Ep34 - Edgar Wright / "Baby Driver"

voice involved, and that too, is no easy trick. Edgar Right is here to talk about that, his new movie, Baby Driver, and a whole lot more. Edgar, thanks for coming on today. Thanks for having me. Chris. I say that having a clear voice as a filmmaker is no easy trick because it's kind of I think it's something that you have to work at. You have to fail, you have to stumble, you have to hone it, you know, so it kind of takes screwing up to find your way in my opinion. Uh so I kind of wanted

to start there, let's talk about your failures. No no, no, but but actually early on, just when you were kind of trying to find your voice, maybe before you made a feature. Can you recall any of those early pitfalls that started to point you in the right direction? Well, funny enough, I mean, I did you know, Like, um, I felt like I sort of stumbled out of the gates straight away because although I feel quite much more fondly about it now, but I made a film when

I was twenty years old. The Shot of the Dead is not my debut. And I made a film when I was twenty which was actually reviewed in Variety, which was actually when it was reviewed in Variety, I felt like, oh, this means it's like a profit film. It was called a Fit for the Fingers, and it was like a goofy, like zero budget western that I made on sixteen mill on the budget of like twenty grand, you know, the

same as like a low budget music video. Shot an entire feature on that I say in feature in inverted comments, because it is seventy eight minutes long, and even at seventy eight minutes, it's kind of pad out, padded out, with a long credit sequence and a long end credit sequence.

And it was actually something that one of the there's things that happened on that movie that have like sort of like you know, basically sort of dictated my working methods to the rest of my career because, um, I prior to that, I just I got my I just used to make sort of amateur movies like on Super eight. And then when I was actually sixteen, I want to I want a video camera on national TV in the UK.

I want a competition through comic relief. Then when I had this video camera, I went sort of like just making movies all the time at school. But you know, I was like the sort of when I was doing my own movies, I was like shooting them. I was operating, you know, and never that great at light lighting or not. You know, sort of like but I was basically like

the only person behind the camera. It was like sort of directing it, shooting it, sometimes holding the boom at the same time, um, and then actually doing my foot And I went to our college and then sort of got this meager amount of money together. Although when you're twenty years old, twenty grand is a lot of money. Um, so you've got this money together to make a sixty

mail feature. But you know, it was the first time I really working with the crew and first time sort of delegating the sort of some of the artistic um work at other people, and it was just just sort of real lesson in terms of like working with a crew and also just having to sort of get your vision across to other crew members. And you know, it was a movie that we made. I was shot in the summer of ninety four. We had no video assist

and we had no dailies. I think we had dailies once in the entire shoot because we couldn't afford it completely fine blind. So sometimes when you get into the edit suite and it's like, oh, every take is soft, okay, so I guess this shot is not in the movie, or like there's some like action shot, there's like one

take of it. And at one point, actually it was so low budget that I became the assistant editor on my own movie because we couldn't people were just working for nothing, and I was there every day, so I was like, well, why don't I be the assistant editor? And then you know it would be things like you'd like. I moved to London to edit the movie and and the editor was actually um we I say we edited

at PYM with studios. UM. Now that sounds kind of fancy to be editing at Pima Studios with your first movie. But the reality of it was this, and we were not there legally. We were there sort of like sneaking in and like editing in a broom cupboard, like somebody in the post production department let us have this broom covered.

And my editor was actually sleeping there at night, so come like nine o'clock when the security guards were going around, he'd get in edit, sleep overnight and have like a torch in a book, and I'd see him again in the morning. And he'd like to do that five nights a week. So he was pretty crazy and it was like a I mean, so the thing that I really love with that movie is that I basically ended the movie. I just didn't have enough coverage. I didn't, you know.

