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A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.
Directed by Nicolas Winding Refn
Release Date: September 16, 2011
IMDB - http://www.imdb.com/title/tt0780504 (http://www.imdb.com/title/tt0780504)
Clip 1 - http://www.festival-cannes.com/en/mediaPlayer/10934.html (http://www.festival-cannes.com/en/mediaPlayer/10934.html)
Clip 2 - http://tinyurl.com/6xgaret (http://tinyurl.com/6xgaret)
Boom.
Hated Bronson but I'm really hoping this will be awesome. Love the cast.
Quote from: wilderesque on May 17, 2011, 09:16:38 PM
A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.
BEST. PLOT. EVER.
Yeah I love the feel of those clips.
Also Carey mulligan feels like Michelle Williams.
^exactly THIS. love the feel and pretty sure they said to Mulligan "can you Michelliams it up for this?" i'm already convinced and just Netflixed pretty much everything by Nicolas Winding Refn thanks to wilderesque's input in the director's thread.
Quote from: Pubrick on May 17, 2011, 10:48:28 PMAlso Carey mulligan feels like Michelle Williams.
I'm okay with that. The only actress better than Carey Mulligan right now is Michelle Williams.
This looks so so good.
Bronson was only a showcase for the greatness of Tom Hardy, but this looks interesting.
Love the first clip. Not so big on the second. It depends on context, but it looks pretty forced and cliche to me.
Quote from: RegularKarate on May 18, 2011, 04:40:01 PM
Not so big on the second. It depends on context, but it looks pretty forced and cliche to me.
good point.. yes it could easily have a drum heavy 80s ballad over it as they drive off into the sunset, but i'm thinking at that point he might already be on the lam so it's a bittersweet moment of near-connection and if he's not, it's the calm before the awesome climax where ---
hang on..
Quote from: Stefen on May 17, 2011, 10:43:56 PM
Quote from: wilderesque on May 17, 2011, 09:16:38 PM
A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.
BEST. PLOT. EVER.
isn't this pretty much the plot of the fast and furious movies? no wonder everyone pre-loves this.
Good news (if trusting other people's collective opinions on things qualify as news):
Rope of Silicon:
'Drive' was a great way to end my time here in Cannes, really enjoyed and fans of Refn are in for a treat. #Cannes
Gemko:
Let's see if I can be the first person in your feed to say: DRIVE, holy shit.
Drive (Winding Refn): 76. Patchy and shallow, but the highs are just insanely high. Half a dozen of the year's best scenes. Genre bliss.
And it's not THE DRIVER II, either. Surprisingly little auto action. It should really be called LOOK given how predicated it is on faces.
James Rocchi:
That imaginary universe where Michael Mann directs '80s adaptations of '60s Richard Stark novels? I was just there. It's called DRIVE.
EricKohn (Indiewire):
Walking out of DRIVE, feeling kinda wobbly. In a good way. #cannes
First Showing:
Nicolas Winding Refn's Drive - Totally frickin' awesome. Violent, but badass, great soundtrack. Ryan Gosling is the man. Loved it, new fave.
I've complained about Refn before, but this is his best movie hands down. May be a cult classic hit. Damn I want to see it again right now.
Hollywood Elsewhere:
"Drive" isn't as good as " Thief," but it's respectably and sometimes very thrillingly in the same ballpark. Spare, hard, very high octane.
All stand back & admire Albert Brooks for his older, smart-mouthed tough guy with a toupee in "Drive"...yay, Albert!
Ryan Gosling's hard-guy, Steve McQueen character in "Drive," but what there is he plays the he'll put of. His first action film...wham!
LATimes:
Gosling's Drive a violent Scandinavian mood piece w/US stars/setting. Feels like seminal moment in Cannes edginess.
PeterHowellFilm:
Drive: Wham, bam, thank you, man! Ryan Gosling rocks like a young De Niro. #Cannes
eug:
Based on early tweets & buzz in the lobby now, I am entirely in the minority on DRIVE in #Cannes. Everyone seems to adore it! Not me.
cobbliehillis:
Counted at least 4 subtle references to TO LIVE AND DIE IN L.A., down to the '80s cursive font. No Wang Chung, though. #Drive #Cannes
TotalFilm:
Drive: Ryan Gosling smoulders in a throw back crime thriller, part Michael Mann's Thief, part Walter Hill's Driver, all awesome! #cannes
Refn has quickly emerged as one of my favorite filmmakers. I loved Bronson (why all the hate?), and Valhalla was the perfect companion piece. I watched both over a two week break last winter, and I felt revitalized. I've been looking forward to Drive ever since it was first announced, and I'm glad to read the great twee-views.
Can't wait to see it, and whatever else follows.
in Bronson that last scene of him taking on charging brigade in the art room was the teets though. all slo-moey and Clockwork Orangey. the film had its moments. officially anticipating Hardy as Bane now!
awaiting Pushers. started Valhalla last night but the wiff made me shut it off. have to sneak it in sometime when she retires to her chambers. love the look of it thus far.
Anyone have this script? I'd love to read it if anyone wants to send it my way, I'd be eternally grateful :yabbse-grin:
YES.
Looks good. Bryan Cranston's in this?!! :)
Holy crap that looks awesome.
Oh my, what an exquisite trailer. :bravo:
Why was that red-band?
everything about this is all kinds of badass. cast, look, feel. i still gotta see Pushers.
Quote from: matt35mm on July 21, 2011, 11:30:19 PM
Why was that red-band?
The shot with him holding the hammer in the air has some boobage in the background.
