In our first Crew Call podcast of awards season, we sit down with Baby Driver director Edgar Wright and his supervising Sound Editor/Sound Designer Julian Slater to discuss how they made the director’s passion project the visceral and aural experience of the summer — an original piece of IP that could be seen only in theaters and stood out among a sea of dusty franchises. Audiences recognized that, and fueled Wright’s car heist romance to be the highest-grossing title of his career at the box office with $107.8M domestic, $226.9M global.
Including Baby Driver, the duo have collaborated on six titles, along with Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. the World, The World’s End and Attack the Block. If you haven’t seen it, Baby Driver follows genius getaway driver Baby (Ansel Elgort) through three heists of increasing complexity, jobs which will pay off the debt he owes to kingpin Doc (Kevin Spacey). Baby has tinnitus and drowns it out by listening to an array of songs on his iPod, with each robbery timed to a specific song. Along the way, Baby falls in love with Debora (Lily James), a diner waitress who he yearns to live a legit eternity with. The TriStar Pictures/Working Title/Media Rights Capital movie is for consideration in all categories.
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