The assembly edit of the movie and the assemble editor is when you put every scene at it's maximum length that it could possibly be with every take. So most films like as as for example, say for example like Hot Fust, the assembly edit would probably be like two and three quarter hours long, like a good forty five minutes longer than the finished film, and then you cut it down. But that the assembly edit of this Finger is at its longest possible that it could possibly be

with seventy two minutes long. And then I realized we had a problem, and like, and I remember, like, I drove my producer, a guy called Daniel Faguero, was so mad at me because I called our one investor, who was a local newspaper editor who you've seen some of my amateur movies, and gave me twenty grand to lose on it. He had money to lose on the tax loss, and then my film was the tax loss. Um. I called him up and I told him exactly what I

thought of the film, my own film, you know. So I completely freaked out the investor cause I said, I think it's not good enough. I don't think it's kind of like you know, like it's it's it's too short. We should shoot some more stuff. I think it's a disaster. And when the producer found out that, I called the investor and said that, he was so furious at me. But then it's completely backfired on me because then the investor,

whose name is Mike, came to London. He was he was from my hometown in Somerset, and he came to London where we moved to edit the movie, so you know, well, this is this is what happened. This is where it really backfired on me. The investor watched the movie and he says, I think it's great. So then I was like, screwed it, Like no reshoots, no additional material, got to

try and make it wherever I have. The thing that it did teach me that it was like, gotta have coverage, over shoot, yeah, I mean over shoot or just make sure you can't pace anything if you don't have the shots. You know, and I do a lot of setups in my movie, but I don't but there's very rarely and if you ask anybody who works in the movie, there's very few shots that are not in the movie. It's not like I'm shooting fifteen cameras and you know, you figure it all out in the edit. It's like usually

like one or two cameras. Sometimes in an action scene, maybe three or four, but that's it. Pretty much every setup is in there. There's really like a lesson alert on the first film is that you cannot pace a film if you don't have the shots. And I was left with this kind of rough cut which I had to release because I had nothing else to cut two. I had no way of pacing it up, and I think I've kind of overcompensated for ever since. Well that's good.

You gotta take something away from that. And it sounds like it was fine the way, and I'm sure you had a blast making the movie. Some terrible reviews for that movie. Empire gave it one star. All the variety variety of it was pretty good. Thank you, Variety said, right, shows promise, so thank you Variety. Here and here twenty

two years later to make good on that promise. Bruce Campbell was here one time and he was talking about the review for I guess he was talking about Evil Dead and he was like, you know, to them making it was getting in variety, like oh, we wanted to get into variety. And then they reviewed the movie and it was a pan and he was like, oh, really want to be in variety. But talking about that voice, um, do you find that you have to fight to maintain

that voice? I mean, I think you've had great production partners on your films, but you still wonder when you have a voice so specific, so so clear, if it's something that the artist has to fight for a lot. Well, I think anything any any like original movie or anything that's like, you know, not previous I p or like

it's not a franchise or something. If you're making any kind of original movie, just the very act of getting it made is like just about persistence of vision, because there's no like, um, you know, it's not any no original film is in the release calendar. It's like something that's like you know all this, you know, everybody's hoping it might be good. And I think I've been lucky in the like, um, you know, I've been I've stuck

with pretty much the same producers throughout. Um, I mean, Nira Park is my producer I've worked with since Spaced, and then Eric Fowner has produced four of my five movies, you know, and and for the most part, like there's been some kind of continuity and four movies with the Universal. This one is with like try Starr and MRC. But like I have the same producers. That's always great. So having like sort of you know, Nira and Eric as

a team is obviously incredibly important. And I think it's just about what those guys do is kind of protect your process. If there's a sort of way that you work that's not like other directors then they're there to kind of protect that. I mean, it still means that you always have to sort of even like six films in, you still have to defend parts of what you do. It's like, oh, this is the way I want to do it, and this is how I do it, and

this is the way that I work. Um, but I think anything any you know, I think I've been really inspired actually by other directors who I feel like sort of um, you know, sort of double down on their own style or they're just, like I said, a persistence division. I feel like that with Quentin Tarantino and Where's Anderson especially, I always felt with like Were's Anderson like sort of this sort of like this, you know, it's something that he can he can see this thing, and he's going

to keep sort of powering along with it. And then you know, like I think eight. I don't know what grand Brida Pesto tells his seventh film or a film or sure, but like as biggest it, you know, and and seemingly, if you just looked at title and synopsis alone, seemingly the most esoteric and idiotsyncratic and it's like massive

worldwide hit. So I find those things incredibly inspiring, and I find like sort of you know, and in funny enough, I worked on Grindhouse with I did a tiny part of that with like don't my Finest seventy five seconds.

