Driver, BABY DRIVER
Action is coming your way in the form of car chases. Edgar Wright’s Baby Driver had its world premiere at SXSW to a packed theater and you can now see its adrenaline-filled trailer below.
Ansel Elgort (The Fault in our Stars, Divergent) plays the young innocent Baby, a rebel with mad driving skills. Elgort’s Baby is the getaway driver for a crime boss (Kevin Spacey) who taps various criminals to pull off high-stakes heists. Each job becomes more intense than the last, and the chases more outlandish.
Baby Driver is an homage to the ’70s car chase movies of Walter Hill, whose voice can be heard in the movie. The music-fueled action movie is the first film Wright wrote by himself (he previously co-wrote features he also directed including Scott Pilgrim Vs. The World and The World’s End), and at SXSW he told the audience and the press that Baby Driver had “existed” in his head for 22 years. (via Deadline)
The official synopsis reads:
A talented, young getaway driver (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.
Spacey, Lily James, Jon Bernthal, Jon Hamm and Jamie Foxx also star in the TriStar pic, which is set to premiere on August 11 via Sony. The distributor unveiled the first trailer right after the SXSW festivities and Q&A.
“I was just listening through my record collection and I’d envision scenes,” Wright said tonight of how his movie came together. “I wouldn’t write scenes until I found the right track.”
In 2012, Wright did the first read-through of a draft screenplay with Hamm, the only actor from that year who remained on the project. “This is a departure from the films I’ve done in the past,” said Wright. “It definitely took the longest [of my projects] to write.”
Wright said he didn’t use CGI and only minimal green screen. He gave kudos to the stunt crew, though the filmmaker managed to get some off-camera action going as well: The director said he often strapped himself to the car during chase scenes in order to have better communication with the actors. “Once you commit to that, it’s a harebrained thing you just have to do,” he said.
Baby Driver shot in Atlanta, though Wright had written the screenplay with Los Angeles in mind. “I knew [Atlanta] had doubled for other cities before, but I don’t really like that idea,” said Wright. “I was adamant it had to look concrete. Atlanta is a leafy city and usually they’ll put you out on a country road for chase scenes. But as soon as you see trees, it looks like they’ve already gotten away. I wanted concrete.”
Check out the trailer below:
"With “Baby Driver,” Edgar Wright believes he has made a movie about music, about the way that some people absolutely, positively require music in their lives. But “Baby Driver” is actually a movie about obsession — a rowdy heist movie-cum-romance, to be precise — about a guy named Baby who has different iPods depending on his mood, who hardly ever takes his earbuds out, whose favorite singer was his mother (now deceased), and who falls in love with a diner waitress who reminds him of dear old mom. Like all Edgar Wright movies, “Baby Driver” is a blast, featuring wall-to-wall music and a surfeit of inspired ideas. But it’s also something of a mess, blaring pop tunes of every sort as it lurches between rip-roaring car chases, colorful pre-caper banter, and a twee young-love subplot — to the extent that the movie will resonate most with audiences that skew young, hip, and, like its helmer and its hero (the latter played by baby-faced “The Fault in Our Stars” star Ansel Elgort), more than a little obsessive." (Variety)
"A movie-as-mixtape with few slots available for catch-your-breath downtempo tracks, Edgar Wright's rollicking Baby Driver is a Gone in 60 Seconds for the La La Land crowd, a True Romance that relishes the long wait before its young lovers can finally go on the lam. A crime-flick love story as Pop-conscious as Wright's earlier work but unironic about its romantic core, it will delight the director's fans but requires no film-geek certification; given smart marketing, it should connect easily with multiplex auds." (The Hollywood Reporter)
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