Fingers crossed I get to see this at Fantastic Fest.
It's great. Sorta like The American with an 80s synth-pop soundtrack. That scene with the hammer and the boobs is one of the best scenes in the movie.
How a bad poster can ruin an otherwise successful marketing campaign.
You guys are nuts, that poster is awesome and pretty indicative of the movie itself.
Yeah, I like the poster. I was surprised at the reaction too.
I like the cover of the soundtrack better. I thought that was Daniel Craig on that movie poster.
i'm with the ghost and karate. both images could offer to the look of a classic. poster hollers Cool Hand Luke.
also, epic font.
Quote from: Ghostboy on August 02, 2011, 04:45:52 PM
You guys are nuts, that poster is awesome and pretty indicative of the movie itself.
Haha yeah this place has been wrong a LOT lately, pay no mind to the fools.
Poster is coolly evocative and continues the vibe from the clips and your description.
Can't wait to see a whole film that feels like this.
Everybody will check out this DVD on the shelf if that's the cover, it's wicked.
I hated the promo poster that was a big stupid engine. Looked like Fast and Furious type of B-movie.
Quote from: wilderesque on August 02, 2011, 04:19:32 PM
Poster & Soundtrack
01. Night Call—Kavinsky
Quote from: Jeremy Blackman on January 03, 2011, 07:34:45 PM
BEST OF THE REST
(songs from albums not in my top ten)
7. "Nightcall" by Kavinsky
Nice!
too Die Hard 5y, not vice cityish enough
This film looks fucking amazing. I've been waiting many years for someone to handle this kind of subject matter the way the scene and trailer look to be done.
There's a screening in Austin on Tuesday; if you're an AFF member.
Yeah, I saw that, but I'm not an AFF member and I feel like I can wait a couple more weeks for it to come out. :yabbse-undecided: Oh well.
Great interview (http://tinyurl.com/3ox6w2g)
Saw this tnite
Spois
I think my expectations were perfect before all the Cannes hype,
The ending will divide people with most hating it, but it is a true-to-itself ending, it could have easily had a big cheap bow on it,
You can't hire Mr. Personality to play The Man With No Name, i need my Gosling gosling
...And the award for Best Cast Most Wasted goes to...
Fuck Hype. :yabbse-angry:
Quote from: 72teeth on September 09, 2011, 03:00:30 AM
Saw this tnite
Spois
I think my expectations were perfect before all the Cannes hype,
The ending will divide people with most hating it, but it is a true-to-itself ending, it could have easily had a big cheap bow on it,
You can't hire Mr. Personality to play The Man With No Name, i need my Gosling gosling
...And the award for Best Cast Most Wasted goes to...
Fuck Hype. :yabbse-angry:
So it's only the
second best movie ever made?
Damn that's disappointing.
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'Drive': Ryan Gosling and Nicolas Winding Refn share the ride
For 'Drive,' the seemingly opposite men bonded over time spent cruising Los Angeles in a car.
Source: Los Angeles Times
There are many ways an actor or director might unwind after a long day of shooting. Some might head for the bar; others will fall right into bed.
But when Ryan Gosling and director Nicolas Winding Refn would wrap 12 hours of shooting on "Drive," their new thriller about a man who cruises around Los Angeles, they'd do the last thing you'd expect: They'd get in a car and cruise around Los Angeles.
"We would just drive for hours, talking and listening to music," Gosling, who always took the wheel, recalled as he and Refn sipped tea recently at a Beverly Hills hotel. "And I would say, 'This is what we want to capture in the movie, this feeling of being in a trance in a car with pop music playing,'" he said, the Canadian-born Gosling telling another non-native Californian his thoughts about the very L.A.-drenched film they were making.
At the end of their drives, the pair would usually end up at the 101 Coffee Shop, a Hollywood eatery a few blocks from its namesake freeway. Once there, they'd talk about —what else? —driving.
A stylish and often dreamlike mood piece with flashes of a 1980s aesthetic, "Drive," which opens Friday in Los Angeles, romanticizes and occasionally criminalizes the activity many of us dread most about Southland life. Inside their vehicles, characters seek peace, make escapes, find romance and commit murder.
But to say "Drive" is about automobiles would be like saying "Rocky" is about boxing rings. Over its ethereal electro-pop score, "Drive" probes themes of loyalty, loneliness and the dark impulses that rise up even when we try our hardest to suppress them.
Opposites attract
Born in Denmark and raised in New York, Refn is a director of outsider genre films including the so-called Pusher trilogy, about a group of Scandinavian drug dealers, and the British-gangster biopic "Bronson." Though Refn is in many ways the opposite of the much more Hollywood Gosling, the two are set to collaborate on as many as three new movies together, including a remake of the 1976 cult hit "Logan's Run."
In "Drive," Gosling's taciturn character —known only as Driver —has a stable if isolated life. He's stuntman by day and a getaway-car driver by night, and when he's not engaging in one of those two gigs, he logs hours in the garage of a loser-ish mechanic (Bryan Cranston) or tinkers with engines and other auto parts at home.
Driver's routine is shaken up when he meets Irene (Carey Mulligan), a young mother who lives in his apartment building in the MacArthur Park area. The two begin a tentative but tender relationship; Driver also establishes a rapport with Irene's young son.
The idyll, inevitably, doesn't last. When Irene's semi-estranged husband is released from jail and set upon by thugs, Driver, out of a mixture of love and loyalty to Irene, agrees to help him with a robbery that will get the thugs off his back. (Hossein Amini's script, adapted loosely from James Sallis' lean noir novel, tends to impose a kind of sideways moral code, even if those who abide by it are rarely rewarded for their efforts.)
