Theatrical release poster
|Directed by||Edgar Wright|
|Written by||Edgar Wright|
|Music by||Steven Price|
|Distributed by||Sony Pictures Releasing|
|Box office||$226.9 million|
Baby Driver is a 2017 action film written and directed by Edgar Wright. It stars Ansel Elgort as a young, musically driven getaway driver seeking freedom from a life of crime with his lover Debora (Lily James). Kevin Spacey, Jon Hamm, Eiza Gonzalez, Jamie Foxx and Jon Bernthal (among others) appear in supporting roles. Eric Fellner and his Working Title Films partner Tim Bevan produced Baby Driver in association with Big Talk Productions' Nira Park. Sony and TriStar Pictures handled commercial distribution of the film. Baby Driver was financed through a partnership between TriStar and Media Rights Capital.
The film is a longtime passion project Wright had developed for over two decades. He devised the idea well in his youth, and his early directing experience furthermore shaped his ambitions for Baby Driver. Originally based in Los Angeles, Wright later revised the film's setting to Atlanta, integrating the city's ethos into an important storytelling device. Principal photography took place in Atlanta over four months, from February to May 2016. Production involved the planning of meticulously coordinated stunts, choreography, and in-camera shooting. Critics have examined Baby Driver's subject matter in thematic studies of the film.
Baby Driver premiered at the South by Southwest festival on March 11, 2017, and was released in theaters in North America and the United Kingdom on June 28. It was well received by the media, though the characterization and scriptwriting drew occasional criticism. The National Board of Review selected Baby Driver as one of the top films of the year. It earned $226 million globally, bolstered by positive word-of-mouth support and fatiguing interest in blockbuster franchises. Baby Driver was a candidate for numerous awards, including three Academy Awards (for Best Film Editing, Best Sound Editing and Best Sound Mixing), two BAFTAs, two Critics' Choice Awards, and a Golden Globe for Best Actor in a Motion Picture Musical or Comedy (Elgort), and won several other honors chiefly for technical achievement. The success of Baby Driver has increased studio interest in producing a sequel.
Baby is a getaway driver in Atlanta. As a child, he survived a car crash that killed his parents and left him with tinnitus, and finds catharsis in music. Baby ferries crews of robbers assembled by Doc, a criminal mastermind, to pay off a debt as recompense for a stolen car. Between jobs, he remixes snippets of recorded conversations and cares for his deaf foster father Joseph. At Bo's Diner, he meets a waitress named Debora, and they start dating.
Baby's next robbery goes awry after an armed bystander chases them down, but Baby evades him and the police. Having paid his debt, Baby quits his life of crime and starts delivering pizzas. Doc interrupts Baby's date with Debora and insists he join a post-office heist, threatening to hurt Debora and Joseph should he refuse.
The crew consists of easygoing Buddy, his sharpshooter wife Darling, and trigger-happy Bats, who takes a dislike to Baby. While the crew attempts to purchase illegal arms at a rendezvous, Bats recognizes one of the dealers as undercover police and opens fire. They kill most of the dealers. Afterward, Bats makes Baby stop at Debora's diner, unaware of Baby and Debora's romance. Baby, aware of Bats' homicidal habit, stops him from killing her to avoid paying.
Doc is furious, revealing that the dealers were dirty cops on his payroll. He decides to cancel the heist, but Bats, Buddy and Darling disagree. Doc lets Baby decide; he chooses to go through with it. Baby attempts to slip away late that night, hoping to take Debora and leave Atlanta. He is stopped by Buddy and Bats, who have discovered his recordings and believe he is an informant; when they and Doc hear his mixtapes, they are convinced of his innocence.
During the heist, Bats kills a security guard. Disgusted, Baby refuses to drive away, causing Bats to hit him. Baby rams the car into a rebar which impales Bats, killing him. The three flee on foot. After the police kill Darling in a shootout, Buddy blames Baby for her death and vows to kill him. Baby steals a car and flees to his apartment. After leaving Joseph at an assisted living home with his heist earnings, Baby rushes to Bo's for Debora, where Buddy is waiting. Baby shoots Buddy and flees with Debora as police reinforcements swarm the restaurant.
