PRODUCTION NOTES

Hes a good kid, and a devil behind the wheel.

Thats Baby (Ansel Elgort), an innocent-looking getaway driver who gets hardened
criminals from point A to point B, with daredevil flair and a personal soundtrack running
through his head. Thats because hes got his escape route plotted to the beat of specific
tunes that go from his well-curated iPod straight to his ears, and which translate into
expertly timed hairpin turns, gear shifts and evasive maneuvers that leave his passengers
on the ride of their lives.

Which makes BABY DRIVER, with its mixture of mph and music, the newest explosion of
genre-crossing excitement from writer-director Edgar Wright, an action thriller unlike
any other.

Baby works for Doc (Kevin Spacey), a kingpin on a lucky streak of brash daytime bank
heists, thanks in part to his faith in Babys auto acumen. Docs go-to professionals
include former Wall Street type turned outlaw Buddy (Jon Hamm), Buddys young,
lawless and scandalous partner in crime Darling (Eiza Gonzalez), and the impulsive, gun-
slinging Bats (Jamie Foxx), whose suspicions about Baby from his attitude to his
aptitude begin to create a dangerous rift in an until-then smooth-running operation.

Babys outward appearance the sunglasses, the aloofness, the ever-present earbuds --
may suggest a kid in over his head, but his catch-me-if-you-can skills are second to none.
And yet the encroaching demand for his talents, and what hes doing with them, begin
to weigh on his sense of right and wrong, especially when he falls for a sweet, kind-eyed
diner waitress named Debora (Lily James), and a doomed job threatens his chance at
love and happiness away from his perilous profession.

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Full of reversals, rewinds, fast forwards and heart-stopping skips, and inspired by the
types of crime-and-chase movies that have thrilled moviegoers since Steve McQueen in
a revved-up Mustang changed car pursuits forever, BABY DRIVER is a game-changing,
lane-changing, hard-charging blast only Wright could have dreamed up.

Written and directed by Edgar Wright, BABY DRIVER is produced by Nira Park through
her Big Talk Pictures, and Working Title principals Eric Fellner and Tim Bevan. Executive
producers are Edgar Wright, Adam Merims, James Biddle, Rachael Prior, Liza Chasin, and
Michelle Wright.

BABY DRIVER stars Ansel Elgort (The Fault in Our Stars), Kevin Spacey (House of Cards),
Lily James (Cinderella), Jon Bernthal (The Walking Dead), Eiza Gonzalez (From Dusk til
Dawn), with Jon Hamm (Mad Men) and Jamie Foxx (Sleepless).

For the creative production team, Wright assembled a high-octane team of collaborators
both longtime and new. Emmy-nominated director of cinematography Bill Pope (Scott
Pilgrim vs. the World, The Worlds End) joins fellow Wright regulars production designer
Marcus Rowland (Shaun of the Dead, Scott Pilgrim vs. the World, Hot Fuzz, The Worlds
End) and editor Paul Machliss (Shaun of the Dead, Scott Pilgrim vs. the World, Hot Fuzz,
The Worlds End) and Jonathan Amos (Attack the Block, Scott Pilgrim vs. the World), and
first-time Wright collaborators including costume designer Courtney Hoffman (The
Hateful Eight, Captain Fantastic), visual effects supervisor Stuart Lashley (The Danish
Girl, Mirror Mirror), and second unit director and stunt coordinator Darrin Prescott
(Captain America: Civil War, John Wick).

A TriStar Pictures and MRC presentation, the film shot was shot in and around the city of
Atlanta, Georgia.

BABY DRIVER has a running time of 1 hour and 53 minutes.

It is rated R by the MPAA for the following reasons: violence and language throughout.

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WHO IS BABY DRIVER?

Cool but a little naive. Young but with an old soul. goofy at times, but all business when
it counts. Thrillingly good at his given task, but not always aware of the consequences of
what he does. Thats Baby, played by Ansel Elgort, a character Edgar Wright created as a
way for moviegoers to live vicariously through a criminal, but also experience the very
real fallout of that world.

The movie is structured so it opens with the dream of being a getaway driver, and very
quickly turns into the nightmare of being a criminal, says Wright. The opening chase is
sort of positioned as a clockwork act of precision. Everything goes right. Then very
quickly, with subsequent situations, things start to go wrong, and very visceral
consequences start to bear down. The storm clouds have been gathering during the
movie. At some point, Babys luck is gonna run out.

The Baby we meet at the beginning of the movie hidden behind sunglasses, dialed in
to his iPod playlist, then a hellion at the wheel is like the greatest gang apprentice ever.
This kids a hotshot, but hes also on the fringes of the gang, says Wright. He literally
sits as far away from them as he can, because he really doesnt want to be part of the
group. He thinks, wrongly, that he can be a getaway driver but not be a criminal Like, Im
just the courier. I dont have anything to do with the bad stuff. The action scenes are
kind of like Babys day job, and I think a lot of people that work in a job sometimes shield
themselves in a different persona. Then when theyre home, theyre a different person.

When Wright was dreaming up the role, he envisioned a riff on the strong silent type
personified by Clint Eastwood and Steve McQueen, but with the tension that it might all
be a front. You meet him, and hes a badass in his profession, and then immediately
afterwards you start to meet the real kid. Its an interesting dichotomy, that hes really
good at a job that he should not be doing.

The music that drives the Baby Driver is, to Wright, indicative of his twofold persona.
Blasting his favorite tunes while he does his job looks cool, but it masks a defect tied to a
tragedy. He has this hearing defect, tinnitus, a whine in his ear caused by being in a car
crash when he was young, says Wright. It has the effect of him not wanting to talk too
much, because people with hearing defects can feel more self-conscious talking. But the
other aspect of that is to listen to music, to drown out the whine. It becomes a security
blanket, and then a full-blown obsession. He literally has to soundtrack his entire life
because he cant really do things without the right music playing.

Baby is encouraged by his elderly deaf foster father (CJ Jones) to get out of his life of
crime. Meeting the friendly, beautiful waitress Debora (Lily James) further articulates for

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him how misdirected his life is, and how much better it could be. But Baby has to make
that leap, and cut ties with his profession. What will it cost?

I just like the idea of a character having to choose between what he does very well, and
what he ultimately wants to be, says Wright.

STRAP IN, TURN ON, HIT PLAY

Edgar Wright was himself a Baby Driver-ish 21 years old when he was listening to
Bellbottoms by the Jon Spencer Blues Explosion and thinking, This would make a
great car chase.

Years later, Wright made his chase, and the movie around it, what he now calls a labor
of love and a dream project. Two of my great passions brought together in one movie. I
always wanted to do an action movie that was powered by music. With producers Nira
Park, Eric Fellner and Tim Bevan on board, everyone was excited to take the cleverly
crafted themes behind Wrights action thriller and fuse them into one uniquely
choreographed cinematic experience.

There might be music, and there might be choreography, but this is not your everyday
musical, laughs Wright about his upended, re-imagined heist movie. At the same time,
we had to maintain the right sense of tone that is both intense and suspenseful, but
most importantly fun and exciting.

Says director of photography Bill Pope, Wrights longtime collaborator, Its a

postmodern musical. So theres not singing and dancing in the street, but the world acts
to music.

Known for his innovative films, Wright revels in challenges that lead to one-of-a-kind
visions on screen. Continues Pope, Edgars movies are always challenging. His movies
are complex, especially this one in particular, where you dont just have a bank robbery
scene with gunfire and squibs and cops showing up on time and cars crashing. You have
rain. You have lightning. And the kicker, its all set to music, so the windshield wipers act
to tempo. People die to tempo. The gunfire is on the beat, and its all usually in one shot.
And its daring to have all of that choreographed.

Choreographer Ryan Heffington describes the first day of shooting, which involved one
of the largest pieces. It was a street scene, where Baby would travel three blocks within
the city in one take. We had to choreograph pedestrians. We had to choreograph caf
workers, children, dogs walking. Its like this great play on reality, where it looks like a
realistic scene, but everything happens to be in time and in rhythm.

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Says producer Nira Park, The film is not just set to music because Edgar loves music. Its
a way of inviting audiences inside the mind of the main character, and to see the world
through his eyes or ears. In coping with his traumatic past, Baby drowns out the world
around him by always listening to music through stolen iPods.

Continues Park, Its an action thriller executed in a way thats never been done before
there are car chases, intense action sequences, shootouts, all to the beat of over 30
songs that Edgar put together before finalizing the script.

Four years prior to the start of principal photography, Wright sat down with editor Paul
Machliss and accumulated a playlist of over 30 songs that would inspire the script. Its
something thats very much a part of my previous films, and I thought of this idea of
how to take that a stage further by having a character who listens to music the entire
time.

Ansel Elgort, who plays Baby, recalls how singular the project was from very early on.
Initially the script was given out on an iPad that had little Baby Driver emojis that you
could click, and the music would play as you read the script. The music drove the script,
which is very much how this movie works. When you read it, you could feel the rhythm
of the scenes already.

Says Jon Hamm, who co-stars as heist man Buddy, The musical element to it, which is
very interesting, allows Edgar to really play with his incredibly developed skill set.

The films second unit director and stunt coordinator Darrin Prescott says, Edgar is such
a visionary and his style is so unique, this project is a true testament to his creativity. Ive
said since the beginning that it would be a great film school exercise to take a
mainstream song and choreograph anything to it, like a fight scene or a car chase. Its
not easy what were doing here. Theres a lot of nuance in this. I think you can watch this
film a dozen times, and each time youll pick out something new, or some intricacy thats
innate in an Edgar Wright film.

Wright even cared enough about the heists to meet with a technical consultant named
Joe Loya, who in the early 90s was convicted for bank robbery and served a seven-year
term. Loya wrote a book called The Man Who Outgrew His Prison Cell: Confessions of a
Bank Robber, which inspired Wright to meet Loya. Loya helped solidify the authenticity
of each heist, says Park. With all the added elements, Edgar wanted to make sure the
heists felt very real and believable.

ASSEMBLING THE PERFECT HEIST CREW

Edgar Wright had been thinking about how to cast BABY DRIVER for years before it went
into production. Though he initially imagined Baby as short because Im short, he

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adds, laughing he says meeting Ansel Elgort made him realize nobody else could play
the title role.

The thing that really charmed me about him was the fact that hes very musical, and he
can play lots of instruments, says Wright. One of my favorite scenes with Ansel, he has
his headphones in and hes listening to Dave Brubeck, and starts playing piano on the
table. There was something so beguiling and hypnotic about watching a 21-year-old
actor play along to some jazz from the 50s. Ansel is fascinating in that regard.

Elgort explains that it was his and Edgars mutual love for music that connected them
upon their first meeting in LA. Edgar and I met in Los Angeles and we had lunch, and all
we talked about was music, says the actor. At the time I didn't even know what this
film was about, but we both shared a love for music.

Says Wright, Ansel is actually obsessed with music, which the lead character in the
movie is. His life is completely governed by music and living to the rhythm of the music
he's listening to, and Ansel has a dance background. And also he's a great actor and a
nice guy.

Elgort was excited to take on the role of Baby, explaining, I loved how eclectic the role
was. Hes the getaway driver so I had to learn to drive, he has a deaf foster dad who he
signs with, so I had to learn to sign, and his life moves through music so theres the
dance and choreography challenges too.

Explains his co-star Jon Hamm, who plays fellow criminal Buddy, Baby is constantly
having to prove himself to the different criminals that Doc recruits. You have these
various lethal and dangerous people coming together to complete this one job and they
are shocked when they see this young kid.

Hamm continues, Buddys take on Baby is that he sees very early on that he's incredibly
capable. And these crews that rob banks for a living rely on the guy who has to get them
to the job and away from the job as fast and effectively as possible - and Baby has to
prove that he is very good at that and very quickly.

Ansel has a very tricky challenge I think throughout this entire film, explains Hamm.
Baby is a character that is very much in his own head and he wears his sunglasses and
has his earphones in and he doesnt talk much, its an interesting challenge trying to
portray a character through his music selections in various situations. The first bank heist
you see him rocking out in the car while we have guns in the air and people are
screaming. Theres almost this weird humor to his character but also a dark ability to
carry on with these criminals, continues Hamm.

For Lily James, who plays Babys love interest Debora, Elgort makes it easy to sympathize
with Baby. You root for Baby because hes got such a good heart and you see him at

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home with Joe, his foster dad, and theres this beautiful relationship. Hes doing this to
get a better life for Joe and himself, and so you want him to succeed, and you dont want
him to get totally corrupted in this horrible world. I think hes got such a big heart and
that shines through in Ansels performance, which I think is so beautiful and kind of
vulnerable but cool.

When it came to casting the rest of the movie, Edgar Wright says he always intended
BABY DRIVER to be an ensemble movie, if only because as much as Baby might like to
escape his work colleagues, he cant. The idea is, take this loner, and put him in a gang
that he really doesnt want to be in, says Wright.

At the head of the heist crew, the mastermind assembling the troops is kingpin Doc. He
needs guys who arent doing this for the thrill theyre doing it because its their job,
and they take their job seriously. Who better to fill out that deadly serious crime boss
role than Academy Award winner Kevin Spacey, who of late has been delighting
audiences as the scheming President Frank Underwood on the hit Netflix series House
of Cards.

I had in my head a practical list, and then Kevin was on the pie in the sky list, says
Wright, a fan of Spaceys since he burst onto the movie scene with Glengarry Glen
Ross, Seven, and The Usual Suspects. And I was lucky enough to get one of my pie
in the sky choices. I flew to Baltimore and met him while he was shooting House of
Cards, he said yes, and I was like, well this is amazing! I got very excited about him
ripping through all this dialogue Id written. Its just fun to watch Kevin being bad. You
love him no matter how mean he is.

