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We did storyboards, and then we cut the storyboards to the songs so we could try and time it out and make sure that it worked.Of course things that you plotted out on the page are a little different when you try and do it with real cars.I've been saving up money for college since I was 14 and never was a big spender, every cent I've earned has gone to my bank account and has never left since, even to this very day.So grated being the first date, I'd do something frugal, and free.It was a challenge for [cinematographer] Bill Pope and also the stunt coordinator, Darrin Prescott, because you’d have these bits worked out with the song, and then they’d say, “Oh, um, in reality, this stunt is going to take a little bit longer than you’ve given it on screen, so do you want to cut it tight, or do you want to change the timing a little bit? But it was a reverse-engineering thing that the stunt guys had never had to do before.I don’t think they’d ever had a director say, “Can we make this alley bit last 12 seconds, because that’s the length of this guitar solo? “Brighton Rock” is an example of a very exciting song that has a not-quite-as-exciting part in the middle.
So the idea that started it all off was: Maybe a getaway driver is listening to this song, and he’s actually trying to time out his getaways and literally have the perfect score for the perfect score.
You’ve got these chase sequences set to high-energy tracks from the 1970s by Queen, the Damned, Focus, and Golden Earring.
But it sounds like it was a slightly less vintage track, “Bellbottoms,” by the Jon Spencer Blues Explosion (from 1994), that was really the instigating track for you and this project. When I was 21 and I was living in London for the first time, and had made my first low-budget movie but certainly wouldn’t have called myself a film director, and was completely broke and sitting in my bedroom, not sure how I was going to really break into the industry, I listened to that song a lot. At the time, I wasn’t necessarily [saying], “This is a movie I’m gonna make.” But it was almost like the closest thing to having action-movie synesthesia, [where] I would listen to that song and imagine this car chase.
Did you ever consider editing the track down to just the most exciting parts, or did that inspire you, to find a way to use the interlude somehow?
Wait, wait, are you saying that the guitar solo is not exciting?
Queen’s “Brighton Rock” would be one of the toughest ones, because it’s quite a dense song.