At the safe house, Doc refuses Baby's pleas for help, but relents when he sees Debora consoling him. Doc supplies them with cash and an escape route out of the country. The police confront the three in the parking garage, but Doc kills them all. Buddy ambushes them with a stolen police car and kills Doc. A cat-and-mouse game ensues until Buddy has Baby at his mercy. He shoots next to both Baby's ears, bursting his ear-drums and deafening him, but the distraction allows Debora to subdue Buddy with a crowbar. After Baby shoots him in the leg, Buddy falls to his death.
Baby surrenders after he and Debora encounter a police roadblock. At Baby's trial, Joseph, Debora, and other individuals Baby randomly helped testify in his defense. He is sentenced to 25 years in prison, with a parole hearing after five. Debora stays in contact with Baby during his incarceration, and once he is released, she waits for him in a new car as the two are reunited.
Other cast members include Flea as Eddie, Lanny Joon as JD, Sky Ferreira as Baby's biological mother, Lance Palmer as Baby's biological father, Big Boi and Killer Mike as restaurant patrons, Paul Williams as The Butcher, and Jon Spencer as a prison guard.
Baby Driver is a longtime passion project Wright had been developing since 1995, when the writer-director was a struggling 21-year-old filmmaker living in suburban London. He had relocated to London to finish his first professional film, the low-budget western comedy A Fistful of Fingers, and to contemplate his future in entertainment. Wright's repeated listening to Orange (1994), the fourth studio album by the Jon Spencer Blues Explosion, provided the impetus for Baby Driver. At first he envisioned a high-speed car chase, which then evolved into a full sequence where the getaway driver dances to "Bellbottoms" in his car before the ensuing chase. Though this was ultimately written into the script as the film's opening sequence, Wright's nascent vision was far from a fully realized project.
On a £25,000 budget, Wright developed the music video for Mint Royale's "Blue Song" in 2003, featuring a backstory gleaned from his early concept of Baby Driver. The video became an unexpected success, and although happy with his work, Wright was frustrated he had cannibalized an idea he felt had enormous potential. In retrospect, he admits his music video was a significant undertaking because it provided proof of concept for Baby Driver. The release of Wright's first major feature, Shaun of the Dead (2004), was another important catalyst not only for its artistic direction, but for signaling the start of a long-term working relationship between Wright and Working Title producers, who would assist with Baby Driver's development. By 2007, after signing a multi-picture deal with Working Title, and with a clearer vision of the project, the writer-director met with Steven Price to discuss early musical ideas for Baby Driver. The drafting of a story started around the release of Scott Pilgrim vs. the World (2010), but pre-production of the film stalled as Wright's other projects—The World's End (2013) and the then-forthcoming Ant-Man (2015), for which he had already prepared a script with Joe Cornish—took precedence. Work resumed immediately after Wright's departure from Ant-Man, when the studio began assembling their roster of actors and technical staff before shooting. In preparation, Wright spent time with ex-career criminals in Los Angeles and London to develop an accurate depiction of a real-life bank robber's work.
Wright, lead film editor Paul Machliss, and Los Angeles-based editor Evan Shiff devised a pre-edit of Baby Driver with animatics in the initial stages of production. With Avid Media Composer, Machliss was tasked with syncopating each animatic to the corresponding soundtrack. He and Wright had an existing professional relationship from Scott Pilgrim vs. the World and The World's End. In addition, Machliss worked on set providing input for the shoot, which was unusual given that film editors are rarely present at the production set of most films.
Los Angeles was Baby Driver's original setting, but the expensive production costs shooting there were impractical. Instead, the studio toured cities that offered generous transferable tax credits for film production. This included Atlanta, which emerged as the frontrunner during preliminary scouting. Preserving the city's ethos was imperative for an authentic story, as Atlanta typically doubles for other global cities in blockbuster cinema. Wright spent about a week in the city observing the local scenery and culture to facilitate the necessary revisions to the script. He found Baby Driver's story was better realized in Atlanta because of the city's renown as a logistics hub. Principal photography, which lasted four months from February to May 2016, took place mostly in the central business district. Location shots emphasize many of Atlanta's landmarks (such as Peachtree Center), cultural institutions, even local media. Elsewhere, filming occurred in Gainesville and rural Monroe County, Georgia. Although other suburban areas of Atlanta were scouted for main unit filming, Wright preferred the urbanity of the city proper over the suburbs' dense foliage, which he considered an unsuitable backdrop for the film. Baby Driver contributed $30.1 million to the local economy.
