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After leaving Joseph at an assisted living home with all of the money he earned from the heists to care for him, Baby drives to Debora's diner to pick her up, where an armed Buddy is waiting. Doc uses Baby as a getaway driver despite the fact he's literally only a teenager, or at least in his early 20's. Baby shoots Buddy and flees with Debora as the police close in. When it works, the allusions give you a contact high, like when a friend turns you on to a favorite movie.
It's a lot of fun. Executive elements: Edgar Wright, Rachael Prior, James Biddle, Adam Merims, Liza Chasin, Michelle Wright. Notification of Changes Whenever we change our privacy policy, we will post those changes to this Privacy Policy page, and other places we deem appropriate, so our users are always aware of what information we collect, how we use it, and under what elements, if any, we disclose it. It's fun, wild, and a treat for viewers across the board. I mean, he's jumping from car to car. The characters, music and editing more than make up for it, though. Disgusted, Baby refuses to drive away, causing North to hit him. Retrieved Baby driver cast 1, 2017. Retrieved December 11, 2017. It's just so fascinating because in that job, there's process and learning the tricks of the trade and also the fallbacks of it. Baby chiede aiuto a Doc, che inizialmente si rifiuta per aver compromesso la rapina, ma poi baby driver cast di aiutare i due giovani spiegando che anche lui è stato innamorato in passato.
Elgort's charm is a key reason why his performance works so well, but he's hardly one-note. Retrieved July 1, 2017. Nella sua vita privata Baby si prende cura del padre adottivo Joseph, paraplegico e affetto da , crea montaggi musicali con le conversazioni dei criminali riprese con un e si innamora di una cameriera, Debora, con la quale riesce a stabilire una relazione. You can't help but play a little air guitar here and there -- but there's a dead body over there and you're gonna have to dispose of it.
Film Review: ‘Baby Driver’ - Wright has always been keen at finding the right songs for his movies, but he truly outdoes himself with Baby Driver, in which the music becomes a living aspect of the film and a character in its own right. With: Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Jon Hamm, Jamie Foxx, Eiza Gonzalez, Flea, Sky Ferreira, Lanny Joon.
He's backed by an all-star cast that includes Kevin Spacey, Jon Hamm, Jamie Foxx and Lily James. Wright and Elgort talked about why a bright red Subaru WRX is a star of the film, what the best technique is for drifting don't try this at home and why they were OK calling out Barbra Streisand. Here's an edited transcript of our conversation. Edgar, you first used the idea for the film in a music video you directed 2002, Why did you want to make it into a movie -- and why wait so long to make it? Why did it take 22 years to make a movie? I've never directed a major feature film, but I want you to give me millions to make a car chase movie. It actually ended up being a help to getting the movie made. Music is a huge part of this movie. You have at least 30 songs on the playlist. What were you thinking when you chose this playlist? Wright: If you've ever put your entire music library on shuffle -- the entire thing, not in genres -- you get these completely random sorts of collisions of classical music going into Motown or into punk. We're sort of trying to recreate the experience of that --I like a lot of different kinds of music. I think the most recent track is San Francisco artists Handsome Boy Modeling School, and that is, like, from 2002 or something. Can you tell us the story behind the song? Elgort : We were doing an audition, and Edgar had sent me the playlist of songs that were in the movie. He wanted me to get familiar with them and we sort of would dance around to them -- there is a lot of dance in the movie and movement and choreography. And we were trying out choreography. It can't be like some modern track or some dance track. It's gotta be something that's gonna fit with this theme. And I remembered that I know that song very well. It still is my karaoke song, actually. You can't help but play a little air guitar here and there -- but there's a dead body over there and you're gonna have to dispose of it. You call out Barbra Streisand. Wright: When I was writing the script, I was reading which is amazing. It has a lot about tinnitus in there. I was reading about Barbra Streisand and it said this thing which was basically in the script. So I wrote that into the script. Let's talk about cars and car chases. Ansel -- you said you have the red Subaru WRX you drove in the movie, but not the Dodge Challenger. For sure, I think I asked -- I'll take one of every car -- but they gave me the Subaru, which is an amazing car. It's a lot of fun. This is the millennial question: Did you own a car before that one? Elgort: No, I didn't, but I could drive. I drove some of my parents' cars. You took stunt-driving lessons for the movie? How good a driver are you? Elgort: I think I'm pretty good. I learned how to drive in New York City so you have to be really aggressive. So I'm pretty good at driving and then after all the stunt classes, I now have the bug and and everything. At my family house in Long Island, there are tire marks outside of my driveway from when I put on the e-brake and pull a 90 into the driveway. Elgort: Basically, you pull the e-brake so you're getting rear wheel lockup. And that's when you can slide the car around. So usually you're at like 30 miles an hour. And then it's just a little input with the wheel. If you yank the wheel, your car's going to spin out of control. But the whole point is it's a little bit out of control. So you can push the car to 90 degrees by just a little soft input, and then a counter-steer, and then you can steer out of it. You decided to make this musical-caper-car chase-American crime drama in Atlanta after giving up on California because you can't actually have a car-chase scene in London. Wright: Why are there more bank robberies in California? California is the state with the most bank robberies, and there are lots of bank robberies in Atlanta as well. It's because banks are right near freeway exits. In London, there is no freeway in the middle of town. So to rob a bank and drive off in London you'd have to be very foolish because there's no way to get out of London fast. Director Edgar Wright explains why it's best not to steal a conspicuous car when attempting to pull off a heist. Josh Miller But you didn't set it in California. You moved it to Atlanta, land of music and muscle cars. Wright: Atlanta initially was a practical thing. Los Angeles or even San Francisco is prohibitively expensive to shoot in these days. It would be great if the tax breaks change. I'd love to make a movie in San Francisco. What ends up happening is you get movies that are set in San Francisco but they're shot elsewhere like Vancouver