#Baby driver soundtrack spotify movie
Calling it one of his favorite scenes in the movie, he says his goal was transforming “something that’s essentially a love jam and making it into something somewhat sinister and creepy.”īut on a more dynamic level, the song also serves to drive the narrative, adds Wright, who notes that it’s one point in the movie “where the lyrics are absolutely lining up with what is happening. It is a beautiful thing to be able to choreograph to.”Īlso a blast, says Wright, was working with Hamm and Heffington on a crucial scene involving Barry White’s “Never, Never Gonna Give Ya Up.”Īsked about it, Wright laughs. Wright had long been gathering what he called “songs crying out to have an action sequence built around them,” he says, the main requirement of which is music that has dramatic structural or tempo changes.Ĭiting “Hocus Pocus,” the 1970s rock song by the Dutch band Focus, which scores one climactic moment, Wright says, “That’s perfect for an action scene - he’s running and then hiding and running and then hiding again. “And, in turn, I can support that by giving movement that’s appropriate and making sure it happens with the same sense of feeling as what you hear.” “Edgar’s very great at extracting music that has super-strong moods, and I think that supports great storytelling,” Heffington says. Heffington says that in early conversations Wright was specific about the film’s style, including “that most of the action elements were in sync with the music.” Heffington’s role involved “articulating timing, as well as movement” of the actors and stunt people as a means of making what he called “dynamic choreographic sequences that didn’t really feel or look like choreography.”Įdgar’s very great at extracting music that has super-strong moods, and I think that supports great storytelling.Įven less outrageous scenes, such as Baby spending time in his apartment, involved what Heffington calls “storytelling movements.” Hired to manage this synchronicity was choreographer Heffington, best known for his work on pop singer Sia’s “Chandelier” video and Arcade Fire’s clip for “We Exist.” “Baby Driver” is his first feature-length project. Wright explains: “You might pull up in your car outside somewhere and wait for a song to end before you get out of the car, or those little miraculous moments where life syncs up with your soundtrack.” Rather, “it was something that I knew was about people’s relationship with music, because I think of what Baby does 24/7 is what a lot of people do in macro on a day-to-day basis.” In his review, Times film critic Justin Chang celebrated Wright’s style, writing, “The gimmick here is so good that I actually wanted more of it: more killer tracks, more death-defying car-eography, more chase scenes shot to look like renegade Uber commercials.”ĭespite the chase-driven plot, Wright says he wasn’t interested in making a straightforward heist movie. The result is a relentless ride that’s as sonically inspired as it is visually.
multi-hyphenate musician Beck, old school rapper Young MC, Dutch yodel-rockers Focus and a few dozen others.Īdded in are bits of original score by composer Steve Price that serve as a kind of cross-fader connecting songs.
The solution: iPods, ear buds and a nonstop playlist that includes rock band Jonathan Richman & the Modern Lovers, soul singer Carla Thomas, L.A. That chase and song open the film, synchronized in part through movement guided, like the rest of the film, by Los Angeles choreographer Ryan Heffington.īaby’s tragic past includes a ring in his ears that requires perpetual music to drown it out. Then that became the idea: ‘What if his character has to listen to music all the time?’”
“And that became the idea of the perfect getaway track. “I thought, ‘Well maybe this is about the driver actually playing the song within the scene,” he explains. Over the years, as he made “Shaun of the Dead,” “Hot Fuzz,” “The World’s End” and other movies that attracted devoted fans, the idea started to take shape.
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