Wright cited Vanishing Point (1971), The Driver (1978), Point Break (1991), Reservoir Dogs (1993), and Heat (1995), among others, as significant influences on the film's visual hallmarks and creative direction. To evoke their aesthetic, one of the production's main goals was to produce Baby Driver using practical filmmaking techniques. This meant planning meticulously coordinated stunts, choreography, and shooting as much of the film in-camera as possible, using visual effects only when necessary. Baby Driver was director of photography Bill Pope's third film with Wright. They collaborated previously on Scott Pilgrim vs. the World and The World's End. Pope shot the project mostly in anamorphic format on 35mm film using Kodak film stock. Baby Driver was shot on Panavision Panaflex Millennium XL2 cameras with G-Series, T-Series, and C-Series anamorphic lenses. Occasionally, to capture more intense stunts, and to achieve unusual camera angles Wright demanded for certain scenes, the filmmakers shot in Super 35 format with specialized cameras. Panavision's Atlanta offices assisted the needs of the production when logistics management became challenging. The climactic scene in particular, staged in a parking garage on the Atlanta Falcons' training facility, which was only available at night, was difficult to shoot because of the dull lighting. They ended up filming the scene in digital format with the company's refurbished Arri Alexa cameras, which had greater exposure latitude.
Few visual effects were used in Baby Driver as a result of Wright's emphasis on practical filmmaking. The London-based studio DNEG created most of the visual effects, under the supervision of Stuart Lashley and Shailendra Swarnkar. Their work for the film comprised 430 shots, created with a workforce of 120 specialized artists. The team's work began while viewing early animatics of Baby Driver, which they used as a reference to help conceive the film's audiovisual repertoire. DNEG used Nuke to animate car chase scenes that could not be rendered with in-camera effects. As these scenes were routinely updated with reshoots, the team was tasked with maintenance of the software's control tools so that artists would be readily equipped to work with the latest audio. Molinare also produced effects shots for Baby Driver.
According to Lashley, key scenes that highlight the film's audiovisual repertoire were "Harlem Shuffle", the single tracking shot of Baby's coffee run through town, and "Tequila", the sequence of a deadly shootout between Doc's syndicate and undercover police. "Harlem Shuffle" was one of Baby Driver's most elaborate sequences; filmmakers cached excess footage so the shot could be manageable. The set design of "Tequila" involved precise coordination of the in-camera effects. Once filmed, DNEG supplemented the live-action shots with projectile bullets, sparks, and gunfire flashes, while bearing in mind the imposing drum riffs of the soundtrack. The team found that compositing shots to audio, although suitable for live-action projects, presented unique challenges such as how to convey emotional cues to the viewer.
For "Brighton Rock", the climactic sequence of Baby Driver, DNEG enhanced footage with computer-generated shots for safety and damage control. First, to portray characters being pummeled by cars, the team filmed the accidents in stages. The footage was then composited into complete shots, lending a sense of realism and control. The shot of Buddy's stolen police car falling in the parking garage atrium from the top level required setting up a shorter, safer drop at another side of the garage with a crane, to comply with the owner's demands. DNEG created a set extension from a lidar scan of the atrium, with superimposed special effects to extend the fall.
Second-unit director Darrin Prescott coordinated the vehicular stunts on Baby Driver with Jeremy Fry, the project's stunt driver, and a team of other professionals. They rehearsed at the Atlanta Motor Speedway before receiving clearance to shoot in the city. At the rehearsals, filmmakers captured the stunts with specialized pursuit cranes, small cars with an installed camera crane. Machliss would then edit the footage into updated animatics, fleshing out the precision of the stunts in time for shooting. Fry performed many of the vehicular stunts; the actors were allowed to perform less demanding stunts with the proper training.
Prescott saw Baby Driver as his biggest undertaking because of the complicated stunt work involved. One such scene features a "180 in and 180 out" maneuver, in which Fry makes 180-degree turns forward and backward in a narrow alley with several other vehicles in the way. This was shot in five or six takes. "There's a lot going through your head. You don't want Jeremy to get hurt. Also, there's a lot of money being spent to get this on camera. The cameras needed to be out of the way so nobody would get hurt", Prescott recalled. Another example is the freeway car chase scene midway in Baby Driver's opening sequence. The production only had an eight-hour window to shoot because they did not have clearance to shut down I-85. With the limited time frame, the filmmakers rehearsed for only an hour before they began filming in early morning. This scene involved a number of high-speed jumps, and barrier jumps, among other stunts, that Prescott and his team carefully coordinated bearing traffic flow in mind. There were also 50 production vehicles encircled by a sprawling police motorcade, occupying all lanes of I-85. The choice of the getaway cars corresponded to specifications in the screenplay that they be nondescript and blend in with the surrounding traffic. Though Wright sought a Toyota Corolla based on data about frequently stolen cars, the production used a red Subaru WRX instead after the studio requested a vehicle that "could be a little sexier".
