Scene Analysis

  Baby Driver scene analysis:

https://www.youtube.com/watch?v=7ARFyrM6gVs

Part 1: The setup. 

(I decided to do this in two parts, the first one to show what Edgar Wright sets up in the first half of the scene, and the second one to talk about the car chase (a personal favorite))

This first scene sets up the movie without any exposition or dialogue. The film will use what the audience hears and sees first to set up the opening. Edgar Wright does this in the very beginning, before we even see anything we hear a high pitched tone that transforms into a musical note giving the audience an idea of who our main character is and who we should be sympathetic towards. The viewers won't find out until later into the film that Baby listens to music because of his tinnitus, but the seed is planted firmly at the beginning. In Baby Driver the sound dominates video, which is different to usual films. So it makes sense that we hear the music before any images in this scene Therefore hinting to Baby's tinnitus and giving audio a crucial role in the film. The three opening shots easily give us context for the setup of the main character and the world it is based in. 

We see cars and a bank, a sign telling us what city we're in.

Then we see Baby's red Subaru fill the screen, defining it's importance for the rest of the scene.

 The second thing we see is Baby's Ipod. Signifying that the music in Baby Driver's soundtrack is also canon in the world of the film itself.

We hear what Baby hears, the music isn't just there for the audience. By making this the second shot of the movie, Wright is also emphasizing the important role that music will play in this film.

Finally we see our main character close up aka Baby:

After Baby hits play on his Ipod, the next four cuts happen to the beat of the music.

As the crew get out of the car. The slamming of the car doors, the opening and closing of the boot and their footsteps as well as the sound of vehicles beeping and passing by, all synchronize with the music. So in the first few seconds, the audience is already introduced to the stylistic tic that will propel much of the most of the film.

48 seconds into the film, the crew's masks go on, and if it wasn't already obvious, it's certainly obvious what they're going to do now.

 This is where another important decision happens. Even though the more interesting thing, the movement of the action is moving into the bank, Wright uses a wide shot and perspective to separate Baby from the crew. And the audience stay in the car with Baby.

This not only gets us comfortable with the fact that the rest of the story will play out from Baby’s perspective, it helps us separate him from the criminal world.

Wright quickly reminds us however, that this separation is just an illusion. The coincidence of a passing police car awakens Baby from his reverie. And Baby’s view of what’s happening in the bank serve as a harsh reminder for us and for Baby of what he’s involved with.

Part 2: The Getaway

 The second part of the scene consists of a car chase. This whole scene has so many short cuts that are about 2 seconds long each. This speed of cutting works here because the scene functions almost more as a musical montage of a car chase, than as a real time depiction of a car chase. There are many apparent jumps, some smaller and some larger, but this all kind of works because of the strong role the music plays. Every sound effect is on beat with the music. We spend just as much time inside the car than out.

 Edgar Wright prioritises showing the feeling of the scene over clarity of physical action. Like in this shot where we don’t see the car swerve over into another lane, but we can almost feel it swerve because we can see the movements and reactions of everyone in the vehicle.

 Of like this moments a few seconds later where we never actually see the car make a u turn, but a shot of Baby pulling the handbrake, and the passengers bodies shifting in their seats as the car turns is enough to clue us into what happened.

 The scene is built around one thing. Baby and his car. The police even take a huge backseat. To me what sets this scene apart. It’s singular focus, Baby and his Car. This mirrors the singular focus of the film, Baby and his Driving. Often in chase scene like this, the lead car just seems to be following a predetermined path. But in this scene it’s clear that they are able to get away because of Baby’s clever driving. Also I find it incredible that there is nobody talking, theres only the character's gasps and the music but you still know exactly whats happening.