Soon Driver is caught up in a dangerous scheme involving a pair of ruthless gangsters (Ronald Perlman and Albert Brooks, the latter in what may be a career-reinventing performance). They're the sort of characters who exact revenge by shoving forks in the eyes of those who wronged them, prompting Driver to think on his feet and often with his fists.
"I wanted to play with the classic notion of a fairy tale," Refn said. "Driver protects purity, and yet he can slay evil in the most vicious ways possible."
The film in fact is characterized by moments of shocking violence; the movie's edginess won it plaudits at this year's Cannes Film Festival, where it was one of the more gory titles ever to play the prestigious competition section. Among its jaw-dropping scenes is a brutal beating in an elevator that makes Irene see Driver in a new light and might do the same for how audiences view Gosling.
Also upending those perceptions of the Oscar nominee is how rarely Gosling, normally known for verbally dexterous parts, actually speaks in the film. Like a vintage Steve McQueen character, Driver can go without words for minutes and never utters more than a short sentence or two at a time —an approach that Gosling said he improvised at the start of production.
After 'Blue Valentine' and all the press and all the talking for that movie and in that movie, I was tired of talking," the actor said, referring to his role in the 2010 romantic drama. "We also wanted to create an atmosphere of being in the car and the spell it puts you under, and talking pulls you out of that spell."
He added, "Plus Nic was listening to his iPod on set, even during takes, so the idea of talking didn't seem important anyway."
Although only 40 and with just one Hollywood movie under his belt (this one), Refn, who resembles a kind of Scandinavian Rainn Wilson, has already developed a reputation for the sort of unconventional on-set behavior that would make David O. Russell blush. His dynamic with his actors veers between taskmaster and Zen master.
He prodded Brooks to attack an actor playing a minor character so hard that by the end of one take Brooks had the man by the neck, against a wall, causing him to collapse in a heap. "I really thought, 'This is it. I killed him,'" Brooks recounted. "I was relieved to find out he was still alive. Then Nic told me, 'Go again.'"
At the same time, Refn would often hug Gosling before a take for a minute or longer until Gosling submitted to it. He then communicated his approval to the actor by saying, "Go with God," and walking away.
Refn, who works mainly out of Europe and New York, decided to direct "Drive" because, he says, a tarot-card reader in Paris told him he would have a good experience making a film in Hollywood. So he went all in, renting a home in the Hollywood Hills and turning it into a kind of filmic Animal House. Writers lived on a top floor, editors set up a suite in the living room, and Refn's family, including his wife, two children and mother, bunked there.
Even Mulligan, recently broken up from Shia LaBeouf and gripped by a sense of domestic displacement, moved in. She quickly became a kind of den mother for the cast and crew, baking them carrot cake and other desserts, which would seem odd even if the film they were making was not of the brooding, un-homey variety.
L.A. backdrop
Although on its face a strange marriage of star and director —Gosling the swaggering wiseacre and Refn the coneheaded film nerd —the two seem to have developed a kind of symbiosis. Refn seems to like the talent and Hollywood credibility Gosling brings; the actor, in turn, grooves on Refn's film geekdom, as Refn cites the collaboration in the same breath as John Boorman and Lee Marvin on the 1967 pulp thriller "Point Blank" and also tends to meander into academic digressions about topics like the L.A. noir genre.
It's indeed hard to ignore the importance of location in this film. Much of "Drive" takes place in recognizable expanses of Southern California: a pawn shop in the San Fernando Valley, along the concrete embankment of the dried-up Los Angeles River (inspired by one of Gosling and Refn's outings) and popular sites like L.A. Live. Gosling, who for years had an apartment at 4th and Main streets downtown, said he "fell in love" with the neighborhood and hasn't "seen it represented properly in films before."
But for all the focus on locations, the film's dominant mode is motion; cars, ultimately, are its spiritual center. "It's one of those things you do and then you don't remember doing it," Gosling said of driving. "We wanted to capture that feeling that always seems to slip away."
When Gosling and Refn first met to discuss how to bring Sallis' novel to the screen, things came into focus when the actor was driving the director back to his hotel. REO Speedwagon's "Can't Fight This Feeling" came on the radio and the two began belting out verses. They decided to depart significantly from the book, which has few actual driving sequences in it, instead creating a music-oriented movie about a man who drives around Los Angeles.
Ironically, Refn notes, he doesn't drive himself and doesn't even have a license. But true to his persona, there's a rich and geeky explanation for that. "I'll never get a license," he said. "Like [J.G.] Ballard in 'Crash,' I find driving so sexual and exciting, and I'm very much aroused by speed. So I will never control a machine."
Gosling, looking increasingly disturbed as Refn offers this thought, is asked if he likes when his collaborator gets esoteric. "Not," he said, "after that."
fairly confident in saying i loved everything about this. a slow burn b-movie with LA at its gaudiest since mulholland drive or punch-drunk love, on-the-nose synth pop cues, shades of bresson and melville, even peckinpah on top of the already tired comparisons to mann and hill. gosling and mulligan have such tremendous faces. everyone in this movie has a great face. i don't know if there's a cooler opening scene in movies. it's been far too long since there's been a hollywood film with such cocksure style and tone. drive totally delivered everything i'd expected of it post-hype and clips/trailers. overjoyed that movies like this can still get made, and that there are people capable of making them. this refn/gosling contingent is, for now, a beautiful thing.