Ryan Heffington oversaw the choreography. He was responsible for synchronizing the movement of the actors and stunt performers in the film's choreographic sequences. Baby Driver is Heffington's first foray into film, best known in the music industry for his work with Sia, Arcade Fire, and other artists. Compelled by the script, the choreographer was unfamiliar with Wright's prior work. He researched it after his initial interview for the job. The two detailed their artistic vision in early conversations, using songs with dramatic tempo changes or structure as templates. By the first day of shooting, Heffington was already supervising the "Harlem Shuffle" sequence, employing 50–60 extras for the set. Choreographing other sets was sometimes less taxing because Elgort and Foxx had prior dance experience. The production played the music as the cast rehearsed each sequence, shot by shot.
When sound editing supervisor Julian Slater was first approached for Baby Driver, he was sent a copy of the script and a PDF file containing the curated selection of music, along with a rough audio mix. Working closely with music editor Bradley Farmer, the pair dissected each musical cue into a unique tempo map, thereby allowing for synchronization at any given time. This process required frequent pitch scaling of the sounds so they would not be off-pitch. One of their initial responsibilities was to create a sound for Baby's tinnitus. Slater and Farmer experimented with an array of sounds, some subtle, others more intense. Accordingly, they would adjust the frequency of an audio mix to correspond with their music cue. The intensity of Baby's tinnitus in the audio mix depended on his mood; for example, the more anxious he is, the louder the ringing. Managing tempo changes with the sound effects proved troublesome. Slater said, "For every layer that happens musically, have another layer that happens non-musically so that you perceive it only some of the time." The "Harlem Shuffle" sequence contains the audio team's most complex sound effects work. Completed in 25 takes, it features an assortment of subtle sound effects from engines, dialogue with changing nuance, and so forth. "Brighton Rock" posed another challenge for the filmmakers because the sequence required a new set of frequencies, altered voices, and other sounds to emphasize Baby's distorted point of view.
The audio department spent eight days recording the car sound effects at the Atlanta Motor Speedway. For onboard recordings (the sounds heard from the perspective of the driver and passengers), sound effects recordist Watson Wu installed about six microphones per vehicle; one in the airbox, another on the radio dashboard, two near the exhausts, and two in the engine compartment. Boom operator James Peterson followed each car with a shotgun mic for the external recordings, while using XY stereo equipment to capture the noise of passing vehicles. The crew premixed their audio at the Twickenham Studios in London, while the final mixing took place at Goldcrest Films' Soho post-production facility.
Wright and Price exchanged ideas throughout pre-production, selecting ten tracks to shape the project's musical direction. In total, the filmmakers licensed 36 tracks with Right Music, most written in the script well before shooting. Wright was unable to acquire the usage rights for certain hip hop and electronic songs written in the script because they contained uncleared samples. At that point, he pursued licensing of the sampled songs in question and used them in the soundtrack instead. Danger Mouse and Kid Koala composed the album's only original tracks, "Chase Me" and "Was He Slow?". "Chase Me" features contributions from Run the Jewels and Big Boi. For "Was He Slow?", which samples some of Spacey and Bernthal's dialogue, Kid Koala produced the song using analog equipment. Columbia imprint 30th Century Records released the Baby Driver soundtrack on June 23, 2017, on vinyl and CD. A follow-up album containing previously unreleased content was issued on April 13, 2018.
Wright views Baby's moral shift as the thematic crux of the film. According to David Sims at The Atlantic, Baby's initial moral detachment manifests through his reliance on music, which he uses to escape the chaos in his environment, and his own tinnitus. It is only because of his obligation to protect Debora, Joseph, and the impending threat of crime on his livelihood, that Baby is forced to confront reality, no longer able to ignore the mayhem around him. Baby Driver employs some of the conventions of gangster film, chiefly heroic fatalism and uncompromising villainy.
