At the DGA screening of Edgar Wright’s BABY DRIVER, Christopher Nolan (of BATMAN and INCEPTION fame) handled the exceptionally smart Q&A with the near-manic Wright. Nolan’s questions discussed the project’s genesis (some 20 years in the making) and the complex pre-production process, which was told with a certain amount of joie de vivre! Wright, as you’d expect, is a solid raconteur.
BABY DRIVER is a… charismatic… film; to categorize it, I’d say it’s an action musical (a musical thriller is a moniker I’ve seen, too). Wright explained how every sequence was written for a specific song — with precise script page counts honed and refined to a given song’s run time! For example, if a chase was married to a song and the song was four and half minutes, then the chase was taking up four and a half pages in the script.
You know I was somewhat trepidatious when I saw the first Marvel Studio’s ANT-MAN trailer, but after seeing the latest one it looks like this film might be more interesting that people seem to be giving it credit.
Of course, it’s stuck in the standard world, whereas what makes Ant-Man, The Atom, Yellowjacket and The Wasp interesting is when they shrink to molecular size and shunt into
Anyway, since ANT-MAN is an upcoming film, I thought it might be interesting to see what films Edgar Wright slips into his bag when he gets a chance to raid the Criterion Collection’s storage locker.
EYES WITHOUT FACE is a remarkably chilling film from that extra fertile period of European art house cinema the late 50s/early 60s.
DON’T LOOK NOW isn’t a horror, isn’t a thriller… it’s a shocker, and it’s so well made — photographically, editorially, performances.
THRONE OF BLOOD’s Japanese title is Spiderweb Castle? I never knew that… I wonder what the “real” title of the rest of Kurosawa’s films are… is RASHOMON even the actual title?