Wright uses a consistent and distinct editing style for most, if not all his filmography. He uses a variety of the techniques below to convey his humour and communicate more to the audience without showing too much. 

• Quick cuts

• Match cuts

• Fast-paced action (montages)

• Transitions

• Zooms

• “I like the idea of building up to a true action montage. In Hot Fuzz, the idea was to subvert that by taking the most boring police work like paper work by making it super stylized”

• Match cuts as transitions & fast pace

• Creates momentum in films narrative

• Done for comedic purposes 

• Parody & irony to sequences are intentional

• Known to poke fun at serious genres

• Makes dull sequences exciting & interesting  

• Shaun of the Dead & Hot Fuzz

• Chris Dickens (Slumdog Millionaire)

• The World’s End, SPvtW, Baby Driver, Last Night in Soho

• Paul Machliss (Academy award nominee for Baby Driver)

Action

• Shaun of the Dead uses multiple ellipses ahead of action sequences

• Hot Fuzz references Michael Bay’s overly edited action sequences

• The World’s End has mostly longer action shots

• Employs dynamic camera

• Highlight stunt work and sfx

• Hot Fuzz (ex.)

• Lot of cuts to creator transitional elements and show police procedure

• Hidden split-screens in shots to pick up shot’s pace

• Average police work edited similarly to action scenes (rapid edits)

• Little motion in shots 

• Setting changes 

• Hard cuts in audio

• Characters filling out paperwork made to feel enthralling

• Use of unusual camera angles and lights

• Exaggerated camera work enhances visual comedy 

• Tension & drama exchanged for ridiculousness

• Scott Pilgrim vs the World (ex.)

• Transitions propel audience along journey

• Stylistic, comedic

• Shoots action scenes from wide angles 

• Cuts only when needed 

Video Analysis 

Transitions

• Scene to Scene transitions don’t feel disjointed

• Keeps the energy & momentum from one scene into the next

• Scott Pilgrim (Scott & Knives relationship introduction scene)

• Doesn’t use multiple scene of dialogue to emphasise the freshness of the relationship

• Condensed into a 1 minute sequence 

• Uses frame wipes to cut between different locations & carries on conversation

• (Scott changing before Gideon fight)

• Uses transitions as form of visual comedy

• Something that should be dull edited in a way to make it feel exciting

• Cut with slow scene of how Scott ties his shoes

• Breaks the energy for comedic effect

• Hot Fuzz (Welcome to Sandford)

• Explains what’s going on in the film without dialogue

• Know Nicholas is moving cities due to quick cuts

• Aware he’s not happy

• Uses little time for mundane activities to use towards more important plot elements

• Match cuts 

• Shows how long he’s been waiting at train station

Sound Design / Audio Visual

• Uses audio to keep the audience engaged 

• Uses every minute of runtime to tell story

Rhythmic Editing

• Baby Driver (Bellbottoms)

• Acts as sort of musical / music video

• Every movement and moment timed to internal beat

• Cuts, slamming of doors, footsteps all timed to song beat

• Tempo and rhythm to editing

• Nothing acts choreographed but naturally occurring rhythmically 

• No anticipation built up 

• Editing keeps film kinetic and obtain the sense of urgency

• Paul Machliss was editing on set everyday simultaneously to when the movie was being shot 

• Make sure shots were timed perfectly

• “It’s a slow process, but I think when you watch it back, you’re not aware of that. That’s the beauty of it – the scenes just have a natural feeling of fluidity, which belies the amount of painstaking work they take”