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About The Production
Producer Marc Platt was introduced to Bryan Lee O'Malley's graphic novel series when his colleagues Jared LeBoff and Adam Siegel brought O'Malley's first "Scott Pilgrim” book to his attention in 2004. "I was immediately struck by the buoyancy and vibrancy of the material and how it seemed to capture a moment in time and a generation of characters that were relatable,” Platt recalls. "They're living in this world that is part comic book, part ninja, part kung fu, part anime, part manga. Yet, at the heart of it are these appealing, accessible kids that you recognize, who have accessible and emotional journeys.”

Platt found the characters in O'Malley's comics so relatable that he believed they would translate well on film. He notes: "I was moved by the angst of Scott Pilgrim, his romantic yearnings for the girl of his dreams. He has to overcome challenges in order to get where he wants to go.”

Soon after they had seen Edgar Wright's first feature-length film, Shaun of the Dead, LeBoff and Siegel suggested to Platt that the genre-fusing filmmaker direct the material the team had optioned. Platt acknowledges: "I recognized immediately that the sensibility Edgar would apply to this material was a combustible combination. The moment he said he was interested, the excitement that I had over the source material quadrupled. He works harder than any filmmaker I know, and the work paid off because it's a complex film where everything has to dovetail into the next piece. Edgar has thought about every piece so it fits perfectly. He is meticulous in his preparation, inspires fun and loves the characters and the material.”

Co-writer/director Wright learned of the property in 2004 when O'Malley's first book, Oni Press' "Scott Pilgrim's Precious Little Life,” was given to him by LeBoff and Siegel at an L.A. preview screening of Shaun of the Dead. "It had only just been released, and these two enterprising fellows said it was perfect material for me,” Wright says. "The book then sat in my bag for at least a month of the Shaun U.S. press tour before I finally read the now-battered copy on a flight. I was thoroughly enjoying it from the first page but then was utterly hooked by the time it came to the scene where Scott Pilgrim receives a written warning of his impending death by e-mail. Even before I'd finished the first volume, I was trying to imagine how it could work as live action.”

Wright was impressed not only by the story, but by the video-game and manga iconography that O'Malley used to underscore the extreme emotions and melodrama the characters experience. He continues: "It actually reminded me of the TV series I did with Simon Pegg and Jessica Hynes called Spaced. I had longed to do something that took the magical realism of that show even further. I was excited to take on the challenge of bringing the books to life and some of the more insane action sequences to the big screen. I've always strived in my career to make comedy visually interesting, and this adaptation was the great chance to let my imagination run wild.”

Joining Wright in his latest endeavor would be his longtime producer Nira Park. The head of Big Talk Productions entered into her fourth collaboration with Wright on Scott Pilgrim vs. the World. "Edgar and I have worked together since the television series Spaced. To see the growth he's achieved from that show to his acclaimed efforts as director of Shaun of the Dead and Hot Fuzz has been astonishing. All of our projects have been labors of love, and Scott is the culmination of that partnership.”

Adapting the novels into a screenplay became a joint effort when writer/performer Michael Bacall joined the team to co-author the script with Wright. Bacall remembers the five-year-plus writing process that began before Wright shot his sophomore effort, the ac

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