It’s fortuitous enough that Edgar Wright‘s films will inspire any number of questions — fairly often along the lines of “how did they even do that?,” admittedly, but one takes what they can get — and all the more fortunate that the writer-director stands among the more verbose and open of his generation. (And that’s to say nothing of those working in the mainstream.) With the latest, Baby Driver, being a praise-worthy bit of craftsmanship from top to bottom and the man himself standing in something of a spotlight, now might be the best time to get his attention.
Although I could’ve thrown inquiry after inquiry at Wright for, say, two hours, our talk was a good bit of ground-covering — an update on how feeling about the progression of his career, where one film feeds into another, and, because it’d be silly to sit down with a...
Although I could’ve thrown inquiry after inquiry at Wright for, say, two hours, our talk was a good bit of ground-covering — an update on how feeling about the progression of his career, where one film feeds into another, and, because it’d be silly to sit down with a...
- 6/27/2017
- by Nick Newman
- The Film Stage
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