Doc is a no-nonsense guy, the team leader. I suppose if he werent robbing banks, hed
be an incredible coach, because he manages to bring together these rather over the top,
crazy, sociopaths, psychopaths, nut jobs, and Baby.

Kevin Spaceys character Doc is sort of the puppet master and Kevin plays it so well with
so many different layers, explains Jamie Foxx, who costars as fellow heist man, Bats.
Hes such a gifted artist who can bring so much life into a character like this.

Though Doc has a stranglehold on Babys services, he isnt entirely unsympathetic to the
kid. Hes like one of those awful father figures who can be great in rare moments, says
Wright, but then most of the time hes a corrosive influence.

With the kingpin and driver in tow, next came the rest of the heist crew, a team that had
to be threatening, but also move to the rhythm. Casting an ensemble is very difficult,
says producer Nira Park. Here, we had to cast seven heist men and women including
Baby as the getaway driver. We wanted certain contrasts with menacing to level headed
and gun slinging, but we also needed a cast that could move to the beat of the music.

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Only one part was written with an actor in mind, and that was Buddy, whom Wright
envisioned for Jon Hamm. The Emmy winning Mad Men star had been at the first
table read for BABY DRIVER, back in 2012, and was the only actor to see it through to
production.

Ive known Edgar and have been a fan of his for quite some time, explains Hamm. I
was asked by Edgar to do the original table read for the early version of the script and
was on board immediately and that was about five or six years prior to filming. I really
liked the script right away and knew it was an interesting idea that could become
something really cool.

Hamm was thrilled to join Wrights team and play on the flipside of the law after co-
starring as FBI Secret Agent Adam Frawley in The Town. Its kind of fun to play an
unrepentant bad guy, explains Hamm.

Best known for his iconic role as mid-20 th-century adman Don Draper on Mad Men,
Hamm says his role search since has been toward different types of parts. I look for
things in my post Mad Men career [that are] the opposite or at least something
different from Don, who was very clean cut, well buttoned up, even though he certainly
had a dark side. But this opportunity was definitely an example of the change I was
looking for.

For Hamm, Buddy is also a case of someone eager to change things up. Buddys back
story is that he was a very successful stock broker who then made a series of bad
decisions which landed him on the other side of the law. He now uses his intelligence
and charm to find success on the flipside of legal money making.

Hamm continues, Buddy meets his girlfriend, Darling and they are living that thrilling
kind of romantic, although inevitably doomed, life of crime with all of the excitement
that goes along with it as well as the danger.

Darling, the brown-haired bombshell, was handed to Eiza Gonzalez, who came
recommended by Wrights friend, director Robert Rodriguez. He was like, This girls
going to be huge, you should meet her. And he was right. The thing about Eiza is shes a
total knockout, and very sweet, very funny, but when she turns her edge on, shes
terrifying. Its a similar thing that you get with Jon and Eiza in the movie. They seem like
the nice ones, but when they themselves are threatened, their lashing out is really scary
to watch.

Says Gonzalez, I loved how Darling was such a unique character who is crazy and a little
disconnected with reality, which I think every criminal has to be able to accomplish
dangerous activities like bank heists or killing people. You definitely have to be a little bit
disconnected. But I loved how she was still very feminine.

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To prepare for the role Gonzalez explains, I really wanted to represent a woman who
understands this world, so I got into researching Candice Martinez, dubbed The Cell
Phone Bandit for always talking on her phone during her robberies. It was important for
me to try to understand someones motivations behind choosing this lifestyle, so I read a
lot about her and listened to her story and her background and where she was coming
from.

Representing another temperament entirely on Docs rotating team of robbers is Bats, a

watchful hardcase whom Wright calls probably my most fun character to write. He is
probably the baddest guy in a roster of very bad guys. Taking on the mantle of the
darkest end of the movies spectrum was Academy Award winner Jamie Foxx.

I was so excited, says Wright of Foxxs casting. He plays him as extremely charming,
but this charm is an attempt to reel you in. Hes one of those guys who brings you in
closer so he can stab you. Jamies very magnetic, and Bats is a smiling, laughing
sociopath, somebody who cannot be trusted. Baby can see that Bats arrival is bad news,
and sort of does everything he can to stay away. I just like the idea of Jamie as this agent
of chaos, who just enjoys wreaking havoc.

The multi-talented Foxx says, I had never seen something like this before and was
impressed at Edgars willingness to take a chance with something really fresh and
unique. When it comes to Bats character, he is really simple. He wants to get money and
he doesnt want to have to get to know anybody or make any friends. If there are any
loose ends or weak links he deals with it in his own special way.

Before Bats enters the picture, though, the muscle on the first heist team is Griff, played
by Jon Bernthal. Embodying the other side of the law from Marvels crime-fighting
vigilante The Punisher, which he plays for Netflix, Bernthal embraced the unique
challenge of Griff.

Griff is a pain in the ass, says Bernthal. He's a tough guy to deal with, and I think the
only thing better than not dealing with him at all would be to have him on your side.
Youd rather have him on your side than against you. These guys are part of this criminal
underworld where you're known by your reputation. These guys are by no means petty
criminals.

Rounding out the group of heist men are Lanny Joon, and bassist for The Red Hot Chili
Peppers, Flea, who had known Wright and was excited to join the directors team. Flea
explains, I read the script and was blown away. Its such a wild, unique and cool vision
that Edgar had for this thing and the combination of music and action and poignant
feelings is rare.

In addressing the musical elements to the film, Flea says, Music is the most important
thing in my life and Edgar has made music such a crucial part of this film. Its such an

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interesting and exciting concept and its been a fun process to watch Edgar bring this
thing to life.

After such a formidable cadre of criminals, finding the sweet spots in the cast carried its
own challenges. Who could bring to life Debora, the kind-eyed, friendly waitress who
gives Baby hope that his life could mean something more? Wright found her in British
actress Lily James, the Cinderella of Disneys recent hit movie.

I was incredibly charmed by her, says Wright. She basically did in the audition what
she does in the movie. She inhabits this character, this new ray of light in Babys
reasonably introverted life. I sent the video of her audition to Bill Pope, my
cinematographer, whose opinion I really trust, especially on actors and actresses. I didnt
tell him why I was sending it or what I thought of it. Maybe half an hour later he replied
with a two-word email saying, Hire her.

Says James about her character, Debora works a dead-end job and it becomes clear
that she has no ties to where she is at this point in her life. She has no family and is a bit
of a wanderer who wants to escape. Shes a dreamer and she loves music, which is why
she and Baby really connect.

With so much music and rhythm and percussive excitement, theres one beat in the
movie thats only ever heart-like, and that comes from CJ Jones as Joe. Babys foster
father and fervid conscience, Joe is there to share his joys, but remind him that crime
doesnt pay. The filmmakers knew that Jones, a world-renowned Deaf entertainer, was
perfect for this crucial role.

Says producer Park, CJ has so much amazing positive energy and he really has great
chemistry with Ansel, who has been challenged with learning to sign because CJs
character in the film is actually deaf. This detail adds a very special element to the Baby
and Joe relationship since Baby develops tinnitus after a traumatic accident and hes
pained by constant background noise. So, its nice that he has this very intimate
relationship with someone that has a profound but quiet and comforting presence in his
life.

Wright says working with Jones was an emotional, heartwarming experience, but also
very funny. CJs a deaf standup comedian, and is very, very funny. An unexpected result
of directing Jones, says Wright, was an improvement in his own communications skills.
If youre working with somebody who is reading your lips, you very quickly start to
realize that 50 percent of what you say is nonsense. I had to be much more succinct, and
get to the point. I adored working with him.

Wright also assembled a team of rock star cameos including Jon Spencer whose
Bellbottoms is prominently featured -- Big Boi, Killer Mike, Sky Ferreira (briefly seen in
a flashback as Babys mother) and Paul Williams to name a few. I thought it would be a

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fun thing to have musicians in the movie, says Wright, because its such a music-driven
movie.

Edgar, is a fan of Outkast and my work and he reached out to me directly and me being
a huge fan of Edgar, I of course was excited to hop on board, says Big Boi.

Killer Mike echoes Big Bois excitement to join Wrights project, especially because of the
musical element. I love movies that are set to music, it's always cooler, and it moves the
action along. And I'm a musician, so, of course, I love it. Its a real treat to be a part of
something like this.

TURN IT UP

For a movie whose pump is primed by music, and specifically music chosen by its lead
character, its not surprising that Wright had songs picked out before hed ever written a
word of BABY DRIVER. Tunes like Bellbottoms from The Jon Spencer Blues Explosion,
Neat Neat Neat by The Damned, Brighton Rock by Queen and Hocus Pocus by
Focus gave Wright the inspiration to dream up highly choreographed sequences. The
form of those songs starts to shape the scene, says Wright. Bellbottoms has a long
two-minute build before the rock really kicks in, so thats perfect for a getaway driver
waiting outside a bank. Then at the two-minute mark, the chase starts.

But its not just car action thats choreographed to music: Baby gets his own flat-footed,
coffee-errand number on the streets of Atlanta, to the sounds of Harlem Shuffle, and
even gun battles find themselves in synch with certain tracks. The very first germ of the
idea was how could I do an action movie thats completely driven by music? says
Wright. The music is the motivating factor.

To that end, finding the right choreographer was as crucial as any other job on the film,
and that meant hiring Ryan Heffington. Best known as the choreographer behind the
music videos for Sias Chandelier and Arcade Fires We Exist, Heffington gladly
embraced the challenge to join Wrights team for the first time to choreograph talent
and crew in his feature film debut. Heffingtons partner in the process was assistant
choreographer, Ryan Spencer, who has been involved in the arts since the age of 3,
becoming an independent at 15 years old performing and choreographing talent
nationally and internationally.

Edgar is very specific about what he wants and he knows every single detail about the
film but he puts his trust in the team hes assembled and he really let me go to work
which makes him a great collaborator and an amazing director, says Heffington.

I think the story mostly determined what we were doing. And Edgar had a lot of say in
what he wanted in terms of movement and timing and the mood of it all. I did get to

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come up with a lot of original, ideas and movements. I think that along with Edgars
direction it's something that's going to be really rich for the film.

Elgort, like his six fellow heist co-stars, had some experience with music and
choreography, something producers contemplated when casting the seasoned actors.
In casting these heist men we knew it would be necessary to have talent with
experience in rhythm and who could pick up the choreography that was so vital to
making this movie work, explains Park.

The actors all worked very hard to choreograph their scenes, but hopefully itll come off
looking easy. I think that's my job to help make it look natural and pedestrian, adds
Heffington.

Wright calls Heffington an amazing genius, who helped the actors think in counts, like
dancers do. Say for example people are shooting guns in time with the music, he would
get them to memorize this part of the rhythm. Ryan would go up to Jon Hamm and say,
This next bit is you going da, da, da, da, da, da. Then you get that in your head. Then it
cuts together with the song. It really works.

Explains Heffington, We started with rehearsals with Ansel back in LA about six months
prior to filming to get an idea of what Ansels movement style was and his natural
character without adding too much of Baby in it so we could determine where we could
take this character.

At the age of nine, Elgorts mother took him to try out for The School of American Ballet,
where he began his official dance training. He later attended the Professional Performing
Arts School, Fiorello H. LaGuardia High School and Stagedoor Manor summer camp,
further establishing himself as a dancer and stage performer. When he is not filming,
Elgort lends his talents to producing electronic dance music under the name Ansolo.

Elgort says, I started with regular dialogue auditions before Edgar asked me to start
dancing since Baby is always moving to the beat, whether it be in his own mind or
dancing in front of a mirror like no ones watching.

The other cast members were challenged with on-the-fly choreography lessons as
production went day by day. Theres just so much going on that we really had to move
fast with this, but they are all professionals and they can really nail it in front of the
camera, adds Heffington.

Echoes Park, We moved fast which is another reason it was imperative that our cast
had some experience with music and rhythm so they could catch on quickly and nail it.

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Eiza Gonzalez, who plays Darling, reveals that it was a challenge to look comfortable
shooting guns. In my case, in heels, she adds, and at the same time doing it to the
beat of the music.

For Elgort, the films music becomes a character extension of someone who operates in
his own world. Baby doesnt have a computer. He's totally off the grid. So the music he
gets is from a bunch of different peoples iPods. And because of that he sort of has a
soundtrack that's really unique and different, says Elgort.

Elgort explained that a lot of the music hed never heard of, but that the encyclopedic
knowledge of music Wright brings to the film gives it extra entertainment value.
Musically the film goes all over the place and that's really fun. Itll keep audiences on
their toes, says Elgort.

Tapping into his experience as a DJ, Elgort says, A really good DJ is one who can make
people move without just playing hit records, and this soundtrack is not just a bunch of
hit records put together. Its a lot of really eclectic records that are really cool.

Wright says Elgort contributed his own song, which grew out of his audition, I said,
What song do you know by heart, all the lyrics to? He said Easy, by the Commodores. I
said, Really? Thats amazing, cause I have that on my iTunes. I played it there, and we
just improvised the bits of the song. It actually became part of the film.

It wasnt just the leads who had to get their movements to music just right.
Choreographer Heffington also held auditions for the background actors in each scene,
as well as assisted the camera team in learning how to move around the action.

Wright also kept his longtime editor Paul Machliss nearby on set to cut in real time, so
that the gunshots, lighting effects, actors and camera movements, and car hits, all
happened to the beat of the prescribed music. With the exception of one song, we
were working with popular music that we could not alter or speed up or slow down,
says Machliss. We were challenged to make sure each sequence fit in the time frame of
the song, as well as went to the cadence of each beat.

Heffington says, Its going to be a film like no other. Its not a musical. Its a new genre
that is a love story with action, car chases, violence and dance. Its for everyone in a way,
and to top it off the actors are brilliant.