Characteristic of Wright's films, Baby Driver is driven by strong color cues. Colors are used symbolically to represent the personas of the core characters. Whereas Baby is dressed in drab colors that reflect his black-and-white perspective of the universe, his peers are associated with bright, vibrant colors that clash with this sensibility: red symbolizes Bats, purple and pink symbolize Darling, and blue represents Buddy. As the film progresses, the pressures of organized crime become overwhelming, and Baby's wardrobe evolves by proxy. He is seen in faint greys and bloodstained white shirts at that point. Costume designer Courtney Hoffman incorporated light grey colors into Baby's wardrobe to illustrate his struggle for freedom from the criminal world. Justin Chang of the Los Angeles Times argues Baby Driver is an exploration of identity and personal style, and how said expression dictates one's status in society.
In their piece for the Los Angeles Review of Books, David Hollingshead and Jane Hu examine race as an important thematic element in Baby Driver. They contend that certain aspects of the film, such as the casting choices and the reliance on a "white innocence" narrative, provide a subtext of "racial awareness" as well as commentary about the ethics of cultural appropriation.
The global premiere of Baby Driver took place on March 11, 2017, at the South by Southwest festival in Austin, Texas. TriStar spearheaded the marketing campaign. Their strategy entailed aggressive social media engagement, a worldwide publicity tour, and the creation of a number of colorful, vintage-style character posters. TriStar and Sony initially scheduled a mid-August release for the film in North America and the United Kingdom, but in an unusual move, the studios expedited Baby Driver's release six weeks early to June 28, as a result of the enthusiastic response from the film festival circuit. This was unusual because late summers are seldom competitive, and hence a much more favorable market for lower-budget films.
Sony Pictures Home Entertainment released Baby Driver through video on demand on September 12, 2017, and on Blu-ray Disc, DVD, and 4K Ultra HD/Blu-ray combo formats the following October. Physical copies contain two hours of bonus content including behind-the-scenes footage, production rehearsals, a storyboard gallery, audio commentary, and the music video for "Blue Song". During its first week on sale in the United States, Baby Driver was the number two selling film on DVD and Blu-ray, with 226,657 units sold for $5.6 million. Baby Driver has sold 595,111 copies as of January 2018.
The premium cable network Showtime has exclusive US broadcast syndication rights for Baby Driver. It is also available to authenticated Showtime and Netflix subscribers via the networks' streaming services.
Baby Driver was a financial success. Although the film's performance faltered in China, it performed strongly in key North American and European markets until the end of its theatrical run. Baby Driver earned $107.8 million in the United States and Canada and $119.1 million in other territories for a worldwide total of $226.9 million, making it the 42nd highest-grossing film of 2017, and Wright's highest-grossing film to date. The TriStar–Media Rights Capital partnership recouped their budget with a $51.5 million net profit, factoring in marketing costs and other expenses. Good word-of-mouth support, as well as fatiguing interest in blockbuster franchises, were considered critical to Baby Driver's box office success.
In the United States, exit polling showed strong commercial potential across a variety of audiences. CinemaScore polls conducted during opening night revealed the average grade moviegoers gave Baby Driver was A− on an A+ to F scale. Audiences were mostly younger; 52% were under 25 and 57% were men. The main reasons given for seeing the film were its action (44%), the actors (26%), and Wright (16%). Hourly advanced ticket sales eclipsed that of Transformers: The Last Knight. Predictions, while acknowledging the positive media response and word-of-mouth support for Baby Driver, were conflicted about the long-term commercial viability of an economical film in a fiercely competitive market. The film made $5.7M on its first day of wide release—including $2.1M from Tuesday-night previews—and earned another $3.3M the following Thursday. It went on to take second place at the weekend box office with $30M from 3,226 theaters, trailing Despicable Me 3. This return surpassed Sony's expectations for the weekend, and marked the best opening of any Wright-directed film in the United States to date. The second week in the United States saw the box office drop by 36.7% to $13M, and Baby Driver grossed another $8.8M the following weekend. By August 14, the film topped $100M domestically. TriStar re-expanded the film's theater presence for the week of August 25, earning $1.2M from 1,074 theaters, a 34% increase from the prior week. Baby Driver completed its theatrical run in North America on October 19, 2017.
