Edgar Wright, the visionary director behind cult classics like Shaun of the Dead and Scott Pilgrim vs. the World, is renowned for his dynamic filmmaking style. In Baby Driver, Wright masterfully blends visceral car chase thrills with a near-mythical reverence for automobiles, creating a cinematic experience that’s both heart-pounding and deeply appreciative of car culture, especially the iconic Baby Driver Car featured prominently.
Wright, known for his work on the British TV series Spaced and the Cornetto Trilogy (Shaun of the Dead, Hot Fuzz, The World’s End), delivers in Baby Driver a film centered around Baby (Ansel Elgort), a young and exceptionally skilled getaway driver. Forced into a life of crime, Baby’s extraordinary talent behind the wheel becomes his defining trait. The movie, characteristic of Wright’s oeuvre, is energetic, visually inventive, and laced with humor.
The opening car chase sequence immediately throws viewers into the action. Every screeching turn and daring maneuver executed by Baby in his getaway car is palpably real. The film prides itself on practical effects, showcasing real cars driven by real people, a refreshing departure from CGI-heavy action flicks. This dedication to authenticity underscores Wright’s genuine affection for cars and the art of car chases, particularly highlighting the baby driver car as a central element of the film’s thrilling narrative.
To understand this passion, VICE interviewed Wright, delving into the roots of his automotive enthusiasm.
VICE: Where did your love of cars originate?
Edgar Wright: I think it was probably from movies themselves. My fascination with car chases predates my own driving experience. I didn’t get my license until I was 17, but by then, I was already captivated by films like Bullitt, The French Connection, The Blues Brothers, and The Driver. These movies, showcasing iconic car chases and memorable movie cars, undoubtedly influenced my vision for the baby driver car sequences in my own film.
Every cinematic tradition has its unique approach to car culture. Have you observed any distinctions between Australian, British, and American films in their depiction of cars and car chases?
Being British, my perspective is naturally shaped by that background. However, I imagine Australian cinema, given the country’s vast and untamed landscapes, might imbue driving and road trips with a stronger sense of pioneering adventure.
That’s quite accurate. Australian road trips often involve the very real concern of avoiding a kangaroo collision, which can be fatal.
Right.
Considering films like James Bond versus Mad Max, one emphasizes speed and sleekness, while the other focuses on heavily modified, weaponized vehicles. This extends beyond Mad Max to films like The Cars That Ate Paris.
Indeed, the concept of car adaptation and personalization is crucial, especially in The Cars That Ate Paris and the Mad Max franchise. It’s almost a pre-internet, dystopian version of Pimp My Ride! It’s fascinating to contrast this with James Bond, where cars are aspirational symbols of luxury and sophistication. Bond typically drives the most elegant sports cars of his time, rarely an everyday vehicle, with the exception of the Citroën 2CV chase in For Your Eyes Only. In contrast, Mad Max and The Cars That Ate Paris celebrate muscle cars and vehicular modification. The baby driver car in my film attempts to capture a bit of both worlds – a performance vehicle but grounded in a sense of realism.
Ansel Elgort expertly portrays Baby Driver, the film’s protagonist known for his exceptional driving skills and central role in high-octane car chases.
You recently mentioned your openness to directing a James Bond film. Christopher Nolan and Quentin Tarantino have both expressed interest, but only if they could initiate a fresh series reboot. Would you prefer a reboot, or would you be content working within the Daniel Craig era?
Well, that decision ultimately rests with Barbara Broccoli and Michael G. Wilson, the franchise producers. They are the custodians of Bond, and they decide its direction. I doubt any director, regardless of their reputation, could dictate a complete reboot. These producers have nurtured the franchise for half a century and possess a deep understanding of its workings. I’m a Bond fan myself, and while some films are stronger than others, many are personal favorites. Daniel Craig is an excellent Bond, arguably one of the best. I’d welcome his return for another film. However, for Baby Driver, I wanted to create something distinct from Bond, focusing on the raw energy of street-level car chases, making the baby driver car feel more accessible and grounded.
You recently released a list of your 1,000 favorite films. It’s an impressive compilation, and we could easily spend an hour discussing it… What were some of the more unexpected choices that surprised you on that list?
Overall, the selections were quite understandable. However, a few, like The Big Chill, stood out, a film that seems somewhat dismissed by contemporary film critics.
I believe The Big Chill is still quite appreciated. Perhaps its datedness leads to some dismissal? Film enthusiasts should be less pretentious. When compiling film lists, people should prioritize genuine favorites over curating a list solely to impress Sight & Sound. Often, when directors create top ten lists, they are consciously or unconsciously trying to project intellectualism.
If I were to include Ron Howard’s Willow on my list, would you hold me accountable?
The thing is, my list is constantly evolving. I’ve created lists for Empire and Sight & Sound. For Sight & Sound, I felt compelled to include more traditionally acknowledged classics, so I incorporated about five in that vein alongside personal favorites. But then I thought, “Forget it, I’m including An American Werewolf in London on my Sight & Sound list, regardless of expectations.” Asking a filmmaker about their favorite films is inherently subjective. Critics might seek to define “the best film of all time,” but for me, a list should reflect personal favorites. Do I recognize Citizen Kane as a cinematic masterpiece? Absolutely. Is it among my personal favorites? Not really. I acknowledge its brilliance, but it’s not a film I repeatedly revisit. Its brilliance is undeniable, but it might not consistently appear on my list of favorite movies. Similarly, while Bond films are classics, Baby Driver and its baby driver car aesthetic aim for a different kind of cinematic thrill.
Your films are deeply rooted in the genres and cinematic movements that inspire you. Given your appreciation for Mad Max films growing up, is there an Australian film within you?
Location is a significant source of inspiration for me. Shaun of the Dead is set in the neighborhood Simon Pegg and I lived in North London at the time. Hot Fuzz is filmed in my hometown, where I grew up. The World’s End is a blend of my and Simon’s shared experiences. Conversely, Scott Pilgrim vs. the World was set in Toronto. The appeal of filming in a new city lies in fully immersing oneself in that environment. Utilizing authentic locations, embracing the city’s essence, and crafting a film that resonates with local viewers, making them feel, “This truly captures my city.”
Baby Driver is no exception. Initially conceived for Los Angeles, once Atlanta became the filming location, I dedicated myself to making it feel authentically Atlantan. Incorporating real locations, street names, restaurants, and local brands was crucial. Elements like the coffee brand and the diner they frequent are genuine Atlanta establishments. I relish the creative challenge of using a city as a canvas. If I were to film in Australia, I would strive for the same level of authenticity. The baby driver car, while fictional, needed to feel like it belonged in the real urban landscape of Atlanta.
Baby Driver is currently showing in cinemas.
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