BEHIND THE WHEEL

With high-gear, precision driving essential to the heart-pounding fun of BABY DRIVER,
the right action choreography, the right cars and the right stunt team had to be in place.
Wright and three different storyboard artists began the process by drawing the car chase
sequences, then turning them into animatics that provided a rough animation of how

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they would play out. Those animatics are pretty close to the finished movie, says
Wright. The next stage is working with a cinematographer, a stunt team, and a physical
effects team. Which parts need a stunt driver? Which parts can be the actors? What rigs
do we use?

What Wright didnt want to do is hose the scene down, meaning shoot with multiple
cameras, grab millions of feet of film, then figure it out in the editing room. The
animatics became a great roadmap, because you knew how many shots you needed for
a sequence, says Wright. Its getting the maximum bang for your buck.

Another important aesthetic for Wright was an emphasis on daylight chases, which
create an extra air of collision tension. Besides, bank robberies are typically sunlight
affairs. Its probably easier to do a freeway chase at night, because its easier to get
those street closures. Doing it in broad daylight is a lot tougher, but I just felt it would be
more impressive.

When it came to deciding what cars to use, Wright didnt want expensive, or tricked out
-- he wanted practical for a bank robbers purposes. Sean Ryan, the films picture car
coordinator, says of any given chase onscreen: It had to feel big, but most importantly it
had to feel real. Wright researched the most stolen cars in America and determined our
heist cars with that concept in mind. There are over 150 cars on this project and every
single car has a specific function and the whole car selection process took on a character
development of its own through Edgars vision.

Says Wright, Real bank robbers would steal a car thats not going to be missed. Then
theyre going to ditch it, and drive off in another nondescript car. The idea is, and this
came from interviewing real getaway drivers, get a car that will blend into traffic. White
and gray and red, the normal colors on the street.

To determine the stunt capabilities of each vehicle, the stunt driving team assembled by
second unit director and main unit stunt coordinator Darrin Prescott and stunt
coordinator Jeremy Fry had to test the vehicles and communicate with Ryan to tweak
the cars so as to accomplish everything mapped out by Wright, keeping safety at the
forefront.

Says Prescott, This was such an exciting project to take on, its so different in regards to
the driving for a couple of reasons. Edgar is incredibly collaborative and has allowed and
welcomed our stunt team to develop and choreograph these stunts and driving
sequences with a lot of freedom. Weve also tried to keep all the driving real. There have
been no visual effects in our driving.

For the first heist, a red Subaru WRX was decided upon. Says Ryan, Edgar was dead set
on using this car because it is notorious for its maneuverability its quick and agile. This

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is the kind of car you want to get you away from the scene the fastest. Adds Wright,
citing his research, For gearheads, its a secret rally car.

Ryan continues, Once we decided on the heist vehicles, we had to determine what
stunts the cars would be doing to then determine how many of the vehicles wed need
with different mechanical functions. For instance, we had four Subarus. One of them had
to be all-wheel drive to complete a 270 stunt where the rear had to be locking, but it
had to have the ability to unlock the front so when the driver comes out of reverse he
can then pull away. Ryan laughs. Its all very technical.

Says Fry, These cars come stock all-wheel drive, which means when you give it gas, the
power goes to basically all four wheels. So if you have enough power and you get on the
gas hard enough, youll spin all four wheels. On a rear-wheel drive car, which is not how
these cars come from the factory, when you get on the gas it just spins the rear wheels.
That makes drifting. Driftings different in a rear-wheel drive versus all-wheel drive. So
we have some moves that are definitely all-wheel drive moves that we want to do, and
then other moves that are a lot easier and a lot more dynamic in a rear-wheel drive.

For the other heists, Wright was just as particular, choosing a Chevy Avalanche for the
second heist, which required driving up a brick wall, and a Mitsubishi Galant for the final
heist, which also employed spectacular stunts. Says Ryan, We had a lot of technical
rigging to do with these cars so they could perform the way Edgar wanted them to.

For Kevin Spaceys characters car, the Mercedes-Benz S550 was chosen, a prestige
model befitting a crime boss, although it winds up in Babys hands. To make the car do
what they wanted, though, the computer systems had to be modified, because the car is
engineered to correct itself when it gets out of control. Says Ryan, We do some serious
drifting in a parking structure in downtown Atlanta. Theres a lot of action done in this
car, some incredible stuff.

Whenever possible, the actors would be behind the wheel. Prior to the start of
production in early 2016, Ansel Elgort, whose character Baby is the primary driver of the
movies heist vehicles, and Jon Hamm began driving training under the supervision of
Prescott and Fry, to prep for the scenes where audiences can see the actors faces. Says
Ryan, [They] worked together on and off for about a month trying to condition Ansel
and show him what the cars will do and how they drive. After his time behind the
wheel, Elgort joked that while he drives a Tahoe in real life, hes ready for a Subaru
now that he knows what he can do with one!

More than just expert driving, though, the movies special nuance was choreographing
car chases to music. Says Prescott, It started with the pre-viz, which entails us actually
measuring the space at our actual locations and then laying them out in the parking lot
at the Atlanta Motor Speedway, and then carrying out the actual driving bits in the

15
actual cars that Edgar wanted to use because we had to know the exact choreography of
the cars including how they move and their timing.

The car hits, and maneuvers had to hit the beats of the songs used in the scene and
that song was not going to get any longer or shorter, so we had to get it just right,
continues Prescott.

As for the gags the stunt drivers had to pull off, done on location in Atlanta, some had
never been seen before on film, including a risky, daring move known as a 180 in and
180 out. Most filmmakers would do this kind of move in a giant parking lot and create
fake buildings in a CG world, but of course Edgar wanted to do this stunt practically,
explains Prescott.

The man behind the wheel for that stunt was Fry, who has driven in some of the top
chase scenes to blaze across the big screen, including those in John Wick, Hit and Run,
and Drive. We completed this maneuver in a narrow alley in downtown Atlanta that
had no room for things to go sideways. The stunt required the car to speed down the
narrow alley and pull a fast 180 in between two buildings and then quickly 180 right
back out of it, and he nailed it, brags Prescott.

Actor Jon Bernthal, whose heist crew character finds himself in a handful of these hair-
raising situations, puts it succinctly: It's better than a roller coaster ride, he laughs.

COSTUME DESIGN

Courtney Hoffman may have been a newcomer to Edgar Wrights creative team, but
shes no beginner when it comes to bringing sartorial heft to a movie, having earned
accolades for her work in Quentin Tarantinos The Hateful Eight and Matt Rosss Captain
Fantastic. From her first experience meeting Wright, the sense of a fruitful collaboration
was in the air. Its so rare that you get a script that is this vibrant on the page, says
Hoffman. After my first interview with Edgar he said sit down read the script and listen
to this playlist - I was drawn to the uniqueness of the whole experience once I pressed
play.

Producer Nira Park applauded the decision to bring on Hoffman: We knew the
costumes were going to be an essential part in helping define our characters, and
Courtney brought a level of boldness, enthusiasm and expertise to our team. She really
helped bring these characters to life.

It was a collaborative experience from the start. Says Hoffman, Edgar is one of the few
directors that wants to be at every fitting to give input and suggestions on costumes with
the actor while theyre trying on their clothes for the first time.

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It led to a level of detail that enhanced each character. Moments into the script, the
action begins and one of the things Edgar wanted audiences to see right away in the
opening was our robbers in a pair of sneakers walking by, says Hoffman. Theyre ready
to do a robbery with sneakers on and black trench coats because this group of people
are here to do business. But one of the things I was really excited about was being able
to explore the details in those moments that define the uniqueness of each of these
characters.

So even though they're all wearing black trench coats and they're all wearing white
sneakers if you take a moment and you pay attention, we added elements of each
persons character into their costume. Youll see Eizas sneakers are platformed for
instance, so I wanted there to be traces of their characters even when they are trying to
hide who they are, continues Hoffman.

Building on the idea that Atlanta got to be Atlanta onscreen for once, Hoffman says that
the city was a readily embraceable source of inspiration for the apparel in Wrights
colorful story. Edgar really wanted this to be a story that represented Atlanta, explains
Hoffman. I think that that was a really exciting choice.

I was excited that we were using the people and the streets as our inspiration for our
palette, and one thing that youll notice when you're in any part of the city is men
wearing very vibrant pops of color. That really got us thinking about Bats, played by
Jamie Foxx, and what are the colors that represent these characters. So we assigned
each character a color and more or less tried to explore things within that color, says
Hoffman.

That meant bold choices, something Wright and Hoffman agreed was necessary if they
were going to create dramatic contrasts between, says Hoffman, who the characters
actually are and who they're pretending to be in those environments. And that was
really exciting as a designer for a director to give you the permission to go there, put a
character head to toe in red in a scene -- put him in a ridiculous sweatshirt and take
those chances.

Equally important to Hoffmans work aesthetic was honoring Wrights approach to pop
culture.

Hoffman continues, If you think about Scott Pilgrim and if you think about these other
movies of Edgars, Shaun of the Dead, there's a simplicity to their costumes and from
that simplicity there's an iconic nature to them.

When it came to clothing the title character, says Hoffman, We wanted Baby to feel flat
and like he had nothing rich about the way he looked. Hes a young boy, but hes not hip
nor is he subscribing to any trends. We wanted Baby to be contemporary, but without
being fashionably contemporary.

17
After Elgort tried on over eighty jackets, Hoffman and her team Frankensteined multiple
jackets together to create Babys iconic look. A more subtle but profound addition to
Babys attire was his undershirt. We wanted to illustrate Babys gradual transition from
being a victim and starting out light with a white t-shirt, but as his hands get dirty
(literally and figuratively), he starts to come more toward the dark side, she explains.

In the subtle way that maybe only eagle-eyed costume designers would recognize,
Hoffman notes, We dyed his tee shirts from white to gray over the course of five
different shades.

Asking Hoffman to pick her favorite character to dress is like asking a mother to choose
her favorite child; in this instance, however, Hoffman couldnt help but gush over the
costumes for Darling, played by Eiza Gonzalez. Eiza is literally wearing a lilac fur coat in
a shootout -- who else can say theyve done that! laughs Hoffman. Darlings costume
was something that I really wanted to play around with.

The tackiness that comes with new money also informed what Darling and her beau
Buddy wore. Not to mention, no matter what Eiza and I decided the higher the heel the
better, adds Hoffman.

The gangs threads had to ultimately reflect the fact that these heist men and women
wore what theyd wear in their everyday lives. Its your job to be a criminal, you're not
dressing to be a criminal, and youre dressing for whoever you are, says Hoffman. So
for characters like Buddy and Darling, they're going to Atlantic City or Vegas between
heists.

She details the thinking behind Buddys clothes. Buddy is Darlings boyfriend and hes a
fair bit older than her and you can tell hes trying a little too hard to hold on to his youth.
He wears jewelry and hes dating this younger girl who is probably picking out what he
wears and encouraging him by saying you look so hot in that, says Hoffman.

Theres a level of superficiality going on with him and he's left this world where he's
been really corporate and wearing only neckties and dress shirts, but now he's living this
rock lifestyle of a criminal, adds Hoffman.

Hoffmans sense of Jamie Foxxs character Bats is that he represents the Atlanta figure
whose taste pops, so they made his color red. I really wanted to make sure that I was
approaching it the same way I would a period film, which is, know the history, know
what's real, know where it comes from, know who actually wears it, says Hoffman.

For research, Hoffman hit the malls, stopping locals to discover their preferred brands.
Then she went shopping. One of the first pieces I found that perfectly represented Bats
was this playing cards sweatshirt that says King on it, recalls Hoffman. Bats thinks hes
the king and has this arrogance about him, so the first time we see him in the film I

18
wanted audiences to see that he always had an element of flair whether he was
performing a crime or not.

When it came to Debora, played by Lily James, the directors affinity for the 50s came
into play. Says Hoffman, We gave Debora an aesthetic of living in this 1950s ideal. So
we see her mostly in her diner waitress uniform, but shes also a free thinker and should
have her own opinions. So I convinced Edgar that we should put her in beat-up boots.
These boots show that shes not committed to this life of being a waitress and she could
take off anytime.

Though Hoffman says the movies prominent soundtrack didnt directly influence her
costume choices, she says something about Wrights use of music did. The music did
not dictate my choices other than inspiring me to not box myself into anything. Edgars
musical choices are so across the board, from classic rock to hip-hop to old songs. The
range was so wide, I knew if Edgar is pulling from all these different places for his
musical inspiration, I'm not going to limit myself in any aesthetic.

THE BEAT OF ATLANTA

Production designer Marcus Rowland (Shaun of the Dead, Scott Pilgrim vs. the World,
Hot Fuzz, The Worlds End) says the prospect of collaborating with Edgar Wright for the
fifth time on a feature was something he could not pass up. It started at the drawing
board. Says Rowland, Over the last couple of years Edgars been finessing the animatics
and storyboards which we all referenced to then start researching the key locations.

Rowland continues, Its a heist movie with three major heists, and we wanted all of the
locations to feel different. So stylistically we tried to juxtapose them against each other.
And tonally they needed to feel like very different style banks, and in one instance a post
office.

An additional factor that played into deciding locations for the film is the performance
aspect. The music and the performance sometimes leads a location, so when deciding
on a location, Edgar would spend a lot of time trying to think through how that
performance would be played out in that space, which can sometimes take more time in
some instances than finding the look of the place.

In the title scene, Elgort struts out of the historic 1913 Healey building located in
downtown Atlanta. This building served as the faade of Docs loft apartment. It was a
beautiful building but in deciding on the structures to use in the project, Rowland
explains, The buildings are important but what is really important is what surrounds it.
Most of the film is set in cars, so its really about the road and the vista you get from the
building and the junctions that we drive through, in terms of how the performance goes
and where the car drives from that moment on.