72, i'm not sure what you were expecting that you were so disappointed. and as far as wasted casts go, which i really don't think is the case here at all, clearly you haven't seen contagion yet.
I like this quote from A.O. Scott's review:
" A long time ago, as a young filmmaker besotted with the hard boiled pleasures of classic Hollywood, Jean-Luc Godard claimed that all anyone needed to make a film was a girl and a gun. In his new movie "Drive," Nicolas Winding Refn, in thrall to a later Hollywood tradition, tests out a slightly different formula. In this case all you need is a guy and a car. "
Quote from: samsong on September 16, 2011, 02:33:41 AM
fairly confident in saying i loved everything about this. a slow burn b-movie with LA at its gaudiest since mulholland drive or punch-drunk love, on-the-nose synth pop cues, shades of bresson and melville, even peckinpah on top of the already tired comparisons to mann and hill. gosling and mulligan have such tremendous faces. everyone in this movie has a great face. i don't know if there's a cooler opening scene in movies. it's been far too long since there's been a hollywood film with such cocksure style and tone. drive totally delivered everything i'd expected of it post-hype and clips/trailers. overjoyed that movies like this can still get made, and that there are people capable of making them. this refn/gosling contingent is, for now, a beautiful thing.
yep.
LOVED EVERY FRAME OF THIS! finally a movie that lives up to its hype for reals. Refn is my favorite thing going on right now. cant believe Hollywood actually knew what to do with what he delivered.
hilarious how in my theater the meatheads were getting restless with its beautifully slow pacing. sams said it best: <3 a beautiful thing <3
Mann must be shitting on himself. LA hasnt been communicated through violent cinema as competently as this in some time. i just wanna drive around the streets now while listening to 80s pop music looking for trouble.
Quote from: samsong on September 16, 2011, 02:33:41 AM
72, i'm not sure what you were expecting that you were so disappointed.
72 was drunk when he saw it.
Quote from: 72teeth on September 09, 2011, 03:00:30 AM
Fuck Hympe. :yabbse-angry:
Quote from: samsong on September 16, 2011, 02:33:41 AM
and as far as wasted casts go, which i really don't think is the case here at all, clearly you haven't seen contagion yet.
called that. (http://xixax.com/index.php?topic=11629.%20msg308003#msg308003)
This is a masterpiece. I suspected it from the trailer, and even building it up didn't disappoint. everyone go see it. I don't use that word lightly.
I now have my air-freshener of Christina Hendricks hanging from my rearview as I drive around listening to the soundtrack, occasionally turning my headlights off. This movie is dangerously good.
Watched Theif again after.
awesome, i was talking to people about thief after i saw it too.
This was absolute gold. Every single frame had me gripped. I have no complaints and a millions praises. I just walked out of the theater a couple hours ago and I'm pretty sure I'm gonna go see it again tonight.
And yes, I will be driving around tonight listening to "A Real Hero" over and over.
now I'm scared - the last time a movie got this kinda consensus from The Board was when Hanna came out and I hated it. This is my "Called It" post and I'm going to watch it and come back in a few days.
Quote from: pete on September 19, 2011, 08:12:25 PM
now I'm scared - the last time a movie got this kinda consensus from The Board was when Hanna came out and I hated it. This is my "Called It" post and I'm going to watch it and come back in a few days.
Did the board really all LOVE Hanna? I didn't.
Also, you're not going to like it if you decide you won't. (says your mother about peas)
I'm not deciding it; I'm scared.
I want this movie to be so good.
it's just an omen.
Quote from: RegularKarate on September 20, 2011, 10:48:14 AM
Quote from: pete on September 19, 2011, 08:12:25 PM
now I'm scared - the last time a movie got this kinda consensus from The Board was when Hanna came out and I hated it. This is my "Called It" post and I'm going to watch it and come back in a few days.
Did the board really all LOVE Hanna? I didn't.
The first reviews on the board were from people who's opinions are highly respected, and they were raving about it.
Quote from: S.R. on September 20, 2011, 06:00:40 PM
Quote from: RegularKarate on September 20, 2011, 10:48:14 AM
Quote from: pete on September 19, 2011, 08:12:25 PM
now I'm scared - the last time a movie got this kinda consensus from The Board was when Hanna came out and I hated it. This is my "Called It" post and I'm going to watch it and come back in a few days.
Did the board really all LOVE Hanna? I didn't.
The first reviews on the board were from people who's opinions are highly respected, and they were raving about it.
well they were totally wrong because it's a piece of shit.
i think people were only interested in the soundtrack because everything else about that film told you it was going to be disappointing. ie. eric bana is in it.
it starts off fine but then doesn't have a third act, it's a really stupid film, not even worth reviewing in the actual thread.
Fuck Hanna, lets get back to talking about how great Drive is. And the soundtrack! Great shit, ya'll.
Quote from: squints on September 20, 2011, 09:44:53 PM
Fuck Hanna, lets get back to talking about how great Drive is. And the soundtrack! Great shit, ya'll.
:yabbse-thumbup:
hanna was so middle of the road, drive is the kind of movie that woulda been my "Limey" back when I was 20. It's the kinda movie that makes you wanna make movies.
hey it was pretty good! so violent. pissed that the trailer gave away EVERYTHING.
still, good movie.
Ryan Gosling's one expression has served him well.
SPOILER
About the violence...i thought this was a hilarious piece of trivia from IMDB:
Nicolas Winding Refn sought advice from Gaspar Noé on how to make the head stomping scene brutal and realistic.
I liked it very much. Didn't deserve the hype, but that doesn't bother me. It's very good.
