does everything. That sets a sort of house style, and sometimes that works great, like Phantom of the Paradise how Paul Williams does all the music for all the bands, but they all sound like Paul Williams songs, which is great. But for this we wanted to have a different band for every single artist that appears, and we’ve done that, and that’s kind of really fun.
How did you approach the fight scenes in this, because they aren’t supposed to be brutal and cruel?
WRIGHT: I don’t know how to describe it, really … um, they’re just really fucking fast. There are some days where we’ve done 20 shots in a day, but we only have about 15 seconds of screen time.
How are you handling the tonal change of the books, where things go from kind of crazy to really crazy at the end?
WRIGHT: People have these huge fights – and it’s kind of like how it is in the books – where everything goes back to normal, and there’s a little reaction to what just happened, but there’s no sort of mourn the dead. All the fights are about relationships, and we start off very mundane, but as soon as Mary enters it as a very literal dream girl, then we sort of start getting into the surreal. If you look at the Scott Pilgrim books, the poses that he does on the front covers are very rarely in the pages, and me and Bryan always talked about how the Scott Pilgrim on the covers is who he thinks he is, rather than who he actually is. In a weird way, I think the whole film is his sort of diluted cheese dream of him as a badass. If you start in a very real place, you can flower into the fantastical.
Did you know early on that Cera would be good as Pilgrim?
WRIGHT: Whenever people come up with suggestions of who it could be, I’m like are we reading the same books? I mean, shouldn’t he be like an underdog, physically? I read one thing on the internet where someone said Chris Evans would be better as Scott Pilgrim, and I thought, really? The whole thing about casting Scott Pilgrim vs. Lucas Lee is that you’ve got two levels … I mean, immediately the thing that comes to mind is who wouldn’t want to see a fight between Michael Cera and Chris Evans? That to me is a lot more intriguing and funny than to have someone who’s like a hottie or a hunk. It didn’t make much sense to me, really.
Everyone else we talked to said, “We stay close to the books. We stick to the books.” You don’t have a book yet. There is Gideon’s malevolence throughout the book, so have you drawn from that, and how much do you know about your character?
WRIGHT: Well, Bryan did a thing for everybody on this film which was good for us and was really good for the actors, is that he did ten facts about each character. But in terms of Jason’s stuff, we had what we’d written already, and then in terms of back story, it was something that was just developing or based on certain people and things that Bryan was still working out.
SCHWARTZMAN: I did talk to Bryan. I had some good phone conversations with him and he gave me a lot of really good advice about the character. And he said something to me which was nice. He said, “Hopefully I’ll learn something about the character too from you guys.” So it kind of worked, he’s like, “I’m still trying to figure it out too, because I’ve got a little ways to go on him.” So it’s nice. My character actually is alive and is still being figured out.
WRIGHT: One thing that’s been developing through this film which is funny, even in the last couple of days, is that Jason, no matter during the terrible things that he does, he still remains very likeable. And even Bryan mentioned the other day, he said, “I feel like I like Gideon too much. Even after he kicked that lady in the tummy.”
SCHWARTZMAN: She deserved it.
WRIGHT: But I like the fact that he’s kind of like that. He’s got to be a charming baddie. He’s at the top of the pile.
Michael, I was wondering, this is a very different character for you. I was wondering if that’s what drew you to the role. And also, Scott has a hyperactive energy to him, and I was wondering if you embraced that or went a different direction?
CERA: I can’t remember. We shot so much of this in the beginning of the year. I didn’t try to go against the energy in the books. I mean, I think I tried to do that, but I really can’t remember.
WRIGHT: I think one of the things that’s interesting, like– I was saying about that Bryan did those lists of ten facts about the character.
WRIGHT: And nearly all of Scott Pilgrim’s facts revolved around the fact that he believes he is the hero in his own movie in his head. And so I think that’s the thing, it’s sort of the character. Until the end, he doesn’t really think of the consequences of things emotionally. I don’t know. He’s like the center of his own universe until it comes crashing down.
Was it attractive to you to be able to come home and do something that’s such a specifically Canadian story?
CERA: Definitely, yeah. I love that about the graphic novels, growing up in Toronto. It’s going to be a really special movie for Toronto people, or Canadians in general, I guess.
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bonus two: posters!