One of the most difficult stunts in the film was what Prescott refers to as the “180 in and 180 out” - a sequence that takes place in an alley during which Fry in the red Subaru getaway car turns forward and backward in a narrow alley and between several vehicles in its path (it’s in the trailer). Remix artist Mike Relm demonstrates his music and video mashup skills on Baby Driver.Īnother fun interview that’s well worth a read is this one with Darrin Prescott, the film’s stunt coordinator and second-unit director. There are two editors credited on the film, Paul Machliss and Jonathan Amos who also worked on Scott Pilgrim Vs The World.Įditor Chris Dickens cut Shaun of the Dead and Hot Fuzz.īut before we dive into the details of Baby Driver’s editing here are a couple of fun videos you should definitely watch first… Because when you are in the edit, you can recall the events of the day a particular scene was shot – ‘I can remember when Ken Spacey did this thing on the third take, which could be useful’.“] Paul has this to say about that: “ Some editors don’t like being on set, but I like the openness of it – taking it all in. [As a quick aside this is something editor Walter Murch likes to avoid, as he prefers the baggage free freshness that comes from viewing the material at a distance to the effort required to create it, and much more like a movie going audience would. ![]() As a result of this Paul was on set for every single day of shooting, sometimes riding along in the camera car with his laptop, cutting as they shot. This was embellished with all of the pre-cleared music tracks, sound effects and other things such that executives and financier’s could effectively listen to the film before they’d shot any of it.Īnother interesting element was the extensive use of pre-vis which was essential to the choreography of not only the action sequences but the musical match up too. One of the first things I heard about the film that intrigued me was that the director (Edgar Wright) and some actors recorded a table read, well before production was financed, which editor Paul Machliss cut together ‘in his spare time.’
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