However, like Pete I'm upset about the trailer not only spoiling the entire story but highlighting literally every key scene, especially that mask/window scene, which would have been revelatory had it not been milked in the trailer. And you can't really tell from the trailer alone how spoilery it really is. If you've seen the trailer, don't expect to be surprised by anything.
Gosling was great. The story is only moderately interesting, but this movie is definitely a director's showcase.
Quote from: Jeremy Blackman on September 22, 2011, 11:49:44 PM
Didn't deserve the hype
not sure what that means.
Quote from: Jeremy Blackman on September 22, 2011, 11:49:44 PM
If you've seen the trailer, don't expect to be surprised by anything.
absolutely not true.
and i almost think telling people how spoilery that trailer was is more spoilery than the trailer. i think i forgot most of it when i was watching.
I was spoiled by the trailer but that in no way ruined the experience of watching the movie. The people at my screening seemed really bored/restless until a certain scene (if you've seen it I'm sure you know the one) when I was walking out they were mostly saying negative things. I thought Gosling did the man-with-no-name thing pretty well, but Albert Brooks stole the show. As Blackman said it's a director's showcase, and I loved the way certain scenes unfolded (the parking garage especially). I'm having a hard time saying this didn't live up to the hype because most people I know seem to think it's a cheap Fast & Furious knockoff.
Quote from: Pozer on September 23, 2011, 10:48:07 PMi think i forgot most of it when i was watching.
How could you forget the trailer while watching the movie? I saw the trailer only once, but it had an impact on me. We both know those were some absolutely key scenes, in terms of plot and visuals. I recognized at least 4 or 5 key scenes from the trailer (how could you not?), and the giant hole where the tension or revelation should have been was profoundly disappointing.
Sure, there were still other scenes that were surprising/suspenseful/revelatory, but about half as many as there should have been.
I normally avoid trailers, but people were going nuts about it in this thread so I felt compelled to join in.
My complaint is with the trailer, not the movie. Still liked the movie very much.
Quote from: Pozer on September 23, 2011, 10:48:07 PM
and i almost think telling people how spoilery that trailer was is more spoilery than the trailer.
SPOILER
the above statement was vapid and contained no logic nor counterargument.
END SPOILER
mainly was speaking about Jer Black's pointing out/highlighting mask/window scene being spoils. "you watched that trailer you will be spoiled and dont expect to be surprised by anything!"
rewatching trailer there was one too many spoiler images in there. personally i didnt think too much about them while engrossed in the movie. trailer by no means ruined all surprises. forget it.
I'm givin' you a Nightcall (http://www.youtube.com/watch?v=MV_3Dpw-BRY) to tell you how i feel....
I cannot stop listening to this fucking song.
Wow. Yeah, great song. Thanks for linking it. I've never bumped a soundtrack before I saw a movie before. I'm about to do that! ( hope it's not spoilerific tho )
It's awesome. That rare type of film that is both style AND substance.
The music was great and I can swear I heard bits of The Social Network score in there. Two separate pieces of it, too.
Quote from: S.R. on September 26, 2011, 07:29:55 PM
The music was great and I can swear I heard bits of The Social Network score in there. Two separate pieces of it, too.
did you download the screener torrent? I saw it in the cinema at the weekend and then downloaded the torrent yesterday and there's pieces from The Social Network in there that weren't there when I saw it first.
Quote from: theyarelegion on September 26, 2011, 08:31:32 PM
Quote from: S.R. on September 26, 2011, 07:29:55 PM
The music was great and I can swear I heard bits of The Social Network score in there. Two separate pieces of it, too.
did you download the screener torrent? I saw it in the cinema at the weekend and then downloaded the torrent yesterday and there's pieces from The Social Network in there that weren't there when I saw it first.
Yes, which I regret big time. But it wasn't playing near me until this weekend and I couldn't wait. I'm going to catch it on the big screen on Saturday.
I watched it again last night. It's really, really good.
I thought it was a good rip, a screener at least. I still don't think it does the movie justice on my lil laptop screen, but I can't afford going to the movies anymore. I don't wanna just be another asshole saying it was good so I'm gonna go on the record and say it sucked.
A miscast Mulligan spends another movie, ala "money never sleeps", looking worried and doing nothing else. Gosling's performance was so stiff and self conscious that it was drawing laughs. I have to admit, I joined in. No chemistry between any of the characters. A whole lot of hollow heist cliches wrapped up in an admittedly beautiful package. Wanted to love this, but it rang so completely hollow. By the end I was trying to convince a friend that it was just a big joke about American action movies. Right down to the wasted A-list cast. Really disliked it, either way. Brookes did turn in a great performance, despite coming off as a completely unconvincing gangster. How are both things I just said possible? I don't know. Probably a testament to the movie's underlying weirdness, which I liked. Just didn't like anything below that weird surface. Plan to watch it again. A lot of smart people are responding to it so positively. Saw the Times review today, and think it articulated most of my problems with the movie.
Hmmmm, so if a film has characters that speak very little dialog throughout, then that means their performances were hollow and their talent wasted? You're saying the only person who was any good was Albert Brooks, who guess what?, just happens to have the most lines!
i don't agree.
I thought the performances were good, especially Gosling and Mulligan. To say Mulligan did nothing and Gosling was stiff suggests that a rewatch is in order.
Cranston did a surprisingly good job creating a distinct character. (SPOILER) Also, the scene where Brooks cuts Cranston was absolutely chilling, the nurturing way he says "that's it, it's over" etc.
