Guillermo del Toro Baby Driver

There was only one thing that screwed up the music choreography

Wright mentioned that choreographing all of the action to music worked for the most part, except for when one specific element was introduced. Watch him and Spacey explain it:

Kevin Spacey really wants a sequel, you guys

When asked about his lack of driving scenes in the film, Spacey deadpanned:

“Yes, well I know that some people may think that the character doesn’t survive, but the truth is I’ve already been discussing a sequel, which I think should be called ‘Baby Doc.'”

Wright: “I thought you said it was going to be called ‘Doc’s Holiday.'”

Spacey: (laughs) “I like that one. So I may be able to get my driving in on the next one. That’s my feeling.”

While some outlets have framed entire articles about Spacey’s comments, it’s important to note that he was clearly using a joking tone every time he brought up the concept of a sequel (and he mentioned it a handful of other times throughout the night).

One scene was shot on the set of House of Cards

While most of the film used practical stunts, there was a bit of movie magic involved – but not in the way you’d think. Wright and Spacey explained how one bit of the movie was actually shot on the set of Spacey’s Netflix series House of Cards in Baltimore (spoilers for Baby Driver ahead):

Wright: “You see in the deleted scenes that originally Doc had more dialogue after he was run over. But we actually went back and reworked it and reshot –”

Spacey: (to the audience) “See? He wasn’t dead. He was still talking.”

Wright: (laughs) “But we actually reshot part of the elevator sequence. I watched it and thought, ‘This would be better if the poignant moment that we have after him being run over should be earlier.’ So I actually went to the set –”

Spacey: “You came to Baltimore.”

Wright: “To the set of House of Cards.”

Spacey: “With an elevator!”

Wright: “Next to Air Force One.”

Spacey: “I was done shooting that day on House of Cards, got back into Baby Doc, and we shot those few lines, and then you [digitally] put them in [the elevator] with me.”

Wright: “Ansel and Lily were not there. It was movie magic.”

Sunglasses as symbolism

Wright also explained a visual storytelling choice that I didn’t pick up on the first time I saw the film:

“When the movie starts, [Baby] already is a criminal. He’s a criminal in the first frame. That was something that was an interesting thing to me story-wise, because sometimes in these movies, it’s about somebody falling into crime. It’s almost the reverse of something like Goodfellas. In Goodfellas, young Henry Hill wants to be a gangster, and in this, Baby already is a gangster and he wants out. He wants to get out as soon as he meets Lily James. I like the idea that he is a criminal, but in his head, he’s literally got blinkers on. He’s got blinkers on in terms of he’s wearing sunglasses and has got earphones in. He’s blinkering himself to the real consequences of the world. And even on a visual level, visual metaphors: the idea that his glasses are broken force him to look at it without any tinting, he has to accept what he is a part of and get the fuck out of there.”

Throughout the Q&A, we watched some of the making-of videos included in the home video release’s bonus features, and there was one particular piece of info that I wanted to leave you with. In one of the videos, Ansel Elgort mentions that when you steal cars, you also get iPods and sunglasses. Somehow I didn’t put that together in the theater – I guess I just assumed the character had an odd obsession with iPods and glasses, but I didn’t make that connection that, duh, of course he got all of them from the cars he’s stolen over the years. Just wanted to pass that along in case anyone else out there didn’t pick up on it the first time through.

Baby Driver is now available on Digital HD, and it comes to 4K Ultra HD, Blu-ray, and DVD on October 10, 2017.

Pages: Previous page 1 2

Cool Posts From Around the Web: