Edgar Wright’s “Baby Driver” offers a sound design that orchestrates car chases, gun fights, police sirens, and ambient noises, choreographed to music. With the narrative conceit that getaway driver Baby (Ansel Elgort) listens to a loud musical playlist (including Beck, The Damned, and Queen) as a defense against tinnitus, we see three heists from his aural perspective.
This meant a learning curve for Wright’s go-to supervising sound editor/sound designer, Julian Slater. “I learned a new way of sound designing to the rhythm of the music, where each track is broken down to its tempo and plucked and pitched to a particular action,” he said. “But the music needed to sound great thematically.”
It started with the script, which came with a .pdf file of the musical tracks along with a rough sound mix. Tracking Baby’s life to the beats of the tunes that get him through...
This meant a learning curve for Wright’s go-to supervising sound editor/sound designer, Julian Slater. “I learned a new way of sound designing to the rhythm of the music, where each track is broken down to its tempo and plucked and pitched to a particular action,” he said. “But the music needed to sound great thematically.”
It started with the script, which came with a .pdf file of the musical tracks along with a rough sound mix. Tracking Baby’s life to the beats of the tunes that get him through...
- 11/10/2017
- by Bill Desowitz
- Indiewire
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