Ron Perlman was a little unconvincing and stereotypical, but at least he had a small role.
I think the movie could have been amazing with a better screenplay, so I won't argue that there was wasted potential. But in the end it's 90% a director's movie, so it works.
I thought Mulligan was miscast because she didn't do shit but stand there and smile or do the deer in headlights thing. She's better than that.
It was a silent role, but that doesn't mean she did nothing. I dunno... I saw of acting going on there.
You saw a BIT of acting there, is what you're saying? I did too, and I saw that in every actor in the movie, they all do bits of GREAT acting. It took me awhile to not be annoyed by Gosling's goofy dumb face but I got over it, because Refn is so good. Is that it, or is it Winding Refn?
It's almost like he's channeling Chance from "Being There." it's not goofy, it's that part of him never grew up. SPOILER - when he is having the conversation with the little boy about the cartoons, he really doesn't know how to spot the bad guys from the good guys. To the boy, the shark would be the villain based on cliche and the obvious association with that animal. The driver doesn't look at people that way, so he can't pick up on it in an animated show either, despite the obvious indicators that the vast majority of society would have no trouble associating. He's not being cute for the kid. it's this very same personality trait that makes the driver live up to his word every time he makes a claim. when he says the money is in the trunk, it is. Brooks can't believe it, he is surprised at the lack of deception in the driver. to call his character goofy, or his face for that matter, is missing it entirely.
every choice this film made played against the cliche as much as it supported it. almost every scene had a sentiment from all the characters that went against what you would see from an exploitation film made like this in the past. the great scenes and great bits of acting came primarily from the script and evolved from there. SPOILER - like when pearlman's character insists they must kill the driver and cranston's character, you see the pain on Albert Brook's face. He realizes he's right, but it really hurts him that there is no other choice. that's why when he cuts his arm he is gentle with him. Another interesting choice was making Cranston so vocal about how he hates pearlman to Brooks. He is witty, and speaks in a cant with Brooks, like an inside joke about the retarded brother. And in those earlier moments Brooks laughs along with Cranston, understanding the irritation and humor. Yet again this isn't normally how a script would approach this strange relationship triangle. Normally Cranston would just be the scared george mcfly type character.
SPOILER - also right before brooks kills cranston, he exclaims how sad he is that they won't get to ride their car in the races. You can see he really wanted it, it wasn't just some cool shit to say to a guy right before he killed him for the audiences sake.
I could go on, it's just a brilliant film.
EDIT - oh and after I really loved watching this movie, i checked out the pusher trilogy and bronson... They're total shit; Forgettable garbage.
I'm just not used to Gosling, I never really saw any of his movies besides half-nelson and I couldn't get over his goofy dumb face the first time I saw it.
I'm pretty sure he was playing the character as mildly autistic. That's not a joke, I actually thought that while watching it and thought it was kind of a brilliant choice.
Quote from: socketlevel on September 29, 2011, 01:21:26 AM
EDIT - oh and after I really loved watching this movie, i checked out the pusher trilogy and bronson... They're total shit; Forgettable garbage.
Well at least I don't have to attempt to rewatch Bronson. I only got about half-way through it last time. I haven't seen this yet, but I like the idea of the supposed similarities to Chance. I generally find myself in agreement with Stefen's opinion of films recently though, so I'm probably not going to make an extra-special attempt to check this out in the cinema and wait for the DVD instead. I'm half-excited.
Quote from: Sleepless on September 29, 2011, 11:33:09 AM
so I'm probably not going to make an extra-special attempt to check this out in the cinema and wait for the DVD instead. I'm half-excited.
Dude, this is retarded. This movie was the most fun i've had in the theater in a long time.
Quote from: polkablues on September 29, 2011, 10:40:52 AM
I'm pretty sure he was playing the character as mildly autistic. That's not a joke, I actually thought that while watching it and thought it was kind of a brilliant choice.
yep exactly, just like Chance. He doesn't have the same being a by product of television aspect of Chance, just the unaffected innocence/ autistic element.
Quote from: squints on September 29, 2011, 11:37:11 AM
Quote from: Sleepless on September 29, 2011, 11:33:09 AM
so I'm probably not going to make an extra-special attempt to check this out in the cinema and wait for the DVD instead. I'm half-excited.
Dude, this is retarded. This movie was the most fun i've had in the theater in a long time.
yep exactly, get your ass to the cinema and sit it down.
I think you hit it right on the nose with that comparison, socketlevel.
Gosling on the character of the Driver:
" I think he's somebody who's seen too many movies. He's confusing his life for a film, and he's made himself the hero of his own action film. He's just kind of lost in the mythology of Hollywood. "
Quote from: Sleepless on September 29, 2011, 11:33:09 AMI generally find myself in agreement with Stefen's opinion of films recently though, so I'm probably not going to make an extra-special attempt to check this out in the cinema and wait for the DVD instead. I'm half-excited.
Definitely see it in the cinema if you can. I downloaded it because it wasn't playing near me and I didn't want to wait, but it's playing now and I totally regret not waiting and seeing it in the cinema on the big screen. I still plan to see it this weekend, just wish the big screen could have popped my DRIVE cherry real gently, and not sloppy drunk e-sex like how it ended up happening.
It's stylish and the music is great. It deserves a viewing on the big screen.
Spoilers
It's a fun film and enjoyable, but I don't match the hype. For their intended purposes, the performances are fine. Mulligan is domestic and alluring enough to attract Gosling. He wants the peace in her face when she is with her kid. He's also taken aback by her desperation in tense moments. It's a two note performance. Gosling's performance is a Jean Pierre Melville nod. He is all image and acts accordingly by constantly trying to stretch himself to come out his tough guy dimension. The dimension allows him to be even keel about what he does, but he yearns to be, as the song repeatedly says in the film, "human".
