That’s not a bad idea for a film, but it is a transparent one. He loves it so much that he owns about a dozen different iPods for different “moods,” and he can only pull off a heist if he has the right song queued up. It’s intimate and appealing, like watching Elgort awkwardly serenade his high school sweetheart.īaby Driver’s basic conceit is that a talented getaway driver (Ansel Elgort) doesn’t actually want to be a getaway driver, and he loves music.
Fans of Garden State were buying into a personalized playlist assembled by an artist with a growing cult of personality.
#Soundcloud baby driver soundtrack movie#
The shift in thinking around soundtracks as personal playlists turned the vaguely uncool habit of buying and listening to movie soundtracks on its head. Liking the soundtrack meant you “get” the guy behind a beloved movie.
The promotion and conversation around Garden State included the soundtrack as part of Braff’s highly personal vision, not the contribution of a separate music department. This is different than a karaoke film like Pitch Perfect or Sing!, which use popular songs to give audiences a jolt of fun and recognition. It’s even been credited with bringing indie rock into the mainstream for the first time. Braff made a show of handpicking the then-obscure songs for Garden State’s soundtrack, which won a Grammy, went platinum, and became so popular that it essentially gifted The Shins with their career. You could trace this idea to 2004, when the marketing for Zach Braff’s Garden State was shaped around its indie mixtape soundtrack. Soundtracks aren’t cool, but edgar wright is Like any mixtape, they come with a tinge of vulnerability, but they’re bragging a bit, too: “Look at how deep my music knowledge goes!” They’re simply filled with songs that fit the director’s personal definition of cool. Those playlists aren’t necessarily relevant to the story, or organized for emotional effect. It’s related, more specifically, to the trend of male pastiche film directors marketing their movies with soundtracks that are essentially personal playlists. But I think the urge to enjoy “Thief” is related to the urge to enjoy Baby Driver. “Thief,” an ‘80s-inspired pop-rock song about being a thief and a romantic, came out in suspiciously close proximity to the first trailer for Edgar Wright’s romantic-heist movie Baby Driver, starring Ansel Elgort, various movie stars playing thieves, and the color magenta. In an interview with Teen Vogue, he said his “character” in the video was inspired by Michael Jackson, David Bowie, Freddie Mercury, and also the rest of Queen. It’s easy to decide that the unendingly endearing Elgort should get some credit for trying. You’d be forgiven, after two to 40 plays, for thinking the song might be okay. It was the rare example of bad songwriting, illogical performance, and embarrassing artistic failure that’s also seductively enjoyable in the same way that a gas station cinnamon roll seems delicious if you have nowhere to shop besides a gas station. This song and neon-tinged video was a viral hit the day it came out - and that day only. It was for a song he wrote and produced, called “Thief.” In the video, he wears a leather duster and no shirt as he sings to his real-life girlfriend, Violetta Komyshan, “Call me a thief / There’s been a robbery / I left with her heart.” On February 3rd, The Fault in Our Stars’ romantic lead Ansel Elgort released his debut music video.
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