#Listen to baby driver soundtrack movie
Slater, who served as the film’s re-recording mixer, sound designer, and supervising sound editor, recently spoke with Digital Trends about the complicated process of making musical movie magic and bringing Wright’s vision for the film to life both on the screen and in the ears of the film’s audience.ĭigital Trends: Did Baby Driver feel like something special when you were first introduced to the project? The task of crafting the blend of music, action, and sound effects that makes Baby Driver unlike any other movie in recent years fell to a team led by Julian Slater, a two-time Emmy nominee whose work on last year’s Mad Max: Fury Roadwas honored by the Motion Picture Sound Editors with a “Golden Reel” award.
When he finds himself on the run after a botched robbery, he has to find a way to protect the people he loves while evading both cops and killers. Written and directed by Wright, Baby Driver cast The Fault in Our Stars actor Ansel Elgort as “Baby,” a supremely skilled getaway driver who depends on a steady stream of music in order to counteract the effects of tinnitus. Fitbit Versa 3Įdgar Wright’s musical heist film Baby Driver hit theaters in June 2017 and earned crave reviews from critics and general audiences alike for the unique way it synchronized the action unfolding on the screen with its excellent soundtrack boasting music from multiple decades.
“For the first time, which wasn’t the case with the Walkman or the Discman, the iPod meant people could basically start soundtracking their own lives,” says Wright. iPods and their non-Apple mp3-playing ilk changed all that, allowing hundreds of hours of music to be stuffed in your pocket ready to be cued up during just the right moment.
#Listen to baby driver soundtrack portable
Portable CD players helped deliver music faster and more accurately, but they skipped constantly if you tried to walk with them having anything more than the slightest spring in your step.
Even with the 15 you could cram onto a single side of a cassette, cuing up the right track at the right time was just about impossible. Back when “Bellbottoms” was released, folks couldn’t dance down the street with 3,000 songs at their disposal. What’s incredible, though, is that when he dreamed up Baby Driver-arguably the first film to make the iPod a central character-most people were still making each other mixtapes. “I would listen to that song and start visualizing a car chase.” As a result, he made a movie perfect for a song, instead of finding a song perfect for his movie. “That moment was the closest I’ve ever come to synesthesia,” the writer-director says. And it ought to be-Wright’s been plotting it ever since he heard "Bellbottoms" in 1995.
Unlike most capers, though, the escapade goes down to the pulse-pounding strains of The Jon Spencer Blues Explosion's "Bellbottoms." It’s a whiplash-inducing rush that lays more than a dozen cars to waste and doesn’t let up for the song’s entire 5:16 runtime, each screeching turn and crash perfectly timed to the track's churning rhythm. Edgar Wright's Baby Driver begins the way most capers end: three goons pulling off a bank heist, then their getaway driver leaving the cops in his rearview.
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