But you know, it's interesting on that because that was I knew, you know, sort of got to know Acquintin very well at that point and seeing him, you know, take responsibility for its failure and also recover from it and then kind of rather than sort of retreat and do something safe, actually kind of then make one of

his most ambitious films. And that incredibly inspiring. Is that sort of this is the thing, like, you know, rather than kind of like sort of retreat from it, is actually saying, oh, I'm actually going to like sort of now now I'm going to like sort of attempt my most ambitious movie, Lori's Bustards. So I think that's the thing with a sort of anybody making the original films, you know, I really changed my sort of attitude to sort of them, And never on in social media, I

never ever talked about um anymore. I never talked about films being bad UM because I think once you start to sort of make them, you realize that nobody sets out to make a bad movie and that you know, and and it was a little bit of empathy goes

a long way. Yeah, I mean it's just it's just, um, especially with any original movie, it's like sort of like I think, you know, you're always rooting for them because like when those things kind of like sort of breakthrough, it's it's, um, you know, it's good for the soul, and it's also good for the future of cinema, you know. Yeah, Um,

your movies tend to be, you know, modestly budgeted. Uh. And I want to talk about Scott Pilgrim, which was and maybe combined all of your other movies combined, maybe this movie cost about what those costs together. It was like something eighty million, big budget, big scale. Um, it didn't work at the box office for whatever reason. And I'm sure you've post mortem to this thing to death, But I did want to talk about a little bit because, as you consume, I'm kind of curious about lessons learned

along the way. So what have you taken from that experience? Sense, Well, it's a it's a weird one that because you know, the only real thing to take away from it, I'm very proud of the movie. There's a couple of things that I change about the movie, but not much, and I definitely wouldn't change anything about it with the way

that it looks or sounds or feels. I think actually that's one of the things that I'm like sort proudest of is that he was like a studio movie that kind of that doesn't really look and feel like anything else.

I think that sort of the topest thing with that is actually where you just in the marketing and I don't mean, and I'm going to be very clear about this, is like even just being on the press tour for that movie, you're sort of like aware that, like if a film is difficult to distill into one sentence, you know, like when you watch a film in a hotel and it's got like the one sentence that describes the movie, and it's the sort of the film, but it's kind

of like most simplistic description, one sentence synopsis the TV guide blur, yeah, exactly, and Scott Pilgrim can never comfortably fit into that. And I always remember doing the press tour for that movie, and at the start of the press tour, you know, people would say, so, how would you describe Scott Pilgram And I said, well, you know, it's like an action and fantasy, romance, martial arts comedy.

And I could always feel the more i'd say that, I could always feel in my head that once I said two genres were like a buzzer was going off, and then by the end of the press tour, I was just saying it's an action company because I think and so people are somewhat confused about what exactly is. So it's that's it's that thing that I think. It's unfortunately like a sort of slightly in nature of the businesses that um, you know, like people want people want

something fresh. People don't don't want the same old thing, but they want to be somewhat kind of like grounded in something that they recognize. And I think, you know,

there was one thing. I mean, it didn't really affect the writing of Baby Driver, but it was something that when it came to the marketing, you think, oh, well, the good thing here is that we have like lots of marketable elements and then the sort of the stylization and the stuff that's a bit more cutting edge and original is like is um, you know that they are they are like complimenting each other where I think with

sort of Scott Pilgrim. You know, when they cut a trailer together and I thought, actually the trainer was really good, I got to say, but you could sort of tell that some people would watch that and say, oh my god, best film ever, and other people are like, what is that Like audience is saying, and a multiplex seeing that trailing guys, I don't understand what this is. I mean, it's interesting though. What's funny is that I think people over the years I always want me to throw marketing

under the bus, which I always refused to do. And one of the reasons for that is that Michael Moses a universal I know that it was like his you know, he regularly said, he guess this is one of the favorite films I've ever worked on it. He was them. We talked on the Carma car and I mean they were they were trying, they were trying some interesting things with them. Well, he sent me this really funny email. And the Monday morning after it came out, Um, he sent me this email and it just said It had

just three words long. It just said yeah, it said years, not days, which I was very happy with because I thought I felt the same way. And I mean it's if it's a you know, um, I mean the thing about it that's nice, I guess is that like and it's funny. I remember Ron Meyer did that speech. Remember when Ron Meyer did this speech at like a film festival where he savaged the Universal Slate. You remember that? Yeah? Yeah,

