What Ansel Elgort Thinks Happens

If you're thinking that the end of Baby Driver showcases the ultimate fate of Baby and Debora, then you're thoughts go strictly against those of Ansel Elgort. It turns out that he is firmly in the "it's not actually real" camp. At the Los Angeles press day for the film in mid-June, I asked the actor about the ending during a one-on-one interview, and he left no ambiguity regarding his thoughts on the way the movie finishes. Said Elgort,

It's a fantasy. It's definitely a fantasy... I think he makes it pretty clear -- 'Don't wait for me, don't worry about it,' but she's like 'I will wait for you, and I can't wait to eventually listen to every 'Baby' song we fantasized about; I don't care if you're in prison.' So then he imagines, the black and white, eventually when I get out we're going to ride off into the sunset together.

Essentially, Ansel Elgort thinks that there is a future for Baby and Debora, but that it's not really what we see play out in the final scenes. Instead, it's a fantastical vision of what that eventual reunion may be -- hence the use of the black and white.

For the actor, the key element in all of it is the idea of Debora potentially waiting a full two and a half decades for Baby to be given his freedom. Ansel Elgort was not stifled in his thoughts on the matter, and explained during our interview why the postcard is really the key element in the ending:

It's that Baby knows that Debora is going to wait for him. With the postcard he got from her... we did one take that was very emotional that wasn't in the movie because it was too indulgent. I really broke down in the prison, because I thought about how much that would mean to him. He got into all this trouble, and he's in prison now -- he's in there forever, basically. For so long -- 25 years. He doesn't know. I wouldn't expect someone to wait 25 years for me! I wouldn't expect my girlfriend of five years to do that, my current girlfriend. I would be like, 'Yo, I fucked up; live your life! You don't have to wait for me for 25 fucking years.' And then if she said, 'I really want to,' I would be extremely touched, and I felt that as Baby.

On a more macro level, Ansel Elgort also told me that he had a heavy appreciation for the end of Baby Driver just in that it's a film that features legitimate consequences for its criminal hero's action. He told me that he sees something inherently phony about movie criminals getting away with the job and living happily ever after, and loved that Edgar Wright's film was willing to have his character turn himself in. He explained,

I think the moral of the story at the end is that crime doesn't pay, and Baby gets in trouble! And I've always liked that, because at the end of every movie like this they drive off and they're going to Mexico and somehow it's a happy ending. Everything went perfectly. Or someone dies. It's usually not, 'He's in jail.' Of course you've got to go to jail! Everyone goes to jail who does that. If you're a bank robber... they guy who we talked to, Joe Loya, who was like our criminal consultant, he robbed tons of banks. He said, 'I always knew I'd eventually get caught. You either get shot or you're caught.' But the ride is so amazing. So it's nice in this movie to depict it the right way.

So that's one vote for "It's all a fantasy." But what are Lily James' feelings on the conclusion? Read on to find out!

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