Baby Driver was released in 16 international markets between June 28 and July 2, 2017—its overall rank for the weekend was second to Despicable Me 3. The United Kingdom represented the film's largest taking with £3.6M ($4.6M) from 680 theaters. It took $1.8M in the second week, and the third week in the United Kingdom saw the box office drop by just 26%. As of the latest figures, Baby Driver earned $16.6M in the United Kingdom. On its opening weekend elsewhere, it earned $3.7M in Australia, $1.7M in Mexico, $1.7M in France, $1.2M in Germany, $1.2M in Brazil, $843,000 in Spain, and $620,000 in Malaysia. During its mid-September opening in South Korea, Baby Driver grossed $3.12M. By September 3, the film's international gross exceeded $102.2M.
The American press considered Baby Driver among the strongest films of 2017. The film was selected by the National Board of Review as one of their top choices for the organization's annual top ten films list. Several journalists praised the film for its craftsmanship, which they saw as an exercise of Wright's expertise. Empire's Terri White called Baby Driver "one of the most utterly original films in years" that comes "as close to a car-chase opera as you'll ever see on screen". Peter Bradshaw of The Guardian felt the film was stylish and engaging, "packed with sheer brio and good nature", despite sticking with romantic notions of car chasing being a victimless crime, and Variety's Peter Debruge said Baby Driver becomes a genre standout through "a mostly clever collection of jokes, sudden narrative U-turns, [...] aptly picked songs", and a strong emphasis on car chases.
Reviews for the actors' performances were very positive in the media, often singling out Elgort and James for further praise, with their work described as "star-making" and "radiant". The characterization divided journalists: some criticized the depiction of the characters the actors played, often the women, in their reviews. Debora was viewed as a somewhat underdeveloped character by Eric Kohn of IndieWire, whereas White felt that, because of the sparse details of her backstory, she lacked depth and too often has little agency of her own. Richard Brody of The New Yorker considered Baby Driver's dialogue "almost entirely functional", devoid of nuance, resulting in characters who are largely interchangeable despite the best efforts of a diverse cast. Others, such as David Edelstein of New York magazine and the Observer's Thelma Adams, cited character development as one of the film's strengths.
The scriptwriting and plot development in the film's climactic scenes were sources of criticism. Some reviewers cited the scriptwriting as Baby Driver's biggest flaw, where rapid tonal shifts undermined the viewing experience. Cineaste's Adam Nayman, for example, attributed the mistakes in the script to Wright's inexperience as a solo writer, and TheWrap saw the lost momentum as "jarring and uncommon" saying, "rarely do we see a filmmaker start so strong only to end with a whimper". Anthony Lane, writing for The New Yorker, was also critical because he felt the film takes itself too seriously and lacked the self-awareness of Wright's other action comedies such as Hot Fuzz (2007).
On Rotten Tomatoes the film holds an approval rating of 93% based on 355 reviews, with an average rating of 8.03/10. The website's critical consensus reads, "Stylish, exciting, and fueled by a killer soundtrack, Baby Driver hits the road and it's gone -- proving fast-paced action movies can be smartly written without sacrificing thrills". On Metacritic, the film has a weighted average score of 86 out of 100, indicating "universal acclaim".
|Award||Date of ceremony||Category||Recipient(s)||Result||Ref.|
|Academy Awards||March 4, 2018||Best Film Editing||Paul Machliss and Jonathan Amos||Nominated|||
|Best Sound Editing||Julian Slater||Nominated|
|Best Sound Mixing||Tim Cavagin, Mary H. Ellis and Julian Slater||Nominated|
|Alliance of Women Film Journalists||January 9, 2018||Best Editing||Paul Machliss and Jonathan Amos||Nominated|||
|American Cinema Editors||January 26, 2018||Best Edited Feature Film – Comedy or Musical||Paul Machliss and Jonathan Amos||Nominated|||
|British Academy Film Awards||February 18, 2018||Best Editing||Paul Machliss and Jonathan Amos||Won|||