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We would close roads and shoot one part of the chase sequence and plan for the
getaway route to be one direction, and then Edgar would say lets shoot in that
direction, so wed all scramble to change road signs and trash cans Its not always the
most glamorous job but its not every day you get to work with a mastermind like Edgar.
Its a fun process and he always keeps us on our toes, laughs Rowland.

One of the most labor intensive sets we put together was the diner that Lilys character
Debora works in. We converted an old abandoned Dennys located near the Atlanta
airport into a beautiful classic old school American diner, explains Rowland.

With an affinity for 50s style, Wright incorporated fantastical references to that decade
when possible. Deboras character daydreams of being in the 1950s and you see her in
a classic 50s waitress uniform so we wanted this to be a really stylized, nostalgic-feeling
diner, idealistic and classic old school American, but also very genuine, says Rowland.

We shot Atlanta for Atlanta, so a lot of locals and those familiar with the city will really
get a good taste for the landscape of Atlanta. We were really all over the city, and we
reference their streets and parts of town as well as their restaurants. A few restaurants
identified in the film are Goodfellas Pizza, Bacchanalia, JCT Kitchen and the locals
favorite coffee shop Octane, adds Rowland.

Production also made use of the iconic record store Criminal Records, which serves as
one of music-minded Babys frequent stops.

Says Babys portrayer, Ansel Elgort, Atlanta is really great for this story because it's a
very eclectic place. In some neighborhoods, there are gorgeous houses with greenery,
then there are these broken-down warehouses. It's both urban and country at the same
time. And it's sort of a melting pot of people, which really works for the heist crews
coming together. You have people like Bats and then you have people like Buddy and
then kids like Baby.

Says location manager Douglas Dresser, After reading the script for the first time my
initial thought was this is going to be amazing a really exciting project. Then after
meeting with Edgar and going back over the script I thought oh my god how are we
going to pull this off? It was exciting and terrifying all at the same time.

Dresser immediately picked up the phone and started what would be a long and
collaborative relationship with The Georgia Department of Transportation. We closed
over 40 streets throughout the production. The most monumental closure was when we
shut down the northbound portion of the popular interstate 85. Despite our hefty
requests, the Atlanta city officials were extremely collaborative and supportive
throughout the entire process, says Dresser.

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Artists like Jamie Foxx found it comical that even some of the closed-down streets had
ties to the music world. For the chase sequence after the second heist, production
sealed off State Route 9, now known as Gladys Knight Highway. The road formerly
known as West Peachtree Street NW now pays homage to the Empress of Soul who
was born in Atlanta. Were here in Atlanta, shutting down roads, tearing things up and
who knew wed be shooting on Gladys Knights road, laughs Foxx.

Says Dresser, The important thing we had to consider while planning this project was
the road closures and the possible inconvenience this could have on the already traffic-
ridden city. Knowing we were encroaching on a downtown environment because of
businesses and because of the sheer amount of people that come into the city during
the week, we determined it would be impossible for us to do our work during the work
week so we structured our shoot around a Wednesday to Sunday schedule with most of
our road closures happening on the weekends.

Adds Rowland, Atlanta itself is a really inspiring city, and Edgar wanted to reference the
urban landscape including the local graffiti artists whose work is displayed all over the
city as commissioned murals on the side of businesses and highways.

To that end, Wright hired local graffiti artists to help transform his sets into the vibrant
city that is Atlanta. Says the films art director, Nigel Churcher, We hired local artists to
paint the mural with a trumpet player in the title scene that Ansel struts by on his way to
the coffee shop. So youre really going to get a good overall taste and feel for Atlanta
and its roots in this film.

With all these ingredients, and under the helm of a visionary filmmaker, BABY
DRIVER is sure to leave a lasting impression on anyone who takes a seat on this wild
ride.

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BABY DRIVER SOUNDTRACK TRACKLISTING:

1. Bellbottoms - Jon Spencer Blues Explosion

2. Harlem Shuffle - Bob & Earl
3. Egyptian Reggae - Jonathan Richman & The Modern Lovers
4. Smokey Joes La La - Googie Rene
5. Lets Go Away For Awhile - The Beach Boys
6. B-A-B-Y - Carla Thomas
7. Kashmere - Kashmere Stage Band
8. Unsquare Dance - Dave Brubeck
9. Neat Neat Neat - The Damned
10. Easy (Single Version) - The Commodores
11. Debora - T. Rex
12. Debra - Beck
13. Bongolia - Incredible Bongo Band
14. Baby Let Me Take You (in My Arms) - The Detroit Emeralds
15. Early In The Morning - Alexis Korner
16. The Edge - David McCallum
17. Nowhere To Run - Martha Reeves & The Vandellas
18. Tequila - The Button Down Brass
19. When Something Is Wrong With My Baby - Sam & Dave
20. Every Little Bit Hurts - Brenda Holloway
21. Intermission - Blur
22. Hocus Pocus (Original Single Version) - Focus
23. Radar Love (1973 Single Edit) - Golden Earring
24. Never, Never Gone Give Ya Up - Barry White
25. Know How - Young MC
26. Brighton Rock - Queen
27. Easy - Sky Ferreira
28. Baby Driver - Simon & Garfunkel
29. Was He Slow (Credit Roll Version) - Kid Koala

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ABOUT THE CAST

ANSEL ELGORT (Baby) Ansel Elgort has quickly amassed an impressive body of
work in a very short amount of time as both an accomplished actor and musician.
On the horizon, Elgort will appear in Billionaire Boys Club, alongside Taron
Egerton, Emma Roberts and Kevin Spacey, and November Criminals for Sony, alongside
Chlo Grace Moretz and Catherine Keener.
In addition to acting, Elgort sings and produces and is signed as a recording artist
to Island Records. He is releasing new music in 2017, with an album in the works. Earlier
this year he debut Thief and in 2016 he released his first single Home Alone, which
peaked at #2 on the Spotify viral charts in 2016.
Elgort was most recently seen in Allegiant, the third installment in the Divergent
series, which is based on the popular book series by Veronica Roth. This fall he wrapped
production on the independent feature Jonathan in which he played the lead opposite
Patricia Clarkson and Suki Waterhouse.
Elgorts additional film credits include a cameo in Twentieth Century Foxs Paper
Towns, Paramount Pictures Men, Women & Children, Screen Gems Carrie and most
notably Fox 2000s The Fault in Our Stars. The film earned Elgort a slew of awards
including a Teen Choice Award for Choice Breakout Star and Choice Movie Actor: Drama,
a Young Hollywood Award for Fan Favorite Male Actor, and a MTV Movie Award for
Movie of the Year.
A graduate of LaGuardia High School of the Performing Arts, Elgort starred
opposite Alexis Bledel in Matt Charmans play Regrets, directed by Carolyn Cantor for
Manhattan Theater Club, while finishing up his senior year of high school. His
performance received rave reviews, including Bloombergs Elgort is a magnetic
presence destined perhaps for the multiplex and the APs Elgort radiates the brooding
magnetism of James Dean, uplifted by a kind of glinting purity. After the closing of the

23
play, Ansel was cast as the role of Tommy Ross in Kimberly Peirces Carrie opposite
Julianne Moore.
Ansel found his love for performing through dance early on. He was featured tap-
dancing at the CFDA Awards in 2011, and as a child he performed both in The Nutcracker
and Swan Lake at Lincoln Center with the New York City Ballet. As a singer, Ansel has
worked with many composers including Jason Robert Brown, Glen Roven and Louis
Andriessen.
Elgort also DJs under his Ansolo logo.
Elgort is currently the face of LHomme Prada, the brands latest mens fragrance.
He currently resides in New York.

KEVIN SPACEY (Doc) Award-winning producer and actor Kevin Spacey serves as
executive producer and stars as Francis Underwood in the Netflix original series "House
of Cards".
Spacey has won Academy Awards for his performances in The Usual Suspects
and for American Beauty. He was most recently seen opposite Michael Shannon in Elvis
& Nixon.
Through his former production company Trigger Street, he produced Captain
Phillips starring Tom Hanks, The Social Network, and 21. For television, he
produced Recount and Bernard & Doris for HBO, both of which garnered double-
digit Emmy Award nominations. For over a decade, Spacey served as the Artistic
Director of The Old Vic Theatre Company in London. During his time, he appeared on
stage at the Old Vic in productions of National Anthems, The Philadelphia Story,
Speed the Plow with Jeff Goldblum, Inherit the Wind, and A Moon for the
Misbegotten. He is now set to stage his acclaimed production of "Darrow at Arthur
Ashe Stadium in New York for a limited engagement June 15 and 16. The play is a one
man show about legendary Chicago lawyer Clarence Darrow and was originally
presented at the Old Vic in London.

24
 Spacey won the Evening Standard and Olivier Awards for Best Actor for his role in
The Iceman Cometh, as well as a Tony Award for Best Supporting Actor in Neil
Simons Lost in Yonkers. It was just announced that Spacey will host the 71st Annual
Tony Awards live from Radio City Music Hall on June 11th.
He has also starred in the Broadway and West End productions of Long Days
Journey into Night, opposite his mentor Jack Lemmon; as well as the title role in the
Sam Mendes production of Richard III, which toured to 12 cities around the world as
part of the three year Old Vic/BAM/Bridge Project. He was made a CBE (Commander of
the British Empire) by Her Majesty the Queen for his services to theatre.
Inspired by Jack Lemmon, Spacey has often launched initiatives to help young
people get their start in the competitive worlds of film and theatre, including: The Kevin
Spacey Foundation, which offers support to young actors, writers, directors and
producers (including workshops during the tour of Richard III); And the short film
competition "Jameson First Shot, awarded writer/directors from South Africa, Russia
and the US, Canada and other countries with the opportunity to direct a short film
starring a major actor.
Spacey was recently awarded an Honorary Knighthood from Her Majesty the
Queen for his work at the Old Vic, education and philanthropy.

LILY JAMES (Debora) Last year, Lily James starred in War and Peace for BBC and
The Weinstein Company alongside Paul Dano and Jim Broadbent, as well as the Burr
Steers feature Pride and Prejudice and Zombies in which she featured alongside Sam
Riley, Charles Dance, Matt Smith and Douglas Booth. Lily also played Juliet in Kenneth
Branaghs Romeo and Juliet at the Garrick Theatre, with Derek Jacobi, Richard Madden
and Meera Syal. She stars in the upcoming film by David Leveaux called The Kaisers
Last Kiss. In 2015, Lily played the title role in Disneys feature Cinderella, directed by
Kenneth Branagh, to wide acclaim.

25
 Having graduated from the Guildhall School of Music and Drama in 2010, Lily
made her first appearance as Lady Rose in the hit television series Downton Abbey at the
end of 2012 a role she reprised for Series 5. Her other film credits include Regan Halls
Fast Girls and Clash of the Titans 2, in which she starred alongside Sam Worthington,
Liam Neeson and Rosamund Pike. Other television credits include The Secret Diary of a
Call Girl and Just William.
In 2011 Lily James starred as Desdemona in the Sheffield Crucibles production
of Othello alongside Dominic West as Iago and Clarke Peters as Othello. Her
performance garnered rave reviews across the British press. She also appeared in
Vernon God Little at the Young Vic, Martin Crimps Definitely the Bahamas and Play
House at the Orange Tree Theatre, Richmond and Chekovs The Seagull at the Southwark
Playhouse.

JON BERNTHAL (Griff) Classically trained actor Jon Bernthal can currently be
seen in his debut as the lead in Marvels Daredevil season 2 on Netflix. Daredevil is about
a blind lawyer, who fights crime as a costumed superhero, the series released in March
2016.
In 2016 Jon co-starred in The Accountant opposite of Ben Affleck, J.K. Simmons
and Anna Kendrick. The film directed by Gavin OConnor follows a mild manner
accountant who moonlights as as a lethal assassin. In 2017, he will also appear in
Pilgrimage opposite Richard Armitage and Shot Caller opposite Lake Bell.
Bernthal played as one of the main characters in David Ayer's Fury opposite Brad
Pitt. The WWII movie follows the commander of a Sherman tank and its five-man crew
on a mission behind enemy lines in April 1945 as Nazi Germany collapses. Bernthal
joined Pitt, Shia LaBeouf, Logan Lerman and Michael Pena in the film, which Sony
released on October 17, 2014.
Bernthal played on Denis Villeneuve's three-time Academy Award nominated
Sicario as Ted, co-starring opposite Emily Blunt and Benicio Del Toro, which was

26
released October 2015. Sicario premiered at the Cannes Film Festival. In addition,
Bernthal starred in Max Josephs We Are Your Friends starring opposite Zac Efron and
Emily Ratajkowski, released in August 2015.
Bernthal played opposite Winona Ryder, Alfred Molina, Oscar Isaac, and
Catherine Keener in HBOs six-hour miniseries Show Me A Hero from The Wire co-
creator, David Simon. Based on the nonfiction book by Lisa Belkin, it tells the story of the
youngest big-city mayor in the nation who finds himself thrust into the center of a racial
controversy when a federal court orders him to build a small number of low-income
housing units in the white neighborhoods of his town, Yonkers, NY. Bernthal will play
Michael H. Sussman, a hard-driving Harvard-trained lawyer who represented the NAACP
when it joined the governments anti-segregation cast against Yonkers.
With a busy production line up, Bernthal played opposite Alfonso Gomez- Rejon's
film adaptation of Me, Earl & the Dying Girl, in the role of Mr. McCarthy. The film
premiered at Sundance Film Festival in 2015 and won the Grand Jury Prize and audience
award for best dramatic film. Additionally, Bernthal played Monroe alongside Dakota
Fanning and Evan Rachel Wood in an untitled project, written and to be directed by
Gerardo Naranjo.
Bernthal was seen in Martin Scorsese's The Wolf Of Wall Street. He played a
drug dealer and money launderer, in the film opposite Leonardo DiCaprio and Jonah Hill.
Terence Winter wrote the script about the rise and fall of Wall Streeter Jordan Belfort
(DiCaprio). The film was released by Paramount Pictures on December 25, 2013.
In television, Bernthal starred as Shane Walsh in AMC's breakout hit television
series, The Walking Dead, based on Robert Kirkman's comic book of the same name.
Bernthal's extraordinary portrayal as a survivor of the zombie apocalypse marks another
remarkable turn in a career defined by acclaimed and varied performances
both on stage and on screen. The Walking Dead earned a Golden Globe nomination for
Best Drama Series, a Writers Guild of America nomination for Best New Series, and
recognition as one of AFI's Ten Best Television Programs of the Year. The series also set
new records as the most watched drama series in basic cable history, and is aired

27
internationally in over 120 countries and 33 languages. Bernthal also starred as the lead
in Frank Darabont's Mob City for TNT, which premiered on December 4th, 2013. The
show was set in Los Angeles during the 1940's and 50's. It's a world of glamorous movie
stars, powerful studio heads, returning war heroes, a powerful and corrupt police force
and an even more dangerous criminal network determined to make L.A. its West Coast
base.

