He's back. Having joined us to reflect upon his career to date in episode 34, Edgar Wright returned to concentrate on his latest project, Baby Driver, which has received widespread critical acclaim as it wows cinemagores around the world.

The film tells a story of a young getaway driver, Baby, who uses music to calm his nerves in the face of chronic tinnitus.

As such, he's listening to his iPod throughout much of the narrative.

It's an audacious premise which, while posing technical challenges, also gave Edgar the

opportunity to share a wealth of sonic gems from his record collection. I'm Edith Bowman and you're

listening to Soundtracking, a weekly podcast about screen music with actors, writers, composers and directors.

With 35 tunes in Baby Driver, there's certainly plenty to discuss with Edgar, from the specific John Spencer track that inspired the movie 20 years ago to the structural delights of Barry White, Queen and Focus.

It also features a personal favourite of mine chat, there was so much to talk about, and good God, you weren't joking.

Congratulations on Baby Driver. It's phenomenal.

Oh, thank you so much.

I read that someone said that you've reinvented the musical and I kind of agree.

It's a funny one that because always when people say is, would you call it a musical?

I always like to stop short because...

To make you shiver?

Well, no, not at all. I'm a big musicals fan, but you know, your average kind of dude who likes kind of car movies,

when they hear the word musical might think it's like Mamma Mia or something.

No, but I think Blues Brothers. Blues Brothers, yeah. So, you know.

No, no, no, blues brothers is a good example.

I mean, when I first pitched it, I said that it was a car movie driven by music.

Yeah.

That was basically the pitch.

So I made sure that everybody knew that the music was integral, but it wasn't something where people are going to sing out loud.

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