Why Does Baby Driver Look Like Han Solo

'Infant Driver': 58 Things Nosotros Learned from Edgar Wright'southward Sound Commentaries

The Blu-ray includes sound commentaries from both Wright and Wright & cinematography Bill Pope, and they're both loaded with fascinating insight.

In the lead up to every new Edgar Wright film, there'southward certainly excitement about the film itself, just at that place's ever added excitement about the eventual Blu-ray release and accompanying commentary rail. Wright is a truthful lover of motion picture, and thus is decumbent to packing the home video releases of his movies with tons of behind-the-scenes insights and goodies, which includes at least one insightful sound commentary from the filmmaker himself and sometimes multiple others featuring other folks from the production squad and/or cast.

Baby Driver , i of the best films of 2017, is no exception, and now the film is out on Blu-ray and DVD for all to consume over and over over again. The Blu-ray is packed to the brim with extras, from 20 minutes of extended scenes to a couple of deleted scenes, as well as copious behind-the-scenes featurettes that cover everything from the music to the stunts to the motorcar chase sequences. And so, of form, in that location are two audio commentary tracks: ane with merely Wright, and another with Wright and his cinematographer Pecker Pope, who also shot Scott Pilgrim vs. The World and The Earth'due south Stop .

With the film now available on Blu-ray, DVD, and Digital HD, and given how insightful Wright's commentary tracks are, I've gone through and listened to both Baby Driver tracks and pulled out some specially insightful or amusing bits of trivia and information. In that location's no substitute for the real affair, and I highly suggest actually listening to both commentary tracks because at that place's plenty more included there (and they're a delightful listen), but as a fan of the film, hither's some of the more notable things I learned about Baby Driver.

Wright layered in the whine of the tinnitus through the studio logos leading into the beginning of the movie's first vocal, which he put together with Steven Price.
Wright started writing the film properly in 2007, at which point he connected with then-music supervisor Steven Price who bankrupt down the songs for him. Toll went on to score The World's Cease and Gravity, winning an Oscar for the latter.
In 1995 Wright was 21, living in Northward London, and while he was editing his beginning motion picture Fist Full of Fingers he was listening to Jon Spencer Dejection Explosion and would visualize the activeness of Babe Driver, specifically the film'due south opening car chase, without knowing annihilation about the story or characters.
Wright says he'due south a big believer in music as a motivator and uses music to soundtrack his twenty-four hours, much similar Baby.
Oliver Sacks' book Musicophilia gave him the idea to use tinnitus equally the reason Baby is ever listening to music.
Wright says it'south very deliberate that, at least at the first of the picture show, Baby is a bit of a goof when he's on his own but is very quiet and serious when with the residue of the team.
Another inspiration for the film was that Wright loved doing choreography in his previous films and music videos.
Wright took the accelerate from Working Title to write the film in 2007 and turned in the script in 2011. He does non recommend doing this.
In developing the script, Wright interviewed existent ex-cons then he had a better understanding of American getaway drivers. The only other movie he's done where he got to interview people for research was Hot Fuzz.
Epitome via TriStar Pictures

The film was originally written to take identify in Los Angeles, just he changed the setting to Atlanta when they decided to shoot there instead. He was initially reluctant, but afterward scouting locations he had never previously been to, he came to the decision that Atlanta was actually a better location than L.A.
When the location changed, Wright also noticed that Atlanta was populated with muscle cars like Chargers and Mustangs. So that also convinced him it was a better identify to set up the flick.
Some portions of Baby lip syncing within the car in the opening scene were shot towards the very end of the shoot.
All of the reaction shots in the cars were shot for existent, which was incredibly difficult to pull off.
Jon Bernthal had to go on going back and forth to Atlanta to shoot his scenes given the complicated nature of the schedule, even though he's only in a couple of scenes altogether.
They shut down the I-85, one of Atlanta's busiest highways, twice for the opening chase sequence, and the second time they reshot about 85% of the sequence. Merely Wright was able to cutting a lot of the footage together to bear witness the actors what the film would look like, since this was towards the get-go of the shoot.
They did 28 takes of the coffee run oner, and ended up using Take 21.
The diner was really a set up. It's not a location that exists in real life.
DP Bill Pope says he's e'er looking for a location, especially for Edgar Wright, that essentially lights itself.
Wright storyboarded a lot of the movie with his blood brother Oscar Wright.
To use the clip from Information technology'south Complicated, Wright emailed John Krasinski—who'south a friend—to ask for permission, and Krasinski replied,"This is how I become into an Edgar Wright movie?"
J. Jones who plays Joe is a real deaf actor. He was the only actor they auditioned that was actually deaf, and Wright immediately felt uncomfortable about casting a non-deaf actor for the role.
Image via TriStar Pictures