EIZA GONZALEZ (Darling) is an actress, spokesperson and recording artist best

known for her role as Santnico Pandemonium in El Rey Networks hit drama From
Dusk Till Dawn: The Series.
It was recently announced that Gonzlez will star in Foxs Alita: Battle Angel
alongside Rosa Salazar, Jackie Earle Haley, Mahershala Ali and Christoph Waltz. James
Cameron will co-write and produce the action film, which is based off the popular
manga graphic novels of the same name, and Robert Rodriguez will direct.
Gonzlez can currently be seen on the third season of From Dusk Till Dawn: The
Series from creator Robert Rodriguez, based on the film of the same name which was
directed by Rodriguez and written by Quentin Tarantino. The supernatural crime series is
the first original scripted series on El Rey Network.
Most recently, Gonzlez appeared in Jon M. Chus Jem and The Holograms and
Alejandro Sugichs Casi Treinta ("Almost Thirty"). Her voiceover credits include
DreamWorks' The Croods and Twentieth Century Fox's Alvin and the Chipmunks and
Horton Hears a Who!
Gonzlez first got her start on television as a teenager, with lead roles in
numerous series including the hit Mexican dramas Lola Erase Una Vez" ("Lola Once
Upon a Time") and Amores Verdaderos ("True Loves"). She also starred in
Nickelodeon's popular kids show Suena Conmigo ("Dream with Me), and appeared in
Mujeres Asesinas (Killer Women) and Gods Equation.

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 In addition to her work as an actress, Gonzlez is an accomplished singer and
songwriter. In 2007, she appeared on the soundtrack album Lola Erase Una Vez, which
received gold and platinum certifications in Mexico. In 2009, she released her first solo
album, Contracorriente and in 2012, she released her second solo album Te
Acordaras de Mi, both of which charted on the Mexican Charts.
Gonzlez has served as the face of many campaigns and endorsements for
brands such as Avon and Mexican skincare line Asepxia. In February 2015, she was
named a brand ambassador for Neutrogena. Her commercials, which she filmed in both
English and Spanish, air worldwide.
Born in Caborca, Mexico, Gonzlez studied acting at the Centro de Educacion
Artistica School in Mexico City. She currently resides in Los Angeles, California.

JON HAMM (Buddy) Jon Hamms nuanced portrayal of the high-powered,

advertising executive Don Draper on AMCs award-winning drama series Mad Men has
firmly established him as one of Hollywoods most talented and versatile actors. He has
earned numerous accolades, including an Emmy Award in 2015 for Outstanding Actor
in a Drama Series, Golden Globe Awards in 2016 and 2008, Television Critics Association
Awards in 2011 and 2015, a Critics Choice Television Award in 2011, as well as multiple
Screen Actors Guild nominations. Mad Men concluded its seventh and final season on
May 17, 2015.
He will next be seen starring as a former U.S. diplomat who returns to service to
save a former colleague in Radar Pictures High Wire Act alongside Rosamund Pike.
Hamm also stars in the independent film Marjorie Prime which made its debut at the
2017 Sundance Film Festival and is scheduled to open in the fall.
Last year, Hamm starred in 20th Century Foxs Keeping Up with the Joneses,
opposite Zach Galifianakis and Isla Fisher. In 2015, Hamm loaned his voice to the wildly
successful Universal Pictures animated feature, The Minions, alongside Sandra Bullock
and Steve Coogan. Hamms previous film credits include Disneys Million Dollar Arm,

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based on a script by Thomas McCarthy and directed by Craig Gillespie, Friends with Kids,
written and directed by Jennifer Westfeldt; Bridesmaids with Kristen Wiig; Ben Afflecks
The Town, Zack Snyders fantasy thriller Sucker Punch, Howl with James Franco, Shrek
Forever Ever After, in which he voiced the character Brogan, The Day the Earth Stood
Still with Keanu Reeves, Jennifer Westfeldts Ira & Abby and Kissing Jessica Stein, and We
Were Soldiers.
Hamms appearances on the Emmy-winning comedy, 30 Rock, from 2009-2012
earned him three Emmy nominations for Outstanding Guest Actor in a Comedy Series.
He has also hosted Saturday Night Live three times, once in 2008 and twice in 2010 to
critical acclaim. In addition to Mad Men, Hamm also appears the second season of
Netflixs Unbreakable Kimmy Schmidt created by Tina Fey and Robert Carlock. Hamm
played Reverend Richard Wayne Gary Wayne, the senior prophet who fools four women
into being held captive for fifteen years while they believe to have survived the
apocalypse. The role earned him an Outstanding Guest Actor in a Comedy Series. His
additional television credits include, A Young Doctors Notebook, a BBC miniseries in
which he stars opposite Daniel Radcliffe and also executive produced, the Larry David
film CLEAR HISTORY for HBO. Hamm first came to audiences attention in the NBC series
Providence. Signed for a cameo role, he impressed the producers so much that he
ended up with an 18-episode run on the series.
A native of St. Louis, Missouri, Hamm received his Bachelor of Arts in English at
the University of Missouri-Columbia and currently resides in Los Angeles.

JAMIE FOXX (Bats) An Academy Award winning actor, talented Grammy Award
winning musical artist and comedian, Jamie Foxx is one of Hollywoods rare elite multi-
faceted performers.
Foxx just wrapped production on his directorial debut, All-Star Weekend. He
wrote the screenplay and stars with Jeremy Piven as two tow-truck drivers who are rabid

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basketball fanatics that would take a bullet for their favorite players, LeBron James and
Steph Curry.
He is currently filming Robin Hood Origins for Lionsgate. Foxx will play Little John
opposite Taron Egerton (Robin Hood) and Jamie Dornan (Will Scarlett). Release is set for
March 23, 2018. The film is expected to be a darkly toned title that follows the classic
hero following his Crusades battles. Returning to the Sherwood Forest, Robin Hood finds
it rife with corruption and evil. He forms a band of outlaws, and they take matters into
their own hands, leading a revolt against the corrupt English crown.
Jamie most recently appeared in Sleepless for Open Road Films opposite Michelle
Monaghan and Gabrielle Union which opened on January 13, 2017.
Other recent film credits include: Annie, The Amazing Spider-Man 2, Horrible
Bosses 2 for New Line Cinema, Rio 2 for 20th Century Fox; Quentin Tarantinos critically
acclaimed, Django Unchained opposite Leonardo DiCaprio, Christoph Waltz, and Samuel
L. Jackson; Roland Emmerichs White House Down opposite Channing Tatum; the first
Horrible Bosses; and the first Rio which grossed over $450 million worldwide.
In 2009, Foxx showed his powerful affinity and respect for fictional portrayals
with Joe Wrights inspirational film, The Soloist, in which he played Nathaniel Anthony
Ayers- a real-life musical prodigy who developed schizophrenia and dropped out of
Julliard, becoming a homeless musician who wonders the streets of Los Angeles.
Foxx was seen in the critically acclaimed screen adaptation of the Broadway
musical, Dreamgirls in 2006, opposite Beyonce Knowles, Jennifer Hudson, and Eddie
Murphy. The film won a Golden Globe for Best Motion Picture Musical Comedy, and
received a SAG nomination for Best Ensemble Cast and a nomination for a NAACP Image
Award for Outstanding Motion Picture. Foxx was also nominated in the Best Actor
Category for his performance as Curtis Taylor Jr.
In January 2006, Foxx announced his partnership with SIRIUS Satellite Radio to
start his own 24/7 radio station called Foxxhole. The station is a combination of comedy
and music.

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 2005 was a huge year for Foxx. His portrayal of the legendary Ray Charles in the
Taylor Hackford-directed biopic, Ray garnered him an Academy Award for Best Actor
and proved to be one of his careers defining performances. In addition to winning the
Oscar, Foxx shared in a SAG Award nomination received by the films ensemble cast,
and single-handedly swept the Golden Globes, Screen Actors Guild (SAG) Awards,
BAFTA, and NAACP Image Awards, as well as numerous other critical awards for his
performance, captivating audiences worldwide.
Foxx also earned Oscar , Golden Globe, SAG Award, BAFTA Award, and Image Award
nominations in the category of Best Supporting Actor for his work in Michael Manns
dramatic thriller Collateral, opposite Tom Cruise.
In addition to his outstanding work in film, Foxx has also achieved a thriving
career in music.
His fifth studio album, Hollywood: A Story of a Dozen Roses dropped in May
2015. His fourth album, Best Night of My Life, featured Drake, Justin Timberlake, Rick
Ross, T.I., and other artists at the top of their game. In January 2010, Foxx and T-Pains
record breaking #1 song Blame It off of his album, Intuition, won Best R&B
performance by a duo/group with vocals at the 52nd Annual Grammy Awards. Foxxs
album Unpredictable held the number one spot for five weeks and sold over one
million units in 20 days. Foxx was nominated for eight Billboard Music Awards, three
Grammy Awards, one Soul Train Music Award, and two American Music Awards, where
he won Favorite Male Artist. The album was nominated for three Grammy Awards in
2006including Best R&B Album; the track Love Changes, featuring Mary J. Blige, for
Best R&B Performance By a Duo or Group; and the track Unpredictable, featuring
Ludacris, for Best Rap/Sung Collaboration.
Additional film credits include: Due Date, Valentines Day, Law Abiding Citizen,
The Kingdom, Michael Manns Ali, opposite Will Smith, Michael Mann's Miami Vice
opposite Colin Farrell, Sam Mendes Gulf War drama Jarhead, with Jake Gyllenhaal,
Stealth, Bait, Booty Call, The Truth About Cats and Dogs, and The Great White Hype.
Foxxs big-screen break came in 1999 when Oliver Stone cast him as star
quarterback Willie Beamen in Any Given Sunday, with Al Pacino.

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 Jamie Foxx first rose to fame as a comedian, from which he initiated a potent
career trajectory of ambitious projects. After spending time in the comedy circuit, he
joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the
landmark Fox sketch comedy series, In Living Color, creating some of the shows
funniest and most memorable moments. In 1996, he launched his own series, The
Jamie Foxx Show, which was one of the top-rated shows on the WB Network during its
five-year run. Foxx not only starred on the series, but was the co-creator and executive
producer of the series, directing several episodes himself.

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ABOUT THE CREW

EDGAR WRIGHT (Writer/Director/Executive Producer) Edgar Wrights passion

for cinema is reflected in everything he works on. His latest film, Baby Driver, takes
audiences on a dramatically charged ride fueled by car chases, young love, and a high
octane soundtrack spanning era and genre. Set for a June 28 release from Working Title
and Sony/Tri-Star, the film brings together a stellar cast including Ansel Elgort, Kevin
Spacey, Jon Hamm, Jamie Foxx and Lily James.
Wright began his journey as a filmmaker in his hometown of Somerset, England
where he made short films with a Super 8 camera as a young teenager. He soon after
entered one of his animated short films, I Want to Get into the Movies, an allegory about
wheelchair access, into a Comic Relief contest and won a Video 8 camera.
With this prize, Wright continued to immerse himself in filmmaking. At age 20, he
directed A Fistful of Fingers, a no-budget feature film starring school and college friends
that was shot on 16mm. The unlikely British Western was put into limited theatrical
release and paved the way for his foray into television with the Paramount Comedy
Channel. While there, Wright directed the sketch show Mash and Peas with future
Little Britain stars Matt Lucas and David Walliams and the sitcom Asylum, for which he
joined forces with future collaborators Simon Pegg and Jessica Hynes. During this time
he would direct several comedy shows for the BBC including Merry-Go-Round, Is It
Bill Bailey?, Murder Most Horrid, Sir Bernards Stately Homes, and French and
Saunders.
Wright's talent gained notice in the U.K. when he directed the entire two seasons
of Spaced for Channel 4. The series, starring and written by Simon Pegg and Jessica
Hynes, won two British Comedy Awards and was nominated for BAFTA Awards and an
International Emmy Award. Over the years, the show built up an international cult
following and in 2008 the trio toured the U.S. in honor of the DVD release.
The series served as a launching pad for the 2004 movie Shaun of the Dead,
which Wright directed and co-wrote with Simon Pegg, who starred with Spaced alumnus

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Nick Frost. The rom zom com was a sleeper box office success, was nominated for two
BAFTA Awards, including Outstanding British Film of the Year, and won the British
Independent Film Award (BIFA) for Best Screenplay. Cited by Time Magazine as one of
the Top 25 Horror Films of all time, the movie also earned an Empire Award for Best
British Film and a Saturn Award for Best Horror Film. Original zombie master George
Romero went so far as to proclaim it his favorite zombie film.
It was followed by the action comedy Hot Fuzz, which Wright again directed and
co-wrote with Simon Pegg, who reteamed with Nick Frost to play the lead roles. The
Working Title movie topped the U.K. box office charts for three weeks and grossed $90
million worldwide. The film won a National Movie Award and an Empire Award, both for
Best Comedy.
Wright's next undertaking was Scott Pilgrim vs. The World, based on the famous
graphic novel. Wright co-wrote, produced and directed the film. The result was a visually
groundbreaking film that became a favorite of both critics and fans, and went on to
receive many nominations and honors including a Bradbury Award nomination for its
screenplay from the Science Fiction and Fantasy Writers of America, the Empire Award
for Best Director, a Comedy Central Comedy Award for Best Director, two Scream
Awards, a GLAAD Media Award nomination for Outstanding Film Wide Release, and
two Satellite Awards including Best Picture Comedy or Musical.
In 2013, Wright, Pegg, and Frost reunited once more for The World's End, which
would go on to win the Empire Award for Best British Film, and officially brought the
Cornetto Trilogy to a close. Together, all three films have grossed over $150 million
worldwide at the box office.
Wright's love of film has also led to his collaboration with other great filmmakers,
including directing the faux trailer Dont for Quentin Tarantino and Robert Rodriguezs
epic Grindhouse and co-writing The Adventures of Tintin for producer Peter Jackson and
director Steven Spielberg. A big supporter of rising filmmakers, hes served as executive
producer on Joe Cornishs feature directorial debut Attack the Block and Ben Wheatleys
acclaimed Sightseers, starring Alice Lowe and Steve Oram.

