I always thought there were a lot of martial arts films that were like musicals, so we wanted to take that further. [8], The opening title sequence was designed by Richard Kenworthy of Shynola, and was inspired by drawn-on-film animation. [5] O'Malley originally had mixed feelings about a film adaptation, stating that he "expected them to turn it into a full-on action comedy with some actor that [he] hated", though he also "didn't even care", admitting: "I was a starving artist, and I was like, 'Please, just give me some money. Wright said in the piece that he is "incredibly proud of the movie. [80] Churchill explained that "the software would convert these sound stems into animation data, so when the band is playing, the graphics and the dragons are moving in time with the music. However, season two will also delve deeper into Joe’s past so surely Beck is going to play a huge part in that? [46] Collider noted that the less-known actors fit their roles well, with Wright confirming that they did not have as much pressure to find lots of big names, adding that "Universal never really gave [him] any problems about casting bigger people, because in a way Michael [Cera] 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. "[10] Other influences on the screenwriters include musical films like Beyond the Valley of the Dolls, Dig!, and particularly Phantom of the Paradise. "[46] He also noted that while some of the actors were more famous when they auditioned, like Schwartzman and Evans, others became more well-known over the time the film was in development, saying that "Anna Kendrick did her first audition for it before she shot the first Twilight. [112], The DVD features include four audio commentaries (from director Wright, co-writer Bacall, and author O'Malley; Wright and director of photography Pope; Cera, Schwartzman, Winstead, Wong, and Routh; and Kendrick, Plaza, Culkin, and Webber); 21 deleted, extended, and alternate scenes, including the original ending (where Scott ends up with Knives), with commentary; bloopers; photo galleries; and a trivia track. When Universal Pictures started the promotion cycle for. When Sex Bob-Omb plays in a battle of the bands sponsored by record executive Gideon Graves, Scott is attacked by Ramona's ex-boyfriend Matthew Patel. [71] Envy Adams' film fashion also reverse-influenced the comics: the last graphic novel was in development while the film was being made, and O'Malley said that though he "would try and distance [him]self from [the actors' interpretations]", he also "gave Envy Adams one of Brie Larson's actual outfits" in the comic. And that's kind of how this works where 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. "[81], The brief also requested that the opening sequence not use any of the comic artwork, to not spoil the film, so Kenworthy pitched "an 8-bit epileptic eye-fight" and created a mood film using geometric patterns and visual effects from manga; Edgar Wright requested that it should have less overt video game references. [67][69] Brie Larson, who portrays Envy Adams, said that she "had no idea [her] body could move that way" when talking at the UK premiere about her stage performance of the song. [81] Wright provided musical references as well, saying that they "wanted to visualize the music and have every graphic, symbol, and subliminal image in time with the music — a hypnotic barrage of colour, light, and music. [12] In terms of form, Bodner writes that Wright transcodes the "construction of comic panels" into the film; Wright himself has said that "a lot of people have mentioned [...] how it feel[s] like reading a comic book",[12] a sentiment echoed by Zeitlin Wu. It was shortlisted for the Best Visual Effects category at the 83rd Academy Awards. (Interview with Edgar Wright, Oscar Wright & Richard Kenworthy), Comic Con 2010: Scott Pilgrim vs. the World Panel - Part 1, Comic Con 2010: Scott Pilgrim vs. the World Panel - Part 2, Comic Con 2010: Scott Pilgrim vs. the World Panel - Part 3, Black Sheep (Scott Pilgrim vs. the World Comic-Con Performance), Yubari International Fantastic Film Festival, Scott Pilgrim vs. the World (soundtrack) § 2020 re-release, Academy of Motion Picture Arts and Sciences, List of accolades received by Scott Pilgrim vs. the World, Lund International Fantastic Film Festival, "DVD Review: Scott Pilgrim vs. the World", "CCI: Cast & Crew React to "Scott Pilgrim" screening", "Scene Stealers: Brie Larson in Scott Pilgrim vs The World", "Lil Uzi Vert channels Scott Pilgrim on new 'Lil Uzi Vs. [83] Art of the Title describes the sequence as "visual napalm",[81] with Bleeding Cool saying it is "quite wonderful". [14] Wright said that O'Malley was "very involved" with the script of the film from the start, contributing lines and adding polish. [160] In 2020, Evans compared the fans of Scott Pilgrim to those of the Marvel Cinematic Universe, saying they were just as rabid and dedicated;[50] in February 2020, reviewer Alani Vargas wrote that "it might not be so 'cult' today; if you bring the movie up to anyone now, odds are you'll get a very enthused response to it". Outside the convention hall was also a 'Scott Pilgrim Experience' fair, which included merchandise and copious free garlic bread. We got excited about projecting such vivid imagery on the big screen, in front of an audience who most likely hadn't experienced that work. In his chapter, '"Scott Pilgrim Gets It Together": The Cultural Crossovers of Bryan Lee O'Malley', Mark Berninger calls this reveal "an ironic reference to the specific filmic location" and says that it is "entirely in line with O'Malley's use of metafictional commentary to stress transnational hybridity precisely by highlighting Canadian identity". And there was Ray Charles' piano in the room", explaining that the musical history helped him to finish the recording. [87], Like The Clash at Demonhead, the other band names reference video games: Sex Bob-omb to the Bob-ombs in Mario franchise games, and Crash and the Boys to a game called Crash 'n' the Boys: Street Challenge. [50], The film was shown at the Fantasia Festival in Montreal on July 27, 2010,[92] and was also featured at Movie-Con III in London on August 15, 2010. It is, in fact, two or three too many. [81] As with traditional drawn-on-film animation, Kenworthy traced and painted the images. [70] The music journalist Janelle Sheetz wrote that "Larson's performance is similar enough to [Haines's] but with an attitude appropriate for [Envy Adams]". [61] Routh spent "three or four months" learning to play bass for the film. And for that matter, it's better than most movies not on this list"; he suggested it suffered at the box office due to poorly executed marketing and people becoming sick of Michael Cera.