And somebody sent me a link to the story. I think it was on like in Variety even said Ron Mayer savages Universal Slate. As somebody said, if you read this, And as soon as I saw the link, I was like sweating. I said, oh God, like um, and then what was funny? And I don't really want to mention what the other films are because some of my friends

directed them. But he's sort of savage, like a bunch of movies said, Oh, this movie is like mediocre, this movie last too much, this movie was terrible, didn't deserve to do well, he said, Scott Pilgrim, that was a good film that deserves to do better. And I was thinking, oh my god, and I email would like run Mayer and I said thank you for thank you for letting me off the hook. And I said something I said hopefully in thirty years time, it would have done enough

midnight screenings that it will be in the black. It has been. I mean, it has the measure of something that in terms of being like a catalog title for the studio, is how many times has it been reissued on Blu ray in different special editions? And the answer is a lot of times. So maybe at some point in the future Scott Pilgrim will be you know, like Rocky Horror or something will be one of those films. It's like Scott pil was in the black in two

thousand and thirty seven. Movies like that have a life that the for extends it's box office life. So yeah, right, that's not something obviously on our business side. That's not something to aspire to because when nobody sets out to make, you don't set out to make sort of you wanted to do well, you know, straight the back, but you realize that how many of your favorite films you look back and you think, oh, I guess, like the Thing didn't do that well. You know that the Blade Around

I didn't do that well. So like, I mean, I'm not paying my Scott Pilgrim and Blade Around It on the same sort of pedestal. But it is that thing where you sort of realize that like when you sometimes actually a lot of films when I was growing up that I really loved, you know that you have no idea how they did, do you know what I mean? Um, And I don't know, So I'm I'm, I'm, you know, like sort of I don't know if it taught me anything. It's just the sort of that you need to um

for some audiences need to be a bit more grounded. Um. You know, you came out of that experience and into what would become another you know, I guess harrowing might be the word. Experience with Marvel and ant Man and trying to make that work with Marvel. You've been working on that before the rowing. It made the wrong word being on heroin or something that's the wrong word. But you know, just looking back at that experience with Marvel with some distance, do you feel like still there was

absolutely no way forward together on that project? Well? I think the thing is is that, like I well, also I did make another film in between actually, and you know I made the World's Ending between Scott Pilgrim and

an air man or rather not a man. So um, I think the thing that is the most diplomatic, you know answer is that, you know, I wanted to make a Marvel movie, but I don't think they really wanted to make a right movie, or you know, I think the thing is what kind of happened, and it was it was a really heartbreaking decision um to have to walk away after having worked on it for so longs

me and Joe Cornish in some form, you know. I mean, it's funny like so people say, oh, they've been working on it for eight years, and that was somewhat true. But in that time I had made three movies, so it wasn't like I was working on a full time. But after the World's End, I did work on it

for like a year. I was going to make the movie, but then you know, I was the writer director on it, and then they wanted to do a draft without me, And you know, having written all my other movies, that's kind of like it's like a tough thing to kind of move forward thinking. And you know, if I do one of these movies, I would like to be the

writer director. Being suddenly becoming like a director for higher on it, you're sort of less emotionally invested and you know, it's sort of sort of you know, you start to wonder why you're they're really I mean, the good thing that came out of it is that like I got to kind of like move on to this, which is a script that I had already written. And the maybe one of the irony is about it is I had thought in the back of my head, I thought, well, you know, if the Marvel movie does well, maybe I

have enough muscle to get Baby Driver made. And so it's I running. I guess I didn't make that movie and I got Baby Driving made ran with the studio, which is I think the original movie is very rare. And the other important thing for me is the people, you know, like almost the entirety of my crew who are going to do that movie sort of left in solidarity. Um, and so it's really important to me to get another film going so I could kind of re employ them all.