35
 In addition to his credits in TV and Film, Wright has also directed a number of
music videos over his career. In the early 00s, he directed videos for The Bluetones
(After Hours), Mint Royale (Blue Song), The Eighties Matchbox B-Line Disaster
(Psychosis Safari), and Charlotte Hatherley (Summer and Bastardo). His most
recent video was for 2014s Gust of Wind by Pharrell Williams featuring Daft Punk.
Wright was a member of the Dramatic Jury at the 2015 Sundance Film Festival
and a judge for the 2011 & 2014 Independent Spirit Awards. In his spare time he has
programmed film series at the New Beverly Cinema in LA, the Bloor Cinema in Toronto,
BAMcinmatek in New York City, and at the Prince Charles Cinema, Picturehouse
Central, and British Film Institute in London.

NIRA PARK (Producer) founded award-winning UK film and television production

company Big Talk Pcitures in 1995. She is best known for her collaborations with Edgar
Wright, Simon Pegg and Nick Frost, having produced both series of the award-winning
TV comedy Spaced and their celebrated Three Flavours Cornetto Trilogy.
Following the success of Spaced, Nira produced cult-comedy Shaun of the
Dead, for which she received a Carl Foreman Award nomination at the BAFTAs. The film
was the first instalment of Wrights iconic Three Flavours Cornetto Trilogy, starring Simon
Pegg and Nick Frost. Shaun was followed by 2007 hit Hot Fuzz and 2013's The Worlds
End.
Nira produced Wrights Scott Pilgrim vs. The World in 2010; in 2011 Joe Cornishs
SXSW audience-award winning debut feature Attack the Block, and that same year Greg
Mottolas Paul, written by Pegg and Frost. In 2012, she produced Ben Wheatleys
Cannes-premiered black-comedy Sightseers; in 2013 Jeremy Loverings critically-
acclaimed psychological horror In Fear, which premiered at Sundance; and in 2014
Cuban Fury, starring Nick Frost, Chris ODowd and Rashida Jones.
In 2015 Nira produced the rom-com Man Up, starring Simon Pegg, Lake Bell and
directed by Ben Palmer. The movie premiered at Tribeca Film Festival and won Best

36
Comedy at the 2016 National Film Awards. She also produced Sacha Baron Cohens
action-comedy Grimsby, which was released February 2016.
For television, Nira has produced three series of the double BAFTA award-
winning sitcom Black Books, Free Agents and was an executive producer on Friday
Night Dinner and the BAFTA award-winning Him and Her.
Throughout 2017 and beyond Nira is developing a slate of projects with Joe
Cornish and Edgar Wright attached to write and/or direct, as well as film and television
projects with emerging and established UK talent.

TIM BEVAN (Producer) is Co-Chairman and Co-Founder of Working Title Films,

one of the worlds leading production companies, which he formed in 1984 and then
partnered with the companys Co-Chairman Eric Fellner in 1992. Working Title has made
over 100 films that have grossed over $6 billion worldwide. Their films have won 11
Academy Awards (for James Marshs The Theory of Everything, Tom Hoopers Les
Misrables, Joe Wrights Anna Karenina, Tim Robbins Dead Man Walking, Joel and
Ethan Coens Fargo, Shekhar Kapurs Elizabeth and Elizabeth: The Golden Age, and Joe
Wrights Atonement) and 37 BAFTA Awards and prestigious prizes at the Cannes and
Berlin International Film Festivals.
Bevan and Fellner have been honored with the Producers Guild of America's
David O. Selznick Achievement Award in Theatrical Motion Pictures, the PGA's highest
honor for motion picture producers. They have been accorded two of the highest film
awards given to British filmmakers: the Michael Balcon Award for Outstanding British
Contribution to Cinema at the Orange British Academy Film [BAFTA] Awards and the
Alexander Walker Film Award at the Evening Standard British Film Awards. They have
also both been honoured with CBEs (Commanders of the British Empire).
The companys commercial and critical hits include The Interpreter, About a Boy,
Notting Hill, Elizabeth, Fargo, Dead Man Walking, Bean, High Fidelity, Johnny English,
Billy Elliot, Four Weddings and a Funeral, Bridget Joness Diary, Bridget Jones: The Edge

37
of Reason, O Brother, Where Art Thou?, Love Actually, Shaun of the Dead, Pride &
Prejudice, Nanny McPhee, United 93, Mr. Beans Holiday, Hot Fuzz, Elizabeth: The Golden
Age, Burn After Reading, Frost/Nixon, Atonement, Senna, Tinker Tailor Soldier Spy, Anna
Karenina, Les Misrables, I Give It A Year, About Time, Rush, Two Faces of January, Trash,
The Theory of Everything, Legend, Everest, The Programme and The Danish Girl.
Working Titles upcoming slate includes The Snowman directed by Tomas
Alfredson starring Michael Fassbender, Rebecca Ferguson and Val Kilmer and Baby
Driver directed by Edgar Wright starring Lily James, Ansel Elgort, Kevin Spacey and Jamie
Foxx.

ERIC FELLNER (Producer) Eric Fellner is the Co-Chairman of Working Title Films
with partner Tim Bevan. Together they have made more than 100 films that have
grossed over $6 billion worldwide. Their films have won 11 Academy Awards (for Tom
Hoopers The Danish Girl, James Marshs The Theory of Everything, Tom Hoopers
Les Misrables, Joe Wrights Anna Karenina, Tim Robbins Dead Man Walking; Joel
and Ethan Coens Fargo; Shekhar Kapurs Elizabeth and Elizabeth: The Golden Age;
and Joe Wrights Atonement) and 37 BAFTA Awards and numerous prestigious prizes
at the Cannes and Berlin International Film Festivals.
Fellner and Bevan have been honored with the Producers Guild of Americas
David O. Selznick Achievement Award in Theatrical Motion Pictures, the PGAs highest
honor for motion picture producers. They have been accorded two of the highest film
awards given to British filmmakers; the Michael Balcon Award for Outstanding British
Contribution to Cinema, at the Orange British Academy Film [BAFTA] Awards, and the
Alexander Walker Film Award at the Evening Standard British Film Awards. They have
also both been honored with CBEs (Commanders of the Order of the British Empire).
The companys commercial and critical hits include The Interpreter, About a
Boy, Notting Hill, Elizabeth, Fargo, Dead Man Walking, Bean, High Fidelity,
Johnny English, Billy Elliot, Four Weddings and a Funeral, Bridget Joness Diary,

38
Bridget Jones: The Edge of Reason, O Brother, Where Art Thou?, Love Actually,
Shaun of the Dead, Pride & Prejudice, Nanny McPhee, United 93, Mr. Beans
Holiday, Hot Fuzz, Elizabeth: The Golden Age, Burn After Reading, Frost/Nixon,
Atonement, Senna, Tinker Tailor Soldier Spy, Contraband and most recently
Anna Karenina, Les Misrables, About Time, Rush, Two Faces of January,
Trash, Everest, Legend, The Programme, The Danish Girl, The Brothers
Grimsby, Hail Caesar! and Bridget Joness Baby.
Working Titles upcoming slate includes The Snowman directed by Tomas
Alfredson starring Michael Fassbender, Rebecca Ferguson and Val Kilmer and Baby
Driver, directed by Edgar Wright starring Lily James, Ansel Elgort, Kevin Spacey and
Jamie Foxx.

ADAM MERIMS (Executive Producer) In a career spanning over two decades,

Adam Merims, has worked in various capacities, with some of Hollywoods finest
filmmakers. His work as a unit production manager includes collaborations with Richard
Shepard (The Matador), Billy Ray (Breach), and Paul Anderson (Death Race).
Merims started working under the duel title of executive producer and unit
production manager on films like Lee Daniels critically acclaimed historical drama The
Butler. He worked in a similar capacity on the box office favorite Straight Outta
Compton and Daniel Espinosas Safe House. He most recently reunited with Espinosa
as executive producer and unit production manager on the crime thriller Child 44,
starring Tom Hardy and Gary Oldman.
The New York native worked as the associate producer on Andrew Bergmans
quirky comedy, Honeymoon in Vegas which was nominated for Golden Globe for
best motion picture - musical or comedy and on Herbert Rosss comedy Undercover
Blues.
After co-producing Mic Rodgers sci-fi Universal Soldier: The Return and
Mathew Brights edgy drama Freeway, Merims produced films like Billy Rays award
winning historical drama Shattered Glass among others.

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 RACHAEL PRIOR (Executive Producer) began her professional career in 1995 at
The Royal Court Theatre, assisting then Artistic Director Stephen Daldry. She went on to
join Working Title Films as Development Assistant in 1997 where she got her first script
editing experience on Shekhar Kapurs Elizabeth.
In 1999 she became Story Editor and helped set up Working Titles new talent
division, WT2, which went swiftly into production on their first feature film Billy Elliot
(Stephen Daldry). In 2001 she was promoted to Development Executive, overseeing
development of Sacha Baron Cohens Ali G Indahouse, and began her career spanning
relationship with Nira Park, Edgar Wright, Simon Pegg & Nick Frost, working closely with
the team on developing Shaun of the Dead, Hot Fuzz, and Greg Mottolas Paul.
After 12 years at Working Title, Rachael joined Big Talk Pictures in 2009 as Head
of Film where she built a slate of projects under their newly inked first look deal with
StudioCanal and Film4. This deal saw the development and production of (among
others) Joe Cornishs Attack the Block, Ben Wheatleys Sightseers and Jeremy Loverings
In Fear.
In 2013, Big Talks phenomenal success as an independent TV and film
production company led to its sale to ITV Studios. Rachael got busy finishing what she
started in 2004 by overseeing development of Edgar Wrights final film in his Blood &
Ice-Cream Trilogy, The Worlds End. She was also Executive Producer on dance comedy
Cuban Fury starring Nick Frost and Producer on romantic comedy Man Up, starring
Simon Pegg & Lake Bell.
Slated for production in 2017/2018 is Joe Cornishs The Kid Who Could Be King,
supernatural horror Off Season by Bafta nominated writer & director Jonathan Van
Tulleken, family action adventure comedy Kidnapped By the Kids and indie
comedy/drama ROVANIEMI by Blacklist nominated writer Simon Stephenson.

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 LIZA CHASIN (Executive Producer)

MICHELLE WRIGHT (Executive Producer) joined Working Title Films in 1999 as

Head of Production. It was at the multi-award winning British production company that
she oversaw the production of over 50 feature films and worked alongside directors
including: Richard Curtis, Stephen Frears, Paul Greengrass, The Coen Brothers, Sydney
Pollock and Edgar Wright.
In 2016 she began Producing for Tim Bevan and Eric Fellner, initially Executive
Producing Baby Driver with MRC, Big Talk Productions and Sony Pictures Entertainment.
Most recently she has Produced ENTEBBE (dir. Jos Padilha) for Amblin
Entertainment, Participant Media and Working Title Films.
She is currently in production on Night in Hatton Garden (dir. James Marsh) for
StudioCanal.

JONATHAN AMOS (Editor) has worked on a number of feature films

including Edgar Wright's Scott Pilgrim vs. the World and Hot Fuzz for Universal
Pictures, Grimsby directed by Louis Letterier, Pathes A United Kingdom directed by
Amma Asante, In Fear directed by Jeremy Lovering, Big Talks Attack the Block directed
by Joe Cornish, and Nick Caves feature documentary 20,000 Days on Earth. He is
currently cutting Paddington 2, directed by Paul King. Television credits include the BBCs
Pram Face, Free Agents for Big Talk, Mitchell and Webbs Peep Show, Spooks, and
Ashes to Ashes for Kudos.
Jonathans awards include the 2010 San Diego Film Critics Society Award for Best
Editing for Scott Pilgrim vs. the World, for which he was also nominated for Best Editing
of a Feature at the Annual ACE Eddie Awards in 2011; and the Editing Award for World
Cinema Documentary at the 2014 Sundance Film Festival, for 20,000 Days on Earth.

