The minimal portrayal above doesn’t nearly convey the intensity that this moment ended up being.
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Whoever had the chance to see Baby Driver will understand that this (awesome) scene –showcasing Baby disguised between two red cars – falls short here. In this draft, I felt it lacked and read choppy, given his eventual intent. Yet, for such an explosive opening – particularly one that has no dialogue – I wanted to feel the action on paper. Playing devil’s advocate (and I can’t stress enough that this was Wright’s first round of revisions!), it’s well known that screenwriters should refrain from executing lengthy or excessively wordy descriptions. It’s evident that, from the beginning, he had a vivid picture of who he was creating:īut once the introductions passed, actions fell a bit flat in comparison to how elaborate the completed version was. Wright did a great job introducing his characters: I, personally, envisioned exactly what was produced (aside from ages, but that’s not a big deal in a draft this early). I’m talking about how I absorbed the words and interpreted its moments. This was vital toward our Lead’s set up and further development.Įven though much of this segment aligned with the final cut (as you can read above), the main divergence I generally observed was how different it read on paper vs. Instead, Wright allowed us to solely focus on Baby – no gags, just Baby. This may seem like a minor change, but in actuality, it’s pretty substantial.
For example, in this early draft there were tiny gags. Sure, minor elements changed (as expected), most of which I was happy to discover. I mean, a draft from three years ago?! That’s impressive stuff right there, especially when Baby Driver – starting with these pages – is seamlessly packed with explicit detail showcasing action co-existing with music that’s not easy to do.
What stuck out the most upon reading this segment was how much actually made it to final. Now, getting to it: the first four-pages…Īn obvious (and not so surprising change) was that Baby Driver was originally set in Los Angeles, but the film ultimately became centered on Atlanta. The big screen.ĭisclaimer: While I couldn’t get my hands on the latest version, I was able to track down a draft consisting of first round revisions, dated from August 15 th, 2014 – a fascinating opportunity to get a glimpse inside Wright’s mind early on in the creative process. Let’s take a moment to see how this ambitious opening holds up in the screenplay vs.
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Wright took no time to grab our attention, opening Baby Driver with an almost six-minute segment full of zero dialogue and instead, tension: tension that leaves you gripping your face and teetering off your seat. Consumed with energy, color, fervor, tension, meticulously paced beats, effortlessly intertwined music, humor, love, loss… Other films most definitely posses these characteristics, as well, but it’s the way Edgar Wright went about it, placing his latest establishment into its own ballpark. What excites people about Baby Driver is simple we haven’t seen anything quite like it. Whether you’re a film enthusiast or a recreational film go-er, I think we can all (mostly) agree that Baby Driver is the summer of 2017. Most ripe for analysis are editorially complex sequences, performance heavy scenes, as well as action set pieces. Highlight the similarities, differences, and how effectively the writer communicates the specifics of the scene itself.
Pick a scene you like, find the screenplay, and compare the two.
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