The allusions and story I could not take seriously. The better filmmaking moments are found in the good suspense moments, but my ultimate problem is that stylistic renderings of melodramas like this have been done a thousand times in more interesting ways. For me, there was too much melodrama. In Melville world, his simplicity allowed him to be more essential with his characterization, but he never had an overly moralistic story like this one. In the style vs. story matter, I felt the film was trying to have it both ways a little bit too much. I thought the style should have been more ambitious and clouded over the story a lot more.
Quote from: Gold Trumpet on September 29, 2011, 11:54:40 PM
my ultimate problem is that stylistic renderings of melodramas like this have been done a thousand times in more interesting ways.
name some examples. I'm not challenging you, I'm just interested.
P.s. Welcome back GT, where you been at?
Quote from: Gold Trumpet on September 29, 2011, 11:54:40 PM
my ultimate problem is that stylistic renderings of melodramas like this have been done a thousand times in more interesting ways.
seriously. like what? Le Samourai? Rambo?
I see the Melville comparison. Especially with Le Samourai. Costello was badass. Even the sparse apartments are the same. Both characters don't have shit going on in their personal lives. And they both did work, but nobody knew because they were so methodical in how they went about it. In Drive, he's recognized at a diner and he lays the law down and tells dude he will kick his teeth in if he keeps bringing shit up. In Le Samourai, Costello spends the whole movie trying NOT to be recognized and spotted. It's basically Goslings character 15 years later. It's an apt comparison.
I loved the flick and GT seemed to have been letdown by it, but his comparison is fair, and so are his thoughts about the film.
I've watched it three times (and will see it in the cinema this weekend), and I think, after Tree of Life, it's the best film of the year. It combines both style and substance which is a rare feat to make happen. So many films make one or the other happen, but this one does both. I love the autism questions about Goslings character. Total man child. The only beef I had with it was Mulligan being wasted and Brooks being miscast, but I get it. It's a fantastic movie.
Quote from: Gold Trumpet on September 29, 2011, 11:54:40 PM
my ultimate problem is that stylistic renderings of melodramas like this have been done a thousand times in more interesting ways.
ooh, you know what another good one is? Ghost Dog... I defiinitely gotta check out Le Samourai, which based on a Wikipedia search, greatly influenced this:
The Driver is a 1978 crime film directed by Walter Hill and starring Ryan O'Neal, Bruce Dern, and Isabelle Adjani. Based upon similarities in plot elements, it is heavily influenced by Jean-Pierre Melville's film Le Samouraï. The film is also notable for its impressive car chases, its no frills style of filmmaking, and its rarely-speaking, unnamed titular character. A professional driver (Ryan O'Neal) who steals cars to drive as getaway vehicles for big-time robberies. Hot on the Driver's trail is the Detective (Bruce Dern), a conceited cop who refers to the Driver as "the cowboy who's never been caught" and is willing to go to any length to bring him down. The Detective becomes so obsessed that he sets up a bank job in order to entice trap, and ultimately arrest, the Driver.
even the lead actor's name is Ryan.
This is definitely a fun film to talk about, and I'm bummed that I was inactive during the bulk of the conversation that transpired after I made my initial reaction post. I have since re-watched the movie, and feel pretty much the same. No, jesus, I don't think Mulligan was miscast because she wasn't playing a "blonde bombshell". That assumption is slightly insulting. I think she was miscast for the exact reasons I original proffered. She is a bland female character that serves no purpose other than reflecting the man-boy tendencies of a boring lead. And I do think she's better than that. I found the autistic reading, as it concerns Gosling's character, to be a really valid one, and one that I didn't think about during my first, or second viewing. Maybe I'll watch it a third time with that theory in mind. In summary, I think it's a glorified male arrested development fantasy that is being made out to be much more than that. And yes, I feel that Mulligan's character plays into that bullshit. Just my opinion.
I also have to disagree, slightly, with the comment that stated that I liked Brookes performance the most, simply due to the number of lines he had in relation to Gosling and Mulligan. But, there's a kernel of truth there, and that truth is, I probably just had a problem with the writing. I never felt like Brookes was a convincing gangster, but he was a convincing something. I just didn't feel that way with Gossling and Mulligan. Again, it's just my opinion. I know this board is big on PT. For all of Sandler's stunted and silent man-boy-isms in punch drunk love, I bought him. There was a plausible motivation, to my taste, behind his tearing up a bathroom, or putting his fist through a glass door, or falling ridiculously in love with his female counterpart. I wanted to feel it here, but didn't. It felt like a taxi driver rehash, with all the flair, but none of the nuance.
Haha... why do you keep watching a movie you don't like?
I assume you say this movie is "fun" to talk about because you like being the one who doesn't like it. Have fun with that.
I just did the opening credits for my sketch troupes show and I couldn't help but use "Nightcall" and that hot pink font for the titles. So much fun.
I rewatched it, and i really want to love it, but i can't. But i did catch a lot more of what Gosling was doing, it's just not a character i can get behind...
i saw it in IMAX-Lite ripoff, XD, and man oh man it was pretty.
FilmDistrict Sued Over 'Misleading' 'Drive' Trailer
A Michigan woman was disappointed with the Ryan Gosling film, having expected "Fast and Furious" style thrills.