41
 PAUL MACHLISS (Editor) Paul Machliss editing credits include The Worlds
End and earlier collaborations with Edgar Wright on both seasons of the TV show Spaced
and the film Scott Pilgrim vs The World, for which he and co-editor Jonathan Amos won
the San Diego Film Critics Society award for Best Editing, as well as award nominations
from the American Cinemas Editors (ACE) and Online Film Critics Society.
A native of Australia, Paul Machliss has lived and worked in the UK for many
years. He has edited many of the countrys most popular sitcoms, including the BAFTA
Award winners Black Books, Peep Show and The IT Crowd and episodes of such
acclaimed dramas as The Hour. Paul has enjoyed frequent collaborations with notable
UK comedy directors, writers and performers including Dylan Moran, Peter Serafinowicz,
Paul King, Ricky Tomlinson, Paul Kaye and Simon Pegg. His extensive documentary
credits include coverage of music festivals and live concert performances from such
artists as Led Zeppelin, Diana Krall and the Pet Shop Boys.

BILL POPE, ASC (Director of Photography) reunites with Baby Drivers director
Edgar Wright for the third time following their collaboration on Scott Pilgrim vs. the
World and The Worlds End.
Pope gaining critical acclaim as the cinematographer for Lana and Lilly
Wachowskis Bound and The Matrix, with his work on the films earning Independent
Spirit and BAFTA Award nominations, respectively.
He reteamed with the latter directors to shoot their two Matrix sequels back-to-
back. He is also well known for his collaborations with Sam Raimi, as the
cinematographer on the directors Darkman, Army of Darkness, Spider-Man 2,
and Spider-Man 3; and with Barry Sonnenfeld, on the directors Men in Black 3, among
other projects dating back to their years together at New York University.

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 One of Popes most recent credits includes global box office hit Jungle Book
directed by Jon Favreau. Popes other features as cinematographer include Amy
Heckerlings Clueless, and Trey Parker and Matt Stones Team America: World Police.
In addition to having been the cinematographer on music videos for such artists
as Sting and Peter Gabriel, Pope has directed music videos for artists including Chris
Isaak and Metallica.

MARCUS ROWLAND (Production Designer) Baby Driver marks Marcus sixth

collaboration with Director Edgar Wright having previously worked on The Worlds End,
Scott Pilgrim vs. the World, Hot Fuzz and Shaun of the Dead. He also worked with Edgar
on the cult comedy series Spaced.
Marcus other feature credits include Joe Cornishs Attack The Block and John
Moores I.T.
Marcus has forged a hugely successful commercials career collaborating with
several renowned production companies and directors, most recently collaborating with
Riff Raff Films and Director Wes Anderson for H&M, for which he received a British
Arrows Award.

COURTNEY HOFFMAN (Costume Designer) After studying Costume Design at

NYUs Tisch School of the Arts, Courtney has been fortunate to work with some of the
industrys most legendary Directors and Costume Designers. She worked as an assistant
Costume Designer and Costumer on films directed by Terrence Malick, Tim Burton,
Stephen Soderbergh and Quentin Tarantino, with Designers including Colleen Atwood,
Jacqueline West and Sharen Davis.
She then made the leap to Costume Designer on the indie Western Dead Man's
Burden and hasn't stopped since. She most recently wrapped Quentin Tarantinos The

43
Hateful Eight set in the snowy mountains after the Civil War. Her other Costume Design
credits include: Captain Fantastic, The Boy Next Door, Alex of Venice and Palo Alto.
She was named Glamour Magazine's "35 Women in Hollywood Under 35",
featured in Vartiety's Below the Line Impact Report and named Hollywood Reporter's
"Behind the Scenes Costume Queen" after having 3 films she Designed at the 2014
Tribeca Film Festival.

STEVEN PRICE (Composer) is an Academy Award-winning composer. In 2014 his

groundbreaking score for Alfonso Cuarons Gravity won him not only the Academy
Award but alsothe BAFTA, Critics Choice Award, the Satellite Award, and ASCAPs first-
everFilm Composer of The Year Award. Subsequent projects have included Fury, the
WWII epic written and directed by David Ayer, starring Brad Pitt; Believe, a drama series
produced by Alfonso Cuaron and JJ Abrams for NBC; the BBCs The Hunt, a landmark
natural history documentary series for which Price won his second BAFTA, and Warner
Brotherss 2016 hit Suicide Squad.
Baby Driver marks the latest in a series of collaborations with Edgar Wright,
starting in 2010 with his work on Scott Pilgrim vs The World. Prices debut feature score
was for Joe Cornishs 2011 feature Attack the Block, produced by Wright. The score
earned Price the award for Best Original Soundtrack from both the Austin Film Critics
Association and the Sitges Film Festival. Their collaboration then continued in 2013, with
Price composing the original score for Wrights Universal comedy The Worlds End.
Prices forthcoming projects include American Assassin for CBS / Lionsgate, and
the Paramount Animation Amusement Park.

Oscar and Academy Award are the registered trademarks and service marks of the
Academy of Motion Picture Arts and Sciences.

Emmy is the trademark property of ATAS/NATAS.

44
45
 TriStar Pictures and MRC Present

A Working Title / Big Talk Pictures Production

A Film by Edgar Wright

BABY DRIVER

Ansel Elgort

Kevin Spacey

Lily James

Jon Bernthal

With Jon Hamm

And Jamie Foxx

Eiza Gonzalez
Flea

Sky Ferreira
Lanny Joon

Casting by
Francine Maisler, CSA

Choreography by
Ryan Heffington

Costume Designer
Courtney Hoffman

Music by
Steven Price

Editors
Paul Machliss, ACE
Jonathan Amos, ACE

Production Designer
Marcus Rowland

46
 Director of Photography
Bill Pope, ASC

Executive Producer
Edgar Wright
Rachael Prior
James Biddle

Executive Producer
Adam Merims
Liza Chasin
Michelle Wright

Produced by
Nira Park
Tim Bevan
Eric Fellner

Written and Directed by

Edgar Wright

Unit Production Managers HALEY SWEET

ADAM MERIMS

First Assistant Director WALTER GASPAROVIC

Key Second Assistant Director DAVID E. WATERS

Second Unit Director DARRIN PRESCOTT

CAST IN ORDER OF APPEARANCE

Baby ANSEL ELGORT

Griff JON BERNTHAL
Buddy JON HAMM
Darling EIZA GONZLEZ
Barista MICAH HOWARD
Debora LILY JAMES
Street Preacher MORGAN BROWN
Doc KEVIN SPACEY
As Himself MORSE DIGGS
Joseph CJ JONES
Baby's Mom SKY FERREIRA
Baby's Dad LANCE PALMER
Young Baby HUDSON MEEK
Diner Waitress VIVIANA CHAVEZ
Cook HAL WHITESIDE
Eddie FLEA
JD LANNY JOON
Bats JAMIE FOXX
Marine CLAY DONAHUE FONTENOT
Young Mother BRIGITTE KALI
Frat Boy #1 PATRICK WALKER
Frat Boy #2 BENJAMIN VANDERMEY
Waiter DAVID ROBERT LEWIS

47
 Restaurant Patron #1 BIG BOI
Restaurant Patron #2 KILLER MIKE
Samm BROGAN HALL
Nice Lady Teller ALLISON KING
Armie RICHARD MARCOS TAYLOR
The Butcher PAUL WILLIAMS
Security Guard JOE LOYA
Freeze Cop ANDREW MCDERMOTT
Bullhorn Cop CHRIS BEANLAND
Carjack Lady ANDREA FRYE
Anchors THOMAS E. HAYNES
RUSSELL B. SPENCER
CYNNE SIMPSON
Diner Cop KEITH HUDSON
Hellcat Thug #1 SIDNEY SEWELL
Hellcat Thug #2 THURMAN SEWELL
Parking Garage Security Guard ELIJAH EVERETT
Prison Guard JON SPENCER
Courtroom Interpreter WALTER HILL
Judge WILBUR FITZGERALD

Stunt Coordinator DARRIN PRESCOTT

Stunt Coordinators ROBERT NAGLE
JEREMY FRY
Stunts KEITH ADAMS
BRIAN AVERY
BEN AYCRIGG
JENNIFER BADGER
DONNY BAILEY
CHAD BOWMAN
RICHARD BURDEN
JEFF CHASE
PAUL JUSTIN DARNELL
GARY DIONNE
DANNY DOWNEY
JOE DRYDEN
ROB FOSTER
CRYSTAL HOOKS
CAL JOHNSON
MICHAEL MCGUIRE
JEFF MILBURN
MARK NORBY
CHRIS O'HARA
CHRISTOPHER PALERMO
CORRINA ROSHEA
MARVIN ROSS
RICH RUTHERFORD
TODD SCHNEIDER
JEFFREY JAMES SMITH
THOM WILLIAMS

Supervising Sound Editor/Sound Designer JULIAN SLATER

Associate Producer LEO THOMPSON
Art Director NIGEL CHURCHER
Location Manager DOUGLAS DRESSER
Script Supervisor DUG ROTSTEIN

48
"A" Camera Operator/Steadicam Operator ROBERTO DE ANGELIS
Visual Effects Supervisor STUART LASHLEY
First Assistant Editor JERRY RAMSBOTTOM
Music Supervisor KIRSTEN LANE, RIGHT MUSIC LIMITED
Post Production Supervisor MIRANDA JONES
First Assistant "A" Camera EJ MISISCO JR.
First Assistant "B" Camer SEAN MOE
Second Assistant "A" Camera BILLY MCCONNEL
Second Assistant "B" Camera DWIGHT O. CAMPBELL
"C" Camera Operator BROWN COOPER
Loader LAUREN GENTRY
Digital Imaging Technician CHAD OLIVER
Chief Lighting Technician STEPHEN CROWLEY
Assistant Chief Lighting Technician MIKE DAVIS
Dimmer Board Operator ROB RUSSELL
Rigging Gaffer STEVEN ZIGLER
Best Boy Rigging Electric JOHN LALLY
Key Grip MIKE DUARTE
Best Boy Grip STEVEN SERNA
"A" Camera Dolly DAN PERSHING
"B" Camera Dolly DAN ECKLER
Key Rigging Grip JEFFREY KLUTTZ
Best Boy Rigging Grip JOEY EVORA
Production Mixer MARY H. ELLIS
Boom Operator JAMES PETERSON
Sound Utility THOMAS J. DOOLITTLE
Audio Playback Operator ALEX LOWE
Video Assist Operator JEFF A. SYNDER
Location Manager KYLE HINSHAW
Key Assistant Location Manager SNAPPY OLIVER
Assistant Location Managers AUBREY DEVANEY
MARY LOUISE FREEMAN
JON HANNA
ADAM HARDY
Location Coordinator VALERIE MARTIN
Production Coordinator JORDAN GILBERT
Set Designer E. AARON LINKER
Graphic Designer LISA YEISER
Art Department Coordinator MICHELLE CARUSO
Media Asset Manager ASHLEY TRAVIS
Storyboard Artists DANELLE DAVENPORT
DAVID KRENTZ
STEVE MARKOWSKI
JIM BYRKI
Animatics EVAN SCHIFF
Concept Sampling OSYMYSO
Visual Effects Coordinator CHRISTOPHER FINLEY
Set Decorator LANCE TOTTEN
Leadman SHUN JESTER
On Set Dresser JOSHUA JUSTIS
Set Decorator Coordinator LAUREN ADAMS
Property Master MIKE SEXTON
Assistant Property Master GREG GONZALEZ
Assistant Props ELIOT LEVIN
Special Effects Supervisor MARK BYERS
Special Effects Foreme LEE McCONNELL

49
 KEITH SUZUK
BRYAN WOHLERS
Special Effects Shop Foreman STEVE AUSTIN
Special Effects Gangboss' STEVE SOSNER
KEN RUDELL
Picture Car Coordinator SEAN RYAN
Picture Car Captain DARRELL SCOTT
Picture Car Mechanics BJ FISHER
KEVIN MAY
BRIAN TODD
Assistant Costume Designer ANASTASIA MAGOUTAS
Costume Supervisor CHERYL BEASLEY BLACKWELL
Costume Coordinator BRITTNEY-NICOLE AYCOX
Key Costumer CHERI REED
Costumers LIBBY CULLIGAN
JESS JOHNSON
LES MORGAN
JOHNNA THOMAS
Make-up Department Head FIONAGH CUSH
Key Make-up Artist PHYLLIS TEMPLE
Prosthetic Make-up Artist GREG FUNK
Make-up for Mr. Spacey TRICIA SAWYER
Make-up for Mr. Foxx MARK GARBARINO
Hair Department Head KELVIN TRAHAN
Key Hair LESLIE D. BENNETT
Hair for Mr. Spacey SEAN FLANIGAN
Hair for Mr. Foxx DEIDRA DIXON
Post Production Coordinator/Assistant to Ms. Park LAURA RICHARDSON
Assistant Production Coordinator KELLY MOKRIS
Travel Coordinator MARCIA MCINTYRE
Production Secretary TANNESHIA SANDERS
Production Accountant EDWARD ALLEN
First Assistant Accountant LJ SANTILLAN
Second Assistant Accountants MICHAEL SCHATZEL
LARRY SUTTON
Payroll Accountant RICK ROESCH
A/P Clerk NOELLE JEAN-BAPTISTE
Payroll Clerk BRANDON CALHOUN
Development Executive PETE SPENCER
Assistants to Mr. Wright RICHIE STARZEC
MARCUS TAMKIN
Assistant to Mr. Bevan VICTORIA ENDACOTT
Assistants to Mr. Fellner GEORGIA POWNALL
INDIA FLINT
Assistant to Mr. Merims KELSEY MUIR BEATTY
2nd Second Assistant Director ALINA GATTI
Additional Second Assistant Director KATE PULLEY
Production Assistants RAY ANTHONY
ANDREW BOHENKO
JAMON BROWN
A.J BRUNO
LIZA-ANNE CABRLAL
PATRICK DOWLING
CAM EVERSON
IVAN GATTI
RYAN GENTILUCCI