Wright says the hat joke regarding the tattoo was stolen from the screenplay he wrote for another film that he didn't practice, seemingly alluding to the fact that this was from his Ant-Human being
Wright says he didn't really intend for Babe'southward jacket to be like Han Solo'south, only says even Phil Lord and Chris Miller pointed out that it looks like Han'southward jacket.
The original version of the mask scene had two Michael Myers masks and one Austin Powers mask. Equally it came closer to time to shoot the scene, the Halloween people hadn't said no even so just, "Their business organisation was they said the scene was funny and they'd never permit Michael Myers, the bodily epitome, be used in a comedic scene. Which is fair enough." Wright had to rewrite the scene and go Mike Myers' permission to use Austin Powers masks for all three, to which he agreed. Myers asked Wright to read and perform the scene to him on the phone.
The pike carjacking scene is soundtracked to "Neat Neat Bully" by The Damned, but cinematographer Bill Pope told Wright the scene was going to be longer than the song. Wright'southward ready was to have Baby rewind the vocal at one point, so the vocal actually does last for the entire sequence. Wright shot the rewind bit on 1 of the last days of product equally a fix.
Wright was inspired to use The Damned in the motion picture subsequently watching a documentary in which the band members were lamenting the fact that their songs never become used in movies.
Baby's flat and the diner were 2 of the just sets used in the flick. The rest were real locations.
The kickoff twenty-four hour period of the shoot was the coffee run sequence.
Wright shot a lot of the flashbacks with a 16mm handcrank camera.
During Ansel'south audience, Wright asked him to lip sync the words to a vocal that he knows by heart. He chose "Easy" by The Commodores, which Wright then put in the flick.
Baby's diverse taste in music is a result of him inheriting a bunch of iPods from stealing a lot of cars.
Prototype via TriStar Pictures

Quoting Bill Pope, Wright says one of the reasons they wanted to shoot on film was because it'southward transportative—"It makes it more magical because it's not quite similar real life."
Quentin Tarantino read the script and told Wright nigh another song chosen "Deborah" by Dave Edmunds, but the character in the vocal was "a complete bitch," so Wright opted to just use the T-Rex and Beck "Deborah" songs instead.
Someone at the studio asked Wright to cut out the part of the film where Baby pronounces T-Rex every bit "Trex" because they thought information technology made the character seem dumb, simply it was one of Wright's favorite parts of the film, so he kept it in.
When filming the scene at the Laundromat, in betwixt takes they had to pump all the machines full of quarters—there was no "switch" to make them run at the same fourth dimension.
There's one shot in the Laundromat where you could see Wright's head in the reflection, then they had to digitally remove it.
Pecker Pope says the circular shot in the eating place between Infant and Deborah was tricky to shoot considering it had to cease exactly when Kevin Spacey toasts his potable.
Wright didn't want to shoot "leafy, woody" Atlanta because a leafy freeway makes you lot experience like the characters have gotten away or looks too much like Smokey and the Bandit in the country. So for almost the entirety of the movie they shot in urban areas. The state of Georgia offered to shut downwards rural freeways for their use, but Wright wanted to shoot in the middle of the metropolis.
They did 4 days of reshoots after ii test screenings. The scene in the auto between Baby and Deborah when they kiss, after Physician confronts Baby, was a reshoot, and wasn't shot by Bill Pope—Ken Sang shot it instead, considering Pope was unavailable. Audiences wanted to encounter a bit more between Babe and Deborah before Deborah makes the decision to go out with Baby. But during the filming of the shot of them kissing, they had overrun on the location by an hour and then the police were yelling offscreen to tell them to wrap it up.
Image via Sony

