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Mar 28 @ 8:26 PM
+ 362 Notes

Drive (2011) Nicolas Winding Refn

Mar 20 @ 12:12 AM
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"I’m just telling you this because I want you to know the truth."

Mar 12 @ 1:26 AM
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Tribute to one of my favorite films in the last decade, “Drive”. This is the main character played by Ryan Gosling: the Driver. Is one of those films where the photography and the soundtrack really captivated my senses.

Artwork featured into the Depthcore Lab II, Cult: http://www.depthcore.com/lab/cult/

Mar 09 @ 3:55 AM
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Feb 17 @ 12:54 AM
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"The scorpion was a visual representation of the scorpion and the frog fable. Yet there’s obviously this emotional side to Driver that makes him not only fall in love, but be willing to make a sacrifice. Making that sacrifice is sort of done by making the scorpion side come out. And the scene in the elevator is a turning point: There’s no going back. There’s no, ‘That’s not really me.’ She sees a side that had to come out in order to protect her, and she can’t embrace it. He knows she’ll never embrace it, and their relationship will stay one of sacrifice. Framing the scorpion without his head, it shows you that it will be the controller of his destiny." - Director of Photography, Newton Thomas Sigel on this shot.

Feb 13 @ 12:43 AM
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"I give you five minutes when we get there. Anything happens in that five minutes and I’m yours. No matter what. Anything a minute on either side of that and you’re on your own. I don’t sit in while you’re running it down. I don’t carry a gun. I drive." - Drive (2011)

Jan 19 @ 5:33 AM
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The location provided ample space to build the strip club’s dressing room, the design of which grew out of Sigel’s preproduction discussions with Refn and production designer Beth Mickle. Sigel recalls, “I mentioned that on Frankie & Alice, we created a dressing room that had tables at different angles, so when we shot we got layers and layers of detail in the mirrors. Nicolas took that idea one step further and said, ‘Let’s make it all mirrors.’ So we basically made a mirror box — it reminded me of a Lucas Samaras sculpture — and it was just lit with practical light.”

We had one shot where we had to do a 360-degree camera move,Sigel continues. To avoid seeing the camera’s reflection in the mirrors, “key grip Alex Klabukov created a rig from the ceiling that was almost like a helicopter blade — the camera sat on it and spun around above the actors, just barely out of shot.

For much of the scene, Sigel and Lundsgaard sit tucked in a corner of the set, rolling two cameras. Lundsgaard keeps his camera trained on Cook, Sigel follows Driver, and as the actors move through the frame, the bare bulbs positioned around the mirrored walls occasionally flare the lenses. “The globes were 40 or 60 watts, and they had a sort of mauve color,” says gaffer Anthony “Nako” Nakonechnyj, one of Sigel’s longtime collaborators. “We would turn off globes we didn’t see to increase the contrast, and we could dim them down if they were too bright or were flaring the lens.” x

+ 120 Notes

(Cont’d from Part 1) The attempt to create meaning through some form of old-fashioned male aggression also lies at the heart of all of Nino and Bernie’s affairs. What is their world of organized crime but a system of power, authority, and aggression? The deadpan nature of the violence often emphasizes not only its sheer horror, but also its pure absurdity. For all of the mob’s notions of power, and all of the Driver’s notions of being a classical male hero, this is the logical outcome: bodies—nothing more. The film’s brute sense of mortality swells as it progresses, continually striking us with its random, spastic furor (Cook’s murder, Shannon’s murder and the scene of the Driver finding him). When it’s all said and done, all their woes and angers; just a bunch of death—hollow and heavy.

To reflect what others have said, I think that this idea that the film is challenging the idea of the male hero and the action star is indeed the purpose of the stuntman component. I wonder, where did it all start? He was the stuntman and that wasn’t real enough, so he had to transpose it to dangerous, screaming reality on the streets running from the police. But the complex continues. And of course, once the Driver has finally snapped and leapt completely headfirst and hellbent into his mission of male revenge late in the film, he dons the mask, entering a new form—or perhaps, only externalizing, manifesting the previous new form of male archetype; the savage Hollywood action protagonist.

I feel the stabbing scene between the Driver and Bernie at the end enters a very strange state—one not only seeming to be tender, but also almost touching. They are two of a kind, spending the whole film violently expressing their masculine senses of power and violence. Now, at the end of their poor roads, through all their self-ruin; each other. Scorpion to scorpion—because it is their nature. Their violent journeys through the dark end of the male psyche have lead them to death, yes, but it has also lead them to a curious closeness. Their shadows on the ground—the negative imprint of the men and their plight for self-actualization. Their identities displaced, disembodied, entangled, two men at their wit’s end, fully out of ways to express themselves and define themselves as men, the brilliant failure of their pursuits, sinking to the ground together in death (or near-death, in the driver’s case). Their shadows merge after a point, as well, becoming almost indistinguishable. (x)

Dec 18 @ 2:18 AM
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Dec 15 @ 3:27 PM
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Carey Mulligan on real violence in Drive [x]

Dec 11 @ 8:04 PM
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[Drive] is a portrayal of masculinity in crisis. What does it mean to be a Man? Gosling’s Driver is a man apart from himself, confusedly trying to find some outlet for his identity through his conception of masculinity (i.e. power and violence). Consider the shocking, sudden instance of the Driver striking Christina Hendricks’ character and looming over her on the hotel bed. His masculinity, this sense of male domination, is a regulation of his vast internal disarray. The robbery had just gone monumentally to hell and this is how he manifests and curtails his panic; Mickey Spillane style. And there is no doubt, it is the archetype of the Masculine Hero that the Driver attempts to embody. Remember that brief moment of the Driver and Benicio watching an offscreen TV and the Driver asking Benicio, How do you know he’s a bad guy? Benicio replying, He’s a shark. Driver saying, A shark can’t be a good guy?

Returning to that hotel scene, there is something rather poignant I’d like to point out. After the brief but awful carnage has subsided—in the film’s first real ‘Action’ scene—the Driver emerges from the shadowy bathroom into light, his face marred with rained blood. He has entered a new form, a new self. Maybe all those recurrent bloodstains hearken back to this initial, gruesome ambiguous baptism. He has entered another zone of self, and will continue to go further, in pursuit of this sense of affirmation attained through his violent expression of being a rightful Male Hero Who Gets Revenge (the action star). One of the most poignant and telling moments in regards to the film’s concern with archetypal maleness is when the Driver tells Mulligan’s Irene that she can have the robbery money and they could run away together, and in a moment that plays truly pathetically, so that he could “take care of her”. He is hopelessly confused, suffocating in the notions of what he thinks he is supposed to do and be. Shortly after, it’s then a helpless, childlike sense of shame attendant upon his face as turns around to look at Mulligan after killing the hitman. There is a slight strain of sexual shame in the image here—his agitated sweating visage, all strained and heaving—the nakedness of the thing, the dumb primality. This is the fruit of his struggle for a meaningful sense of self. It is an extension of that charged, nervous ambiguity we saw in the hotel bathroom. (x)

Dec 11 @ 1:20 AM
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There’s no good sharks? 

Nov 21 @ 6:04 PM
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J.W. Gilman- Drive,2013, Oil on canvas, 12” x 24”

Nov 13 @ 10:55 PM
drive   wow ok