50
 GABRIELLE LEVESQUE
EMERICK MARTIN
DANNY MAZE
WILLIAM MURPHY
HALEY PORCH
LANCE RESCH-ANGER
ANDY SIRAVANTA
ALEXANDER TALLEY
NATHAN WILD
Assistant Choreographer RYAN SPENCER
Choreography Coordinator MELANIE FERGUSON
Stunt Assistant MARIELLE WOODS
Unit Publicist RACHAEL ROTH
Stills Photographer WILSON WEBB
Casting Associate LA KATHY DRISCOLL-MOHLER
Casting Assistant LA JORDANA SAPIURKA
Casting Atlanta MEAGAN LEWIS, CSA & BRENT CABALLERO,
CSA
Casting Associate Atlanta THERESA HERNANDEZ
Extras Casting ROSE LOCKE
ASL Interpreter PAUL KELLY
Dialect Coaches JILL McCULLOUGH
ELISA CARLSON
Technical Consultant JOE LOYA
Researchers LUCY PARDEE
COLETTE SANDSTEDT
Construction Coordinator DAVID H. NASH
General Foreman ROBERT WILLIAMS
Construction Gangboss ALAN F. COLLINS
Key Scenic ANN STACY
Scenic Foreman JOEY MARTIN
On Set Scenic TODD SEAY
On Set Painter TAMMY TATE
Key Greens JERRY WEST
Greens Foreman KYLER WEST
Location Foreman CRAIG DAVENPORT
Transportation Coordinator ROB FOSTER JR.
Transportation Captain HECTOR TAPIA
Transportation Co-Captain DENNIS HALLMAN
Catering TONY KERUM
Medic ANTONIO BELL

SECOND UNIT

Production Supervisor JEFF VALERI

First Assistant Directors MARVIN WILIAMS
JOHN SAUNDERS
Key Second Assistant Directors KRISTINA PETERSON
JEREMY MARKS
BEN WHITE
Second Assistant Director MICHAEL SAUNDERS
Director of Photography DUANE MANWILLER
Director of Photography Additional Unit KEN SENG
Camera Operators J. CHRISTOPHER CAMPBELL
BROWN COOPER
First Assistant Camera JIM APTED

51
 JON LINDSAY
Second Assistant Camera TONJA GREENFIELD
JOHNNY QUINTANA
Camera Loader AUSTIN BLYTHE
Aerial Coordinator/Pilot CLIFF FLEMING
Key Costumer KRISTIN MOLINA
Set Costumer TONY KOCHINAS
Make-up Department Head COREY CASTELLANO
Key Make-up Artist SARAH GRAHAM
Department Head Hair RICHARD WILSON
Key Hair GERMICKA BARCLAY
Script Supervisors DEA CANTU
AMBER HARLEY
Gaffer JAIM O'NEIL
Best Boy Electric RUSSELL BEARD
Key Grip GUY MICHELETTI
Best Boy Grip BEN GRIFFITH
Dolly Grip ROBERT GILMAN
Sound Mixer MICHAEL CLARK
Sound Utility DENNIS SANBORN
Music Playback Technician JOHN MASKEW
Video Assist Operator STEPHEN STUMBERG
Production Coordinator STEVE CAINAS
Assistant Location Manager JOSEPH RAINES
Second Assistant Accountant DAVID REIMER
Payroll Accountant JEREMY CAVES
On Set Dresser HEATHER BOWERS
Propmaster STITCH CRISP
Assistant Prop Master/Armorer CHRISTOPHER WDOWIN
Visual Effects Supervisor AHARON BORLAND
Visual Effects Wrangler BRYCE COLQUITT
Precision Driver Coordinators BILL YOUNG
COLEEN TRACY
SEAN TRACY
Transportation Captain BILLY EVANS

POST PRODUCTION
Re-Recording Mixers JULIAN SLATER
TIM CAVAGIN
Visual Effects Editor JAMES PANTING
Second Assistant Editor MADELAINE JERECZEK
Editorial Assistants JESSICA MEDLYCOTT
JENNY LINDAMOOD
Concept Design OSCAR WRIGHT
Graphics, Main & End Title Design MATT CURTIS
Post Production Accountant LARA SARGENT
Post Production Assistant Accounts KIRSTIE WHITE
JAMES WHITE
Supervising Dialogue/ADR Editor DAN MORGAN
Assistant Dialogue Editor BUSTER FLAWS
Sound Effects Editors JEREMY PRICE
MARTIN CANTWELL
ARTHUR GRALEY
ROWAN WATSON
Music Editor BRADLEY FARMER
Foley Mixer GLEN GATHARD

52
 Foley Editor PETER HANSON
Foley Artists PETE BURGIS
ZOE FREED
Loop Group BLEND AUDIO
Sound Re-Recorded at GOLDCREST POST PRODUCTION,
LONDON
Mix Technicians ROB WEATHERALL
AL GREEN
KASPER PEDERSEN
ROBBIE SCOTT
Studio Engineer CAMPBELL PRATT
Sound Re-Recorded at TWICKENHAM STUDIOS
Post Production Manager VIVIEN JORDAN
Sound Mix Technicians MAX WALSH
WILLIAM MILLER
Music Performed by THE PHILHARMONIA ORCHESTRA
Score Mixed by GARETH COUSINS
Orchestrations DAVID BUTTERWORTH
Conductor GEOFF ALEXANDER
Orchestra Contractor PAUL TALKINGTON
Music Recorded at ABBEY ROAD STUDIOS, LONDON
Engineer ANDREW DUDMAN
Protools Operator MATT MYSKO
Digital Intermediate MOLINARE
Senior Digital Intermediate Producer MARIE FERNANDES
Senior Colorist ASA SHOUL
Additional Colorist JATEEN PATEL
Digital Intermediate Manager MATT JAMES
Supervising Conform Editor STEVE KNIGHT
Conform Editors JONNY DICKINSON
LEIGH MYERS
OTTO RODD
Online Editor GARETH PARRY
Deliverables Producer DAVID GRIFFIN

Visual Effects DOUBLE NEGATIVE

Visual Effects Producers MORIAH ETHERINGTON-SPARKS
KEN DAILEY
Visual Effects Production Manager MICHAEL D'SA
Visual Effects Line Producers DAVID CORDEN
JATIN BHAVSAR
NELSON DSOUZA
Visual Effects Coordinators AKANKSHA PILLAI
DEVENDRA KENI
VINAY KARUNAKAR
LIZ MANN
Visual Effects Editor SIMON WILLIAMS
CG Supervisors SHAILENDRA SWARNKAR
KEDAR KHOT
CG Artists HABEEB AHMED
SANJAY CHANDRA
ANAND JADHAV
DAMUDAR KHUMAN
ASHUTOSH KUSHE
JAYESH MAKWANA
VAMSI MUDRABOINA

53
 DEBASIS NAYAK
SUMIT VERMA
SHRIDHAR YADAV
2D Supervisor ADAM HAMMOND
Lead Compositor MOHSIN KAZI
Compositors SNEHA AMIN
PANNEER ARUNACHALAM
KIRAN BANU
MANDAR BHANGARE
SAPTARSHI CHAKRABORTY
DEVRISHI CHATTERJEE
DANISH DAVIS
ONIEL FERNANDES
MAHENDRA GOLAY
KAUSHIK GUPTA
SHAUNIK KALIA
VISHAL KAUSHAL
HEMANT KHAIRNAR
ZAIN KHAN
RAGHUNATH M
FEROZ MALLICK
ASHWIN MALVIYA
HARSH MAVI
SRIJITH MOHANAKRISHNAN
SHAMIK MUKHERJEE
SAURABH NANDEDKAR
PRABHAKAR PUTTA
VARUN SAMANT
ABHISHEK SINGH
PAVAN THORAT
PRAKASH TELI
Visual Effects TECHNICOLOR VFX, LONDON
Visual Effects Supervisor GARY BROWN
Visual Effects Line Producer KATE WARBURTON
Flame Artists MARK EPSTEIN
VENANCIO DAVID
Nuke Artists BRETT BONE
SIMON RICHARDSON
Visual Effects MOLINARE
Visual Effects Supervisor DOLORES MCGINLEY
Visual Effects Producer MARK WELLBAND
Visual Effects Production Coordinator CHIARA FINELLO
Visual Effects Artists/ Compositors DANIEL MARK MILLER
CONNOR GUYLER
TAMMY SMITH
Feature Dailies by E FILM
Dailies Colorist MATT WALLACH
VFX Project Manager WAYNE ADAMS
Editing Equipment Rental & Support PIVOTAL POST
Rights and Clearances by ENTERTAINMENT CLEARANCES, INC.
CASSANDRA BARBOUR
LAURA SEVIER

Photos/Artwork/Footage Courtesy of

GETTY IMAGES / PERFECTHOOP

54
 CORBIS / IMAGE PRESS / SPLASH NEWS
BETTMAN / CORBIS
LIBRARY OF CONGRESS, PRINTS AND PHOTOGRAPHS DIVISION / LOMAX COLLECTION /
CAROL M. HIGHSMITH ARCHIVES / THEODOR HORYDCZAK COLLECTION
ISTOCK BY GETTY IMAGES
SHUTTERSTOCK
DVIDS
FOOTAGEBANK
LEILA HOLLOWELL
GREG SELLARS
BILL TARNELL
SONY MUSIC ENTERTAINMENT
UNIVERSAL MUSIC GROUP
THE ATLANTA JOURNAL CONSTITUTION

"SCARFACE", "IT'S COMPLICATED", "LITTLE RASCALS"

COURTESY OF UNIVERSAL STUDIOS LICENSING

"MONSTERS, INC."
DISNEY/PIXAR

"CLOUDY WITH A CHANCE OF MEATBALLS"

COURTESY OF SONY PICTURES ANIMATION

"FIGHT CLUB"
COURTESY OF TWENTIETH CENTURY FOX (FORM TBD)

"FAT MAN" POSTER

COURTESY OF THE ESTATE OF ROBERT MALLARY

WAGA / FOX 5 IS A TRADEMARK OF TWENTIETH CENTURY FOX FILM CORPORATION

AND IS USED WITH PERMISSION

UNITED STATES POST OFFICE

COURTESY OF UNITED STATES POSTAL SERVICE (WITH SONIC EAGLE)

NATIONAL GEOGRAPHIC TELEVISION/NATIONAL GEOGRAPHIC CREATIVE

Soundtrack on 30th Century Records/Columbia Records

2017 TriStar Pictures, Inc. and MRC II Distribution Company L.P.

All Rights Reserved

TriStar Pictures, Inc. and MRC II Distribution Company L.P. are the authors of this film
(motion picture) for the purpose of copyright and other laws.

THIS PROJECT WAS COMPLETED WITH ASSISTANCE FROM THE GEORGIA FILM, MUSIC &
DIGITAL ENTERTAINMENT OFFICE, A DIVISION OF THE GEORGIA DEPARTMENT OF
ECONOMIC DEVELOPMENT.

SPECIAL THANKS TO
THE PEOPLE & THE CITY OF ATLANTA
GEORGIA DEPARTMENT OF TRANSPORTATION - DISTRICT 7
ATLANTA MAYOR'S OFFICE OF FILM AND ENTERTAINMENT
GEORGIA FILM COMMISSION
GEORGIA STATE PATROL

55
 GEORGIA WORLD CONGRESS CENTER AUTHORITY
GEORGIA DEPARTMENT OF CORRECTIONS
GEORGIA STATE UNIVERSITY

THE FILMMAKERS WOULD LIKE TO THANK

BRAD ALLAN
MICHAEL BACALL
JOSEPH CORNISH
DV DEVINCENTIS
DREW GODDARD
ROBERT GRAF
WALTER HILL
GARTH JENNINGS
RIAN JOHNSON
ALLISON JONES
ANNA KENDRICK
DAVID LEITCH
PHIL LORD
JEREMY LOVERING
KELLY MARCEL
SAM MENDES
CHRIS MILLER
GEORGE MILLER
MIKE MYERS
DIALLO RIDDLE
ROBERT RODRIGUEZ
LOUISE ROSNER
CHAD STAHELSKI
MIKE SYMONDS
QUENTIN TARANTINO
NOL WELLS

THIS IS A WORK OF FICTION. THE CHARACTERS, INCIDENTS, AND LOCATIONS

PORTRAYED AND THE NAMES HEREIN ARE FICTITIOUS, AND ANY SIMILARITY TO OR

56
IDENTIFICATION WITH THE LOCATION, NAME, CHARACTER OR HISTORY OF ANY
PERSON, PRODUCT OR ENTITY IS ENTIRELY COINCIDENTAL AND UNINTENTIONAL.

SONY PICTURES ENTERTAINMENT (SPE) AND ITS WHOLLY-OWNED FILM DIVISIONS DID
NOT RECEIVE ANY PAYMENT OR OTHER CONSIDERATION FOR THE DEPICTION OF
TOBACCO PRODUCTS IN THIS FILM.

AMERICAN HUMANE ASSOCIATION MONITORED THE ANIMAL ACTION. NO ANIMALS

WERE HARMED. (AHAD 06604)

THIS MOTION PICTURE PHOTOPLAY IS PROTECTED PURSUANT TO THE PROVISIONS OF

THE LAWS OF THE UNITED STATES OF AMERICA AND OTHER COUNTRIES. ANY
UNAUTHORIZED DUPLICATION AND/OR DISTRIBUTION OF THIS PHOTOPLAY MAY
RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.

RATING :

57