There would be no "Baby Driver" without music, choreography and cars.
Writer/Director Edgar Wright's latest film follows Ansel Elgort as Baby, a young, introspective, spectacularly talented getaway driver who can’t do his thing unless he has the perfect tune queued up on his iPod.
TEXTING WITH "GUARDIANS OF THE GALAXY" FILMMAKER JAMES GUNN:
The movie that scared Wright the most was James Gunn's "Guardians of the Galaxy Vol. 2." Since the two are friends they played a cagey text game of Go Fish about what songs – or more specifically, what music acts – were in each of their films.
EDGAR WRIGHT: Earlier this year, before "Guardians 2" had come out, I suddenly had a panic, I thought, Oh, what if one of my Baby Driver songs are in Guardians 2?
So I texted him and we had this funny text conversation...where I said: Hey man I was just panicking that some of my Baby Driver songs are in Guardians 2.
And he goes, Well, do you have any ELO?
And I was like, No. Do you have any Queen?
He said, No. Do you have any Sweet?
And I said, No. Do you have any Barry White?
And he goes, No. I was going to use a Barry White song but I didn't. And I said, Well I'm using Barry White. Neither of us divulged what the song was... we just went back and forth, and then we figured out that neither of us were using the same songs.
WHY WRIGHT HIRED A CHOREOGRAPHER:
Wright didn't just want the music to be part of Baby's character, he wanted it to essentially provide the rhythm of the entire film.
EW: It was always the idea of this movie to make it an action movie that's completely driven by the music. So as well as having an amazing stunt department headed by Darrin Prescott, who was the second unit director and the stunt coordinator, we also had Ryan Heffington who is the choreographer for the whole movie.... Ryan will come up with a sequence based on my notes and storyboards, then he'll show it to me and probably Bill Pope, my cinematographer. In some cases, like the opening, this is one shot. So then you're looking to see where you can keep it interesting for the whole two-and-a-half minutes of "Harlem Shuffle."
SHOOTING THE MOST COMPLICATED SCENE ON THE FIRST DAY OF FILMING:
The most ambitious part of the film – that didn't involve a massive car chase – is the title sequence. Shot in one continuous take, the camera follows Baby has he goes to buy coffee while moving through busy city streets listening to "Harlem Shuffle." Wright shot it on the first day of filming.