So the funny thing about Baby Driver is it it pretty much features all the h O d s who were going to do the other movie with me, department for heads, department, head to department, and a variety listeners. I understand that one uh and then the last question along these lines I don't mean to be labor this, but I just what I'm trying to do here is is make it clear where your headspace is. When you came into Baby Driver, which is my favorite movie you've made,

Oh thank you. So just to lift your spirits a little there, it's kind of turned to a real buma. But just out of curiosity with with your experience on Aunt Man in Scott Pilgrim, have you become at all trigger shy about scale of that sort? Um? I don't think so. I mean I think something that like um, you know, I think I think the thing is is

always I mean I take a point of pride. I mean, even with something like Scott Pilgrim, which is like at a more expensive movie, is um with the funny thing is I think it looks more expensive than it actually was. You know, it was expensive, but I think it looks even more expensive than that. And I think that's true of like you know, Hot Fuzz, which costs like fifteen million, but people like you speak to people in this Hollywood

even the other day. I did a tenth anniversary screening of that with Jordan Peele moderator ten years ten years ago, I did a tenth anniversary at the Vista with Jordan Peele moderating, and he was like, how do you make that for fifteen million? And I'm start of looking at it saying, I don't know. I mean, I guess it's just like I mean, I think that's the true of most of them. Should the Dead cost four million, maybe four million pounds, it's like six million dollars and two

thousand four money Hot First cost fifteen. Um World's Inn costs like twenty seven you know, um and your baby Driver. I probably even the variety. I shouldn't disclose the budget, but I would say it looks twice as expensive as it was, So I always say that as a point

of pride. That's that's the important thing to me, is it's not I'd rather I think the thing is also once you get into like movies that cost two hundred million dollars, I think there's an enormous amount of waste going on, and I think, you know, one of the sort of problems with those with some of those movies is that they kind of shoot so much stuff that they don't use, and do so many of the effects that they don't use that you get into sort of

wasteful territory and much more like the big budget directors who are sort of very exact like Chris Nolan, I think, sort of like knows exactly where he wants to shoot, how he wants to do it, how much he wants to do in camera, and pulls off things like you know, sort of a budget you know that is is really impressive,

even if it's on a big scale. So I think with something like Baby Driver is actually something where it was when I first handed in the screenplay, um, you know, line producer looked at it and said, this is an eight day shoot, and then during that process is like,

could you do it in seventy days? And then it's like and there's like and I think, so the World's End was like a sixty day shoot, and I said, I can't do it for any less than sixty and I ended up doing in fifty seven, so I had to and I ended up like putting some of my feedback into it to pay for like two or three days of filming, because it's things like and you've seen the film, so it's like, you know, there's pressure to sort of make cuts and save money, and it's like

you should cut the foot chase out and I'm like, no, no, no, I can't cut the foot chase out. I swear it's going to be your favorite bit of the movie. So I ended up paying for some of the foot chase, and it is my favorite in the movie. Like I said, that's my favorite. You've done sofore, I thought it was just an exciting uh just it felt like you were having a blast making the movie. And I think that kind of thing shows in movies, where the filmmakers just

were delighting and putting it together. Well, it's the irony about that is like, is it is like sort of like a a real I mean, it's funny to sort of make a movie that's like sort of a it is a passion project. And usually is that people when they make a passion project, is something that's like sort of you know, very uncommercial in terms of its subject matter. But this is like a sort of you know, bank robbery,

highest car chase kind of movie. But it is literally like my two passions of like film and music coming together. I always been a huge music fan, and you know, some people see this film as a bit of a departure from the other ones. And the irony is is that I've had the idea for this one longer than like space, you wanted to do this for decades, I guess, yeah, I mean, but here's the thing, twenty two years ago.

So the German. The idea is when I heard the first track that's in the movie, which is Bellbottoms by the John Spencer Blues expression. So I'm twenty one years old, I'm living in North London. I'm sort of commuting by bus to Pine my studios to illegally edit my first movie. I'm I'm listening to that song and I'm visualizing like a car chase. I mean literally, I would listen to the song and say, this is a great car chase in a film. But you know, I'm twenty one. I

haven't really made a proper movie. Um, I don't have any money like so, I don't have any muscle like I've got a variety of review and that's it. Um uh more. I probably should have liked so I think on the on the basis of the variety saying I promising, promising, I should have just come out and taken meetings. But I did on a business card. I know I didn't.

