Tempo can greatly effect mood. 

Any visual movement can help determine tempo:  footsteps, velocity of flying objects, collissions,  camera cuts, pans, sound effects etc. 

Often, particularly in chase scenes we can combine these anchors to help propel us into the scene. 

Anticipatory & Parallel:
Tempo at the rate of a future action can occupy a middleground or background in the music as an anticipation of the forthcoming action.
Contrary: 
Tempo contrary to the rate of a current action can bring the music to the foreground

1.  Visual Cuts as a determinant of tempo

Compare the rate of visual cuts between the time we enter the scene  0.00- 00.25 (garbage truck hits police car) and 00.25 and 55.00 (SWAT Truck lands in water).  If we consider the collision between the Garbage truck and the police car at 00.25 as a marker of the chase action, there are twice as many cuts after that marker as there are before the marker. 
Emotional enhancement:  Increases depth of emotional experience

does your cue anticipate the tempo of the visual cuts before 00.25 or does it match the tempo prior to 00.25 than shift to a different tempo after 00.25?
if so, does it do so as a foreground, middleground, or background element?


2.  Panning as a determinant of tempo

The first three cuts are centered without movement suggesting little parallel tempo effect.  From 00.11-00.14 the camera centers on the burning fire truck and for 3 seconds pans around it suggesting the rate rate of speed at which the car brigade is currently travelling.   After the first collision at 00.25 we have a similar camera technique with a centered object forcing a pan in 4 consecutive cuts to police car crashes.  Each of these pans is significantly shorter (and sequentiall faster) than the the fire truck pan suggesting a quicker tempo after 00.25

3.  Movement as a determinant of tempo

At 00.14 we cut to a line of police vehicles driving out of frame.  The departure of each vehicle is at a steady state suggesting a tempo multiple of 40bpm. 

1.  The Joker's character is portrayed as a criminal mastermind and psychopath with a warped, sadistic sense of humor.  Is there a cultural precept of such a characterization that can be represented in the music?  What does insanity mean in terms of Harmony, Rhythm, Orchestration, Dynamics, Articulation and the multitude of other musical elements?  Can and should this be combined with a sense of humor?

2.  The scene takes place in an urban landscape that is somewhat devoid of natural elements.  Can we draw upon the artifice of that landscape to inform musical decisions?

1.  The opening of the scene is an interior police car.  While this interior shot is very short and most likely inappropriate for diagetic music in this particular case, consider diagetic music coming from the radio of the police car as establishing a parallel or contrary mood to the scene that could be significant in a different context.