Source: THR
Ryan Gosling's crime drama Drive may have been a hit with critics, earning a score of 93% on Rotten Tomatoes, but one Michigan woman was so unhappy with the film --she's suing.
Sarah Deming has filed a lawsuit against FilmDistrict claiming that the distributors, "promoted the film Drive as very similar to the Fast and Furious, or similar, series of movies."
The film, directed by Nicolas Winding Refn, sees Gosling as an unnamed stunt driver by day who moonlights as getaway driver by night. While the movie features a few impressive car scenes, the story centers mostly on the Driver's relationship with Carey Mulligan's character and several gruesome casualties along his journey to protect her family from harm.
"Drive bore very little similarity to a chase, or race action film... having very little driving in the motion picture," the suit continues. "Drive was a motion picture that substantially contained extreme gratuitous defamatory dehumanizing racism directed against members of the Jewish faith, and thereby promoted criminal violence against members of the Jewish faith.
Deming is seeking a refund for her movie ticket, in addition to halting the production of "misleading movie trailers" in the future. The plaintiff intends to turn her individual case into a class action lawsuit, thereby allowing fellow movie-goers an opportunity to share in the settlement, reports Detroit's WDIV-TV.
She had me until this...
Quote from: MacGuffin on October 09, 2011, 08:39:34 PMDrive was a motion picture that substantially contained extreme gratuitous defamatory dehumanizing racism directed against members of the Jewish faith, and thereby promoted criminal violence against members of the Jewish faith.
Quote from: Jeremy Blackman on October 09, 2011, 09:26:31 PM
She had me until this...
Quote from: MacGuffin on October 09, 2011, 08:39:34 PMDrive was a motion picture that substantially contained extreme gratuitous defamatory dehumanizing racism directed against members of the Jewish faith, and thereby promoted criminal violence against members of the Jewish faith.
She's crazy. If anything,
Fast Five was the Holocaust of all-time cinema.
fast five was pretty awesome.
If you're watching a showing that starts past 11:59pm, definitely.
first Tree of Life, now Drive? Retarded cinemagoers can't seem to catch a break.
Ravi and Matt just shared this hilarious Illustrated Review of Drive (http://lisahanawalt.com/post/11024638920/drive) on fb.
CAUTION: Adorable Spoilers.
Holy christ I loved this. Jeremy is so right though. The trailer ruins everything. If I were Nicholas Whatthefuck I'd be water boarding my marketing department right now. Why can't we just do short, artful teasers and leave it at that?
Cannot stop listening to this. (http://www.youtube.com/watch?v=-DSVDcw6iW8)
I'm glad I haven't seen the trailer. Looking forward to this.
I don't think the trailer ruins it. the greatness of this film is in the execution, not the story.
Quote from: socketlevel on October 24, 2011, 10:30:10 AM
I don't think the trailer ruins it. the greatness of this film is in the execution, not the story.
We both know that at least half the spoilers I'm talking about are visual spoilers (not plot spoilers).
Moreover, I think what you just said is absurd. And I think the whole "spoilers don't negatively affect the experience" theory is also absurd.
The filmmaker
included revelation as part of the experience. Spoilers deprive you of that part of the experience. It's that simple. If those revelations didn't matter, or if you don't care about them actually working, you have an anemic understanding of the film and little respect for the filmmaker.
yes - how good can a film be if you don't care about what happens next?
I don't know who you're quoting, but either way you might be calling me a subscriber to this 'theory' prematurely. You've taken one thing i said and lumped it in with a philosophy on cinema... ok... I think that spoilers do affect the experience, and 99% of the time I'd agree with you. but if you've made a masterful movie, it really shouldn't matter because you've drawn the audience into the experience.
your response assumes I consider these plot reveals in the trailer spoilers to begin with. maybe I don't. but for the sake of the argument, who's to say that leading an audience into the cinema with cliches and archetypes so that you can deliver (or take away) these devices, and cast a new light, is not beneficial? Your brash way of reacting to this very fact is ironically anemic because you think you're rushing to the director's defense, when in fact maybe it does have a positive effect. A trailer is a hype machine and you can do whatever you please with it. If you decide to give away the entire story, maybe that was the point. So when the audience makes it into the theatre, you can build or destroy their expectations that you planted in them with the trailer. Whether or not this was the intention of drive's trailer (and I doubt it was), it still has the same effect.
Shakespear used to have people come out before each act and tell the audience exactly what was going to happen, including character deaths and etc. The art was in the depiction. But i guess his choice in doing this was an anemic understanding of theatre and had little respect for his craft.
Everything about this film is a fairytale, and trailer or not, 20 minutes into the film - if you've ever seen a film in your life - your mind is already playing out the possible ending. So the rewarding part of the movie is all those moments that surprise how you're mind set it up. Not by taking the story a different direction but depicting what you expected with different motivations and emotions.
This is one of those films that is self aware. It is aware that this story has been told a million times. The genius in the film is how even though it is self aware, it resists winking at the audience; therefore existing somewhere between parody and genuine love of the genre.
The trailer doesn't ruin it because it doesn't give away these details. The fact that you learn plot in this trailer is immaterial because you're thinking about it as cliche. When the moment in the film actually comes, the rhetoric is playing with that preconception.
Quote from: pete on October 24, 2011, 11:30:00 AM
yes - how good can a film be if you don't care about what happens next?
It's not about caring what happens next, it's about knowing what happens next. Am i the only one that sees these two things as mutually exclusive? are you suggesting that we only care about characters because we don't know their fate?
Quote from: socketlevel on October 24, 2011, 11:45:59 AM
I don't know who you