The scene with Babe and Doctor's nephew came from an interview Wright did with an ex-con, who said he would have a "son" or a "nephew" with him to example banks so he seemed less suspicious.
One of the ex-cons Wright spoke to said he had a tape of "killer tracks" that he would listen to when he would drive around, and another ex-con told a story about hearing Guns N' Roses' cover of "Knockin' on Heaven'due south Door" on the radio earlier going in for a job and deciding it was a bad omen. They opted non to go through with the job.
Wright said that while he doesn't allow much improv on his films, Jamie Foxx had a couple of nifty bits that made it into the motion picture—including the line almost the "fake ass Louis Vuitton lid."
Jamie Foxx had a habit of watching takes back on the monitors adjacent to Wright, and when it would be a shot of Jon Hamm, Foxx would turn to Wright and say, "He handsome." And then the line got added into the movie.
The scene in the car soundtracked to "Nowhere to Run", was shot on digital.
The "Tequila" scene took iii days to shoot and i actress day of 2d unit, which Wright shot with stunt coordinator Darren Prescsott.
In the cardinal diner scene towards the end of the movie, y'all tin see Baby quietly writing his message to Deborah in the background. In the same scene, Jamie improvised the line "That's some Oscar shit right at that place."
There were also inserts in the diner scene of Jon Hamm belongings his fork like he'due south going to stab Jamie Foxx's grapheme, merely Wright felt it was complicating the scene too much. But you tin can still see Hamm holding his fork in the broad shots.
Image via TriStar Pictures

In the editing room, the diner scene ran on for about 90 seconds longer than the song that was intended for the scene, "Something Is Wrong with My Babe," so Wright hit the "Genius" button on his iTunes on that song and found "Every Little Bit Hurts", which they added to the scene and then music would play throughout.
Wright and Pope ordinarily have coffee every morning to go over the shot list. Many days on Wright'due south film they'd have up to forty setups, so Pope would do the math to figure out how often they had to be shooting a new setup.
The catastrophe of the first draft of the movie had Baby leaving prison in modern day and and so stepping into 1950s gear with Deborah also in 1950s gear, "and then it was clearly a dream." But when Sony head Tom Rothman read the script one of his big notes was the movie couldn't finish on a dream sequence. So Wright thought almost it and then decided to have the 50s sequence earlier in the flick to found the seeds for the mirror ending. The idea was inspired by the unicorn dream in Bract Runner.
The short scene of Deborah being stood up at the diner wasn't in the script, merely Wright improvised information technology during production when he realized the audience (and studio) would need to know what Deborah was upwardly to at this signal in the story.
The studio wasn't crazy about the footchase sequence, and Wright ended up deferring some of his fee to pay for the filming of the sequence.
In shooting the footchase, Wright says First Unit and Second Unit were sometimes shooting simultaneously in the aforementioned area. Since Ansel Elgort is 21 and half-dozen'4", Neb Pope says he had to trade off grips to keep upwardly with him with the camera while he was running.
Wright first met Jon Hamm when Hamm get-go hosted SNL, at the afterparty. He wrote the character of Buddy for him.
The concluding montage was originally supposed to be silent, and Wright wrote "B-dialogue" for lip readers, to mimic Baby'southward new deafness. But after test screenings Wright decided to put the actual audio of the dialogue in.
Paradigm via Sony

The entire end sequence was shot in a working prison.
Wright made them all wear white jumpsuits because he got tired of seeing orange jumpsuits in movies and liked white jumpsuits in Sam Peckinpah's The Getaway.
In the start cut of the motion-picture show, the final shot was entirely in color. Just some people in exam screenings had more arguments about whether it was real or non, considering of the rainbow. Wright decided to go far get from black and white to color, just withal wants to leave it up to the audience to decide if that'southward what's actually happening or what Infant imagines happening downward the route.
Wright spent three days at the end of the shoot shooting inserts of steering wheels and gas pedals, etc. He says he did the aforementioned thing on The World'southward End and Scott Pilgrim.