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Ansel Elgort PRODUCTION NOTES “He’s a good kid, and a devil behind the wheel.” That’s Baby (Ansel Elgort), an innocent-looking getaway driver who gets hardened criminals from point A to point B, with daredevil flair and a personal soundtrack running through his head. That’s because he’s got his escape route plotted to the beat of specific tunes that go from his well-curated iPod straight to his ears, and which translate into expertly timed hairpin turns, gear shifts and evasive maneuvers that leave his passengers on the ride of their lives. Which makes BABY DRIVER, with its mixture of mph and music, the newest explosion of genre-crossing excitement from writer-director Edgar Wright, an action thriller unlike any other. Baby works for Doc (Kevin Spacey), a kingpin on a lucky streak of brash daytime bank heists, thanks in part to his faith in Baby’s auto acumen. Doc’s go-to professionals include former Wall Street type turned outlaw Buddy (Jon Hamm), Buddy’s young, lawless and scandalous partner in crime Darling (Eiza Gonzalez), and the impulsive, gun- slinging Bats (Jamie Foxx), whose suspicions about Baby – from his attitude to his aptitude – begin to create a dangerous rift in an until-then smooth-running operation. Baby’s outward appearance – the sunglasses, the aloofness, the ever-present earbuds -- may suggest a kid in over his head, but his catch-me-if-you-can skills are second to none. And yet the encroaching demand for his talents, and what he’s doing with them, begin to weigh on his sense of right and wrong, especially when he falls for a sweet, kind-eyed diner waitress named Debora (Lily James), and a doomed job threatens his chance at love and happiness away from his perilous profession. 1 Full of reversals, rewinds, fast forwards and heart-stopping skips, and inspired by the types of crime-and-chase movies that have thrilled moviegoers since Steve McQueen in a revved-up Mustang changed car pursuits forever, BABY DRIVER is a game-changing, lane-changing, hard-charging blast only Wright could have dreamed up. Written and directed by Edgar Wright, BABY DRIVER is produced by Nira Park through her Big Talk Pictures, and Working Title principals Eric Fellner and Tim Bevan. Executive producers are Edgar Wright, Adam Merims, James Biddle, Rachael Prior, Liza Chasin, and Michelle Wright. BABY DRIVER stars Ansel Elgort (The Fault in Our Stars), Kevin Spacey (“House of Cards”), Lily James (Cinderella), Jon Bernthal (“The Walking Dead”), Eiza Gonzalez (“From Dusk til Dawn”), with Jon Hamm (“Mad Men”) and Jamie Foxx (Sleepless). For the creative production team, Wright assembled a high-octane team of collaborators both longtime and new. Emmy®-nominated director of cinematography Bill Pope (Scott Pilgrim vs. the World, The World’s End) joins fellow Wright regulars production designer Marcus Rowland (Shaun of the Dead, Scott Pilgrim vs. the World, Hot Fuzz, The World’s End) and editor Paul Machliss (Shaun of the Dead, Scott Pilgrim vs. the World, Hot Fuzz, The World’s End) and Jonathan Amos (Attack the Block, Scott Pilgrim vs. the World), and first-time Wright collaborators including costume designer Courtney Hoffman (The Hateful Eight, Captain Fantastic), visual effects supervisor Stuart Lashley (The Danish Girl, Mirror Mirror), and second unit director and stunt coordinator Darrin Prescott (Captain America: Civil War, John Wick). A TriStar Pictures and MRC presentation, the film shot was shot in and around the city of Atlanta, Georgia. BABY DRIVER has a running time of 1 hour and 53 minutes. 2 WHO IS BABY DRIVER? Cool but a little naive. Young but with an old soul. goofy at times, but all business when it counts. Thrillingly good at his given task, but not always aware of the consequences of what he does. That’s Baby, played by Ansel Elgort, a character Edgar Wright created as a way for moviegoers to live vicariously through a criminal, but also experience the very real fallout of that world. “The movie is structured so it opens with the dream of being a getaway driver, and very quickly turns into the nightmare of being a criminal,” says Wright. “The opening chase is sort of positioned as a clockwork act of precision. Everything goes right. Then very quickly, with subsequent situations, things start to go wrong, and very visceral consequences start to bear down. The storm clouds have been gathering during the movie. At some point, Baby’s luck is gonna run out.” The Baby we meet at the beginning of the movie – hidden behind sunglasses, dialed in to his iPod playlist, then a hellion at the wheel – is like the greatest gang apprentice ever. “This kid’s a hotshot, but he’s also on the fringes of the gang,” says Wright. “He literally sits as far away from them as he can, because he really doesn’t want to be part of the group. He thinks, wrongly, that he can be a getaway driver but not be a criminal Like, ‘I’m just the courier. I don’t have anything to do with the bad stuff.’ The action scenes are kind of like Baby’s day job, and I think a lot of people that work in a job sometimes shield themselves in a different persona. Then when they’re home, they’re a different person.” When Wright was dreaming up the role, he envisioned a riff on the strong silent type personified by Clint Eastwood and Steve McQueen, but with the tension that it might all be a front. “You meet him, and he’s a badass in his profession, and then immediately afterwards you start to meet the real kid. It’s an interesting dichotomy, that he’s really good at a job that he should not be doing.” The music that drives the Baby Driver is, to Wright, indicative of his twofold persona. Blasting his favorite tunes while he does his job looks cool, but it masks a defect tied to a tragedy. “He has this hearing defect, tinnitus, a whine in his ear caused by being in a car crash when he was young,” says Wright. “It has the effect of him not wanting to talk too much, because people with hearing defects can feel more self-conscious talking. But the other aspect of that is to listen to music, to drown out the whine. It becomes a security blanket, and then a full-blown obsession. He literally has to soundtrack his entire life because he can’t really do things without the right music playing.” 3 Baby is encouraged by his elderly deaf foster father (CJ Jones) to get out of his life of crime. Meeting the friendly, beautiful waitress Debora (Lily James) further articulates for him how misdirected his life is, and how much better it could be. But Baby has to make that leap, and cut ties with his profession. What will it cost? “I just like the idea of a character having to choose between what he does very well, and what he ultimately wants to be,” says Wright. STRAP IN, TURN ON, HIT PLAY Edgar Wright was himself a Baby Driver-ish 21 years old when he was listening to “Bellbottoms” by the Jon Spencer Blues Explosion and thinking, “This would make a great car chase.” Years later, Wright made his chase, and the movie around it, what he now calls “a labor of love and a dream project. Two of my great passions brought together in one movie. I always wanted to do an action movie that was powered by music.” With producers Nira Park, Eric Fellner and Tim Bevan on board, everyone was excited to take the cleverly crafted themes behind Wright’s action thriller and fuse them into one uniquely choreographed cinematic experience. “There might be music, and there might be choreography, but this is not your everyday musical,” laughs Wright about his upended, re-imagined heist movie. “At the same time, we had to maintain the right sense of tone that is both intense and suspenseful, but most importantly fun and exciting.” Says director of photography Bill Pope, Wright’s longtime collaborator, “It’s a postmodern musical. So there’s not singing and dancing in the street, but the world acts to music.” Known for his innovative films, Wright revels in challenges that lead to one-of-a-kind visions on screen. Continues Pope, “Edgar’s movies are always challenging. His movies are complex, especially this one in particular, where you don’t just have a bank robbery scene with gunfire and squibs and cops showing up on time and cars crashing. You have rain. You have lightning. And the kicker, it’s all set to music, so the windshield wipers act to tempo. People die to tempo. The gunfire is on the beat, and it’s all usually in one shot. And it’s daring to have all of that choreographed.” Choreographer Ryan Heffington describes the first day of shooting, which involved one of the largest pieces. “It was a street scene, where Baby would travel three blocks within the city in one take. We had to choreograph pedestrians. We had to choreograph café workers, children, dogs walking. It’s like this great play on reality, where it looks like a realistic scene, but everything happens to be in time and in rhythm.” 4 Says producer Nira Park, “The film is not just set to music because Edgar loves music. It’s a way of inviting audiences inside the mind of the main character, and to see the world through his eyes or ears.
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