Baby Driver’s Oscar-Nominated Supervising Sound Editor Dissects the Movie’s Unique Syncopated Style
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, while publishing new interviews throughout the week. Baby Driver sound editor Julian Slater is nominated alongside his collaborators Tim Cavagin and Mary H. Ellis. They’re up against Ron Bartlett, Doug Hemphill & Mac Ruth (Blade Runner 2049), Mark Weingarten, Greg Landaker & Gary A Rizzo (Dunkirk), Christian Cooke, Brad Zoern & Glen Gauthier (The Shape of Water),
Baby Driver‘s Oscar-Nominated Editor Paul Machliss on Marrying Music to Mayhem
As part of our Oscars week coverage, we’re re-posting our conversations with some of this year’s Oscar-nominees, while publishing new interviews throughout the week. Paul Machliss is nominated in the Film Editing category, alongside his co-editor Jonathan Amos. They join fellow nominees Lee Smith (Dunkirk), Tatiana S. Riegel (I, Tonya), Sidney Wolinsky (The Shape of Water) and Jon Gregory (Three Billboards Outside of Ebbing, Missouri).
Of all the masterly edited films of 2017,
A Peek Inside the Baby Driver Sound Editing Bay
We recently spoke with Julian Slater who provided the sound design, editing, and mixing for Baby Driver. In conjunction with the amazing work of Oscar nominated editor, Paul Machliss, Baby Driver was one of the most stunning films of the year. Slater has since scored two Oscar nominations for his epic feat that synched the killer soundtrack with an incredible array of effects. IndieWire released a short video that will take you inside Slater’s editing bay to witness the magic in action.
Baby Driver‘s Oscar Nominated Editor Paul Machliss on Marrying Music to Mayhem
Of all the masterly edited films of 2017, it would be hard to argue any were quite as revolutionary as Baby Driver. Edgar Wright’s music-charged heist flick was so flawlessly designed and edited it seemed almost as if the songs on the soundtrack had been recorded specifically for the scenes they amplified. In our interview with supervising sound editor Julian Slater, we learned, among other things, that the brilliantly matched music-and-turbo-charged-getaways were so complicated,
Oscar Watch: Baby Driver’s Supervising Sound Editor Dissects the Movie’s Unique Syncopated Style
As a contingency for speaking with me about his work on Baby Driver, supervising sound editor, sound designer, and re-recording mixer, Julian Slater, made me promise two things: watch it on a really good system and turn up the volume. After running a check on my speakers and ensuring my neighbors were out for the day, I cranked it up and was blown away. It would take dozens of viewings to begin to appreciate the layers of audio that Slater has choreographed for Baby Driver,
Writer/Director Edgar Wright Talks his Brilliant new Film Baby Driver
*We’re sharing some of our favorite interviews of the year this week in our ‘Best of 2017’ roundup.
It’s is odd that British auteur and fan-boy fave Edgar Wright, 43, known for spoofing horror flicks (2004’s Shaun of the Dead), buddy-cop procedurals (2007’s Hot Fuzz) and sci-fi thrillers (2013’s The World’s End) has produced his most mature and satisfying spin on a popular genre – this time,
Watch Film Critic David Ehrlich’s Immensely Satisfying Supercut of his Favorite 25 Films of 2017
If you’re going to watch but one year-end supercut, you really can’t do better than film critic David Ehrlich’s annual video. Once again Ehrlich has counted down his 25 favorite movies of the year, and the finished product is both a loving homage to a year in film and a work of art itself.
This is meticulous editing work, folks, and a joyous celebration of some of the year’s best films.
Writer/Director Edgar Wright Talks his Brilliant new Film Baby Driver
*We’re sharing some of our favorite interviews of the year this week in our ‘Best of 2017’ roundup.
It’s is odd that British auteur and fan-boy fave Edgar Wright, 43, known for spoofing horror flicks (2004’s Shaun of the Dead), buddy-cop procedurals (2007’s Hot Fuzz) and sci-fi thrillers (2013’s The World’s End) has produced his most mature and satisfying spin on a popular genre – this time,
See how Edgar Wright Built Baby Driver Around 35 Songs
If you're Edgar Wright, writer/director of hits like Shuan of the Dead, Hot Fuzz, Scott Pilgrim vs. The World, and The World's End, you can get just about anybody to read your latest screenplay. When that screenplay arrives with a thumbdrive containing 35 songs, songs that the script was built around, you listen while you read, and you marvel at both his audacity and his skill. Baby Driver
New Baby Driver Trailer Highlights the Best Heist Movie in Years
We told you this past March, and we’re telling you again; go see Baby Driver when it comes out on June 28. But don't take our word for it, watch this new "TeKillYa" trailer and you'll see for yourself that Edgar Wright's heist flick is as close to an action masterpiece as you can get, and we mean that quite literally.
You see what we mean?
Meet Baby Driver, the Beethoven of Get Away Driving
We told you this past March, and we’re telling you again; go see Baby Driver when it comes out on June 28. Edgar Wright's heist flick is as close to an action masterpiece as you can get, and we mean that quite literally. The film's conceit is a finely tuned thrill ride; a very young and very gifted getaway driver named Baby (Ansel Elgort) has to listen to his own bespoke playlists while he drives,
Hot Off Baby Driver, Edgar Wright’s Grasshopper Jungle Nears Deal
Edgar Wright's Baby Driver was one of our favorite films at SXSW and one of our favorites of the year thus far. Beginning with one of the best set pieces in recent memory, Baby Driver is a super-powered, music-obsessed blast from start to finish. Beginning inside a Subaru that’s been turned into a supercar, we stay with Baby (Ansel Elgort) as he listens to Jon Spencer Blues Explosion’s “Bellbottoms,”
Edgar Wright’s Baby Driver Official Trailer Shifts Into Overdrive
When we saw Baby Driver down in Austin at the South by Southwest Film Festival, we were well aware we’d just seen a certifiable hit. Edgar Wright’s loving spin on the heist movie proved that nobody deconstructs and reconstitutes genre better than he does. As we wrote then, “[Wright] has made zombies fresh again in Shaun of the Dead, buddy cop stories hilarious again in