I didn't I thought about that because I think of most people, some people would like go and like sort of like do a bunch of general meetings on the basis of that, but I didn't actually come out to Hollywood for another, like, you know, five years. Anyway, the point I was making was that like I've just been sort of building up to doing this film, and it

wasn't until like ten years ago. In fact, there's a Variety article about the announcement a Baby Driver from two thousand and seven, because I signed a two picture deal with Working Title in two thousand and seven after Hot Firs and the two things like mentioned as The World's End and Baby Driver. So the first time I'd ever like mentioned it allowed to Eric Fowner and Ira Park was maybe ten years ago and I said, I said, oh, I have this idea for this movie called Baby Driver.

And they said what's that And I said, it's like a car chase film, driven by music. It's like an and they said, oh, that sounds good, and every phone had just straight I said, I want to see you do a car film. I said, yeah, it would be like my dream to do like a car movie, but it's a calmly be powered by music. And he goes what is that a fact? He said, let me write it down cut to literally like two thousand and eleven. Um. You know, I didn't finish the screen play until I

was done with Scott Pilgrim. And so that's actually why I like did in that interim is the rather than after Scott Pilgrim. I wrote The World's Emiss Simon and I wrote Baby Driving on my own, So I had that screenplay a version of it, um. And I think it's also just the building up the confidence to actually kind of do it. I mean I couldn't have I don't think I could have made that movie ten years ago. Well, I was actually gonna say it's it's it seems to

be potentially your most logistically complex movie you've made. That could be false, given you know some of the stuff that's going on in Scott Pilgrim. But I just definitely on a location basis for sure, because like so if it's everything is in camera and everything is on the okay, practical effects and stunt work, I mean, you're working within a genre that you know goes back the ways that you love Walter Hill all of that. How did you seek to innovate in that realm when it came to

the stunt work. How did you want to put a different version of the stuff that you love on screen? I guess, well, I guess the music is part of the music. I mean, I mean also the music is

driving the entire movie. And then and then in terms of the actual action itself, because it's first of all choreographed you know, to music and sometimes you know, so the movie is basically you're it's it's very subjective in that you're seeing the kind of story through Antelot's eyes and you're sort of hearing it through his ears as well. So I think that's the sort of the real innovation in terms of everything is like on be except when

it's not. When things like when things go wrong and you're suddenly deprived of the music, it's like, you know, it's a it's an alarming thing in the movie because like the character needs music and after a while that

the audience do too. Um. The actual shooting of the action, I think we just wanted to sort of i mean fly in the face of like the c g I green screen sort of school and just trying to do it all for real, which is just to really very complicated and shooting in a busy city like Atlanta and actually shooting car chase footage on the I A D five is a herculean task, which you know, and to name check all the great artisans it would you know, it's it's obviously just a team effort between stunts and

and camera, but locations like the Locations Department, like Doug Dresser and Kyle Hinshaw who were like the sort of like, um, you know, our location guys just worked miracles, but basically like Dug Dresser who was like a location manager. So I made this big proclamation when we went to Atlanta, as I said, I did this big proclamation. I said, if we can't get a major freeway, there's no movie.

Because usually when you go to Atlanta, like because it's one of the tax break cities, they always kind of send you out to this country freeway. He said, oh, you can use this one. Everybody's used this one, and usually when it's location mentions saying this is the one that people use, I say, well, I don't want to use that one. I want to use something new. I don't want to use the country freeway because it looks like smoking in the band. It looks like they got

away already. We actually had a thing with the with the location department is whenever we would see this kind of leafy freeway. And I know, by the way, it was important to me to shoot Atlanta for Atlanta. The script was written in Los Angeles because I was living here when I wrote it, and then I rewrote it for Atlanta, and I thought, I really want to see like the sort of concrete urban built up Atlanta and not really see any of the green, leafy Georgia because

it's somehow like lowered the stakes of the movie. So once the entire movie up until like the final like ten minutes is in like a concrete, gray Atlanta, and I would say to the locations department, because every time they send me out to that country freeway, I'd be like, this is like smoking the bandit. And then there's another bit when I was film from one called Charky's Machine, which he directed, which is all in downtown Atlanta. So my mentor to the location is the altman would be,

