Edgar Wright’s latest film Baby Driver is fueled in large part by music, but exactly how that music functions in the film is now the focus of a new video. The insider’s look (above) is part of a promotional campaign that not only has included a variety of videos and artwork, but also a brief press tour that has taken Wright to Washington D.C., Toronto and Chicago, all in an effort to screen the film and answer any questions that audiences might have.
Anyone who has followed the career of Wright will already know that his cinematic approach carries with it a variety of distinct stylistic elements – one of which happens to be music. Since first making waves back in 2004 with Shaun of the Dead, music has been as much a part of Wright’s filmmaking as have technical elements like whip pans and close up shots. But when all these tools are combined, audiences are treated to a unique experience that continues to make Wright one of the most visually and aurally enticing filmmakers working.
The above video has arrived courtesy of Edgar Wright’s Twitter account and allows for some great insight into how Baby Driver’s musical influences help fuel the film. The video’s two and a quarter minute runtime provides ample evidence of the soundtrack being more than a list of random songs that Wright simply enjoys. On the contrary, as Baby actor Ansel Elgort (Allegiant) states in the video, “The whole movie was actually written around the soundtrack.”
It appears that while writing the script, Wright was not just inspired by specific songs, but was actually prompted by them to create various scenes. Wright mentions the track “Bellbottoms” by The Jon Spencer Blues Explosion as being essential to having kicked off his writing process, thanks to its initial two-minute build before the song actually kicks off. The Hot Fuzz director saw this as the perfect way to build momentum for Baby’s getaway driving as he waits on a heist to be completed. When the song begins, so too does Baby’s adrenaline primed driving. With 35 songs to Baby Driver’s soundtrack, John Hamm (Minions) said that his copy of the script arrived with, “a little thumb drive with the music attached.”
The more we get to see of Baby Driver and the more we learn about it, the more sense it makes that music is such a huge part of the film. Even portions of the dialog rattle with a syncopated rhythm of their own, melding with the fluidity of both the performances and stunt work. If the trailers and clips are already this much fun, it’s understandable why advance praise for the film has been substantial. Those expecting a bunch of music in a run of the mill heist movie might be pleasantly surprised by what actually takes place on screen.
The summer movie season is tough – there’s no doubt about that. But so far Edgar Wright’s Baby Driver feels like it could be one of the standouts of what is always a very competitive time to release a film. Wright doesn’t seem the least bit concerned about this however, as his experience as well as inimitable style has always kept him on a different level as a filmmaker – let’s hope Baby Driver can live up to that wonderful reputation come June 28.
Source: Edgar Wright
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