or Atlanta. When Atlanta came up, I thought, I don't wanna shoot in Atlanta unless I can set it in Atlanta. I had already been there a bunch of times, but then I spent time just focusing on what might actually be in the movie. And to my pleasant surprise, I realized this is actually the perfect place to do it. So that was great.. How complicated was it to shoot the choreography for the car chases and time it to the music? Wright: It's a lot of hard work to make something look effortless. Because we had the songs worked out before, we could prep everything down to the millisecond. You would know how long these car chases were going to be: This song is five minutes long, this song is two and a half minutes long. So you kind of cut your cloth to fit your sequences. We did every amount of prep that you could do. It's like storyboards, rehearsals on video, rehearsals with the cast, stunt driving rehearsals and stuff. You wanna get to the point when you're just shooting and there's no discussion about how are we gonna do this, or what are we doing, or what the tone is. I'd like to do as much prep as possible, so that when you're actually on set, you are just shooting for 12 hours straight, which is basically what we do. How will self-driving cars change car chase movies? Would you do one? Wright: I think that would be boring. What was that movie I saw yesterday? I think it's going to be dope. Wright: But it's only exciting if the human takes over the self-driving car. I mean, he's jumping from car to car. Elgort: I can't wait for self-driving cars. I can't wait to get in an Uber and not have to deal with some human being. It's going to be the greatest. What did you think of when you first read the part of Baby, who's part of a crime gang but isn't really a criminal? Wright: He thinks he's not a criminal. Elgort : When I first read it, I definitely felt like he was a great character and different than me in a good, challenging way. He drives because he loves to drive and has been driving ever since he was a kid. You learn early on in the film that he lost his parents at a young age in a car accident, and that's also what gave him his tinnitus. So ever since then, he's become obsessed with driving and obsessed with music. It was like a game for him to drive the wrong way on a highway with his brake lights disconnected and with no lights -- to bait cops into chases and never get caught. I think with the robberies, it's also kind of a game to him, but you learn that he's not in it because he wants to be. He's in it because he has to be. He enjoys it when everything is good and no one is getting hurt. But as soon as people start getting hurt he definitely does not enjoy it. Edgar, you've said you talked to ex-cons to help you plot out this movie. Wright: It was something where -- as an English middle-class guy -- to make an American crime film, I wanted to authenticate it. So I spent quite a lot of time talking to ex-cons and some FBI guys, but mostly ex-cons, people who have done their time. It's just so fascinating because in that job, there's process and learning the tricks of the trade and also the fallbacks of it. I talked to them very generally about the profession and then also very specifically about things. Interviewing those guys you get so many great stories. I already had the structure of the script. But it was so fascinating to talk to these guys. And he's in the film playing a security guard in one of the bank heists. He was an amazing person to have around. There are tricks to stealing the right car for a heist. Can you tell us about that? Wright: The main thing is to steal cars that aren't conspicuous. The truth is, most of these things have to be dumped. For most bank robberies, you need two cars -- one to do the job in and one to disappear in -- and both get dumped. They're stealing them usually on the day of the heist from a long-stay parking structure and then getting rid of them. So when you see action movies and people are driving the most amazing vintage Mustang or some muscle car that costs a quarter of a million dollars and it's lime green, that's not really what they would do in a real bank heist. With the exception of the Hellcat, which comes in at the end because that's actually one that they steal, we tried to use commuter cars or cars that blend in on the freeway. Wright : Like a sedan. I mean, it's like a secret rally car, but it's still a sedan. And in the movie, there's a scene where he gets lost amongst a bunch of other red sedans. There are three different makes, but they all kinda look identical in a wide shot. You've described yourself as a geek working in film. What does being a geek mean to you? Wright: I would just say I've never lost being a fan. I still pay to see movies. I'm not somebody who's tried to remove myself from the reason I got into movies in the first place. It's just being like a film-goer. I try to approach everything from a point of passion in terms of what movie would I want to see. You're not gonna make a movie or spend three years of your life doing something if it's not something that you, yourself. So I just have to approach the process being a film fan first. Josh Miller Ansel, you've done a couple of music videos. How much tech do you use to create them? Elgort : These days you can make things yourself so easily, whether it be music videos or music. I think we shot on an Alexa, but it's not that hard to edit something. You just do it on a computer and color it on a computer. It's amazing what you can do. Elgort: I loved the first scene right after the first chase in the movie. There is one long shot that's a Steadicam shot that's over three minutes long. It was so cool to be able to do a scene like that. We rehearsed it for a while. That was the first day of filming, actually. And I will always remember that. What's the next challenge that each of you want to undertake? Edgar, would you consider directing a Star Wars movie? Wright : I guess so, yeah. I have something crazy but I can't tell you. Oh no, you can tell us. You'll see at Christmas. Elgort: I don't know. So I don't know what I'm doing next. I want to work with really great directors and amazing cast members. I'm also currently putting out one single of my music every month. So that's keeping me busy and happy while I wait for the next right thing on the acting side of my career. How much of a techie are you both? Elgort : I would say I'm a little techie. I know a lot about tech music stuff. Edgar, you're an Apple guy. Is it true you have 32,000 tracks in your iTunes library? What's funny is I still use the iPod. I met somebody from Apple the other day, and I told him I still use the iPod Classic. I do like having a hard drive of stuff. I know streaming is sometimes very convenient. But when it's not convenient, it's so irritating. During the editing of the movie, I probably bought 100 vinyl albums. I just started buying albums, and most were albums I already owned. So I went backwards. Updated June 21, 2017 1:31p.