We've got to think more Sharky's are less smokies. And and then basically like that dresser would always like say when he had locations, you guys, we can we've got some good sharky locations. You know, there's a thing of more sharky, less smoky. That's good. The last thing here before I let you go, just on that music point. Is music typically a way into an idea for you? Is it? Is it generally? Because I know it is for me when I'm writing creative stuff, It's like it's

almost always a song that gets me there. Yeah, is that the way it's for you? Yeah? I mean I think that's where me and the main character and baby Driver are the same as that we're completely motivated by music. So I like, I mean, this is a universal thing that people use a music as an escape or as motivation or you know too sort of inspiration, and that's no different. I mean, I like I have to you know, I had to drive to music. I have to walk to music. I have to work out to music. You know,

I have to clean the house to music. But specifically, when I'm right saying, I have to have the right kind of music to write. So I know if you do this when you're writing, is that I can't listen to anything with lyrics when I'm writing unless I know the song so well. But like, you know, if I'm like done in every movie, it's like sort of you know, I was writing Shown of Dead, Me and Simon would listen to horror scores the entire time when we were learning Hot Fuzz, we would listen to sort of like

sort of action and cop music all the time. You know, I was writing this, I would. But then when I was writing this, I would. I had the songs planned out before I even wrote a word. Um and as far back as like two thousand and eight when I first first took the advanced with the Baby Driver, the first thing I did, bizarrely with a then music editor

now OSK, a winning composer Stephen Price. Like I met him through that in two thousand when I saw his name and the credit, Well, this is what happened, is like Steve Price was I said, I said, I've got these songs. I had about eight of the songs, which are the big set pieces, and I said, I need a music edit to help me break them down because I didn't read music. And Nick Angel, who's a music

supervisor on Hot Fust, recommended Stephen Price. So I met him go on like a house on fire, and so I still have his pds that he broke down all those songs for me, and then when I started writing the film proper, I wouldn't like write a scene unless I had the right song, because I kind of sit there and think, Okay, this is a dyna scene where Baby and debor at me for the first time, and it's gonna be something dreamy, and they're literally looking through

my iTunes and it's like, oh, this speech boys track, this is great. Okay, this song is like two and a half minutes long, so the scene should be two and a half pages long. So I went through in a very like so precise, like sort of methodical way of trying to sort of like make the scenes fit with the songs. So it was like a big It

was a you know, like a huge endeavor. And also the thing is there's a lot of people Quintani and included say never put songs in the script u as you're setting yourself up to kind of like get taken to the cleaners. But I had to write them in because there was no other way of getting um, the sense of it across to like actors or a studio.

So the screenplay for Baby Driver, right from the first draft, had all the songs written into it um, which is, you know, like a sort of a dangerous game to play, but like we're very lucky and that an amazing I'm going to give a shout out to Kirsten Lane, our clearance person who managed to clear thirty five tracks. It's I mean, it's amazing. So it's like props to her. We've got to get you out of here. You're busy,

man um. The movie is called Baby Driver. The release date is June, June, go see it, Go buy the soundtrack. I'm gonna buy the double vinyl. Yeah, I'm gonna buy the vinyl two. And uh, like I said, it's my favorite movie. You did to congratulations, Thanks Chris, I really appreciate that. So you're just starting your day or did you just get off? You know? So what is it you do? I'm a driver? Oh like a so fur

anyone i'd know? What's your name? Baby? Your name's baby, baby, Baby, it's the one you say, listen to the music all the time. Mental mental meaning slow? Was he slow? No? He had an accident when he was a kid. Still has a hum and the drum plays music to drown about. And that's what makes him the best. One more job

and I'm done one more job and we're straight. No, I don't think I need to give you this speech of all what happened When you're saying no, how I can break your legs and tell everyone you love because you already know that. Danane. Yeah, the moment you're kissed, feeling, there's a moment you're catching blue and you're waitress girlfriend. She's cute. Let's keep it that way. I want us to have Western never stopped anyway. I'm in baby by one of these days. Babies, you're gonna get blood on

your hands. First. The musical baby used to get out of here. I have to end that. Are we in bed together now? Baby, baby stock, said Michael Myers. This is Mike Mayers. It should be the Halloween mass. This is Halloween Mass. No, the killer dude from Halloween. You mean Jason? No, Baby, you tell me who dust you're good girl's lover? Yes, I do. That's too bad.