|Best Sound||Tim Cavagin, Mary H. Ellis and Julian Slater||Nominated|
|Casting Society of America||January 18, 2018||Big Budget – Drama||Francine Maisler and Meagan Lewis||Nominated|||
|Chicago Film Critics Association||December 12, 2017||Best Editing||Paul Machliss and Jonathan Amos||Won|||
|Cinema Audio Society Awards||February 24, 2018||Motion Picture — Live Action||Mark Appleby, Tim Cavagin, Gareth Cousins, Mary H. Ellis, Glen Gathard and Julian Slater||Nominated|||
|Critics' Choice Movie Awards||January 11, 2018||Best Editing||Paul Machliss and Jonathan Amos||Won|||
|Best Action Movie||Baby Driver||Nominated|
|Detroit Film Critics Society||December 7, 2017||Best Use of Music||Baby Driver||Won|||
|Empire Awards||March 18, 2018||Best Director||Edgar Wright||Nominated|||
|Best Male Newcomer||Ansel Elgort||Nominated|
|Best Thriller||Baby Driver||Nominated|
|Best Production Design||Baby Driver||Won|
|Best Soundtrack||Baby Driver||Won|
|Georgia Film Critics Association||January 12, 2018||Best Film||Baby Driver||Nominated|||
|Best Director||Edgar Wright||Nominated|
|Oglethorpe Award for Excellence in Georgia Cinema||Edgar Wright||Won|
|Golden Globe Awards||January 7, 2018||Best Actor – Motion Picture Musical or Comedy||Ansel Elgort||Nominated|||
|Golden Reel Awards||February 18, 2018||Outstanding Achievement in Sound Editing – Music Score||Julian Slater and Bradley Farmer||Nominated|||
|Outstanding Achievement in Sound Editing – Dialogue / ADR||Julian Slater and Dan Morgan||Nominated|
|Outstanding Achievement in Sound Editing – Effects / Foley||Julian Slater, Jeremy Price, Martin Cantwell, Arthur Graley, Rown Watson, Peter Hanson, Zoe Freed and Peter Burgis||Nominated|
|Golden Tomato Awards||January 3, 2018||Best Wide Release 2017||Baby Driver||7th Place|||
|Best Action Movie 2017||Baby Driver||Won|
|IndieWire Critic's Poll||December 19, 2016||Most Anticipated of 2017||Baby Driver||Nominated|||
|Location Managers Guild Awards||April 7, 2018||Outstanding Locations in Contemporary Film||Doug Dresser, Kyle Hinshaw||Won|||
|Outstanding Film Commission||Atlanta Mayor's Office of Film & Entertainment||Won|
|London Film Critics' Circle||January 28, 2018||Technical Achievement Award||Darrin Prescott (stunts)||Nominated|||
|Make-Up Artists and Hair Stylists Guild||February 24, 2018||Feature Motion Picture: Best Contemporary Makeup||Fionagh Cush and Phyllis Temple||Nominated|||
|National Board of Review||January 4, 2018||Top Ten Films||Baby Driver||Won|||
|New York Film Critics Online||December 10, 2017||Best Use of Music||Baby Driver||Won|||
|NME Awards||February 14, 2018||Best Film||Baby Driver||Won|||
|Online Film Critics Society||December 28, 2017||Best Editing||Paul Machliss and Jonathan Amos||Runner-up|||
|San Diego Film Critics Society||December 11, 2017||Best Editing||Paul Machliss and Jonathan Amos||Won|||
|Best Use of Music||Baby Driver||Won|
|San Francisco Film Critics Circle Awards||December 10, 2017||Best Film Editing||Paul Machliss and Jonathan Amos||Won|||
|Satellite Awards||February 10, 2018||Best Film Editing||Paul Machliss and Jonathan Amos||Nominated|||
|Saturn Awards||June 27, 2018||Best Action or Adventure Film||Baby Driver||Nominated|||
|Screen Actors Guild Awards||January 21, 2018||Outstanding Performance by a Stunt Ensemble in a Motion Picture||Baby Driver||Nominated|||
|Seattle Film Critics Society||December 18, 2017||Best Editing||Paul Machliss and Jonathan Amos||Nominated|||
|St. Louis Film Critics Association||December 17, 2017||Best Editing||Paul Machliss and Jonathan Amos||Won|||
|Best Soundtrack||Baby Driver||Won|
|Best Scene||Baby goes for coffee (opening credits)||Runner-up|
|Washington D.C. Area Film Critics Association||December 8, 2017||Best Editing||Paul Machliss and Jonathan Amos||Won|||
The success of Baby Driver has increased studio interest in producing a sequel. Discussions of a sequel began in December 2017, as Wright announced his intent to develop the script to the media. The writer-director began drafting the screenplay in January 2019, introducing an ensemble of new characters to advance the story. By the following July, Wright had shown Elgort a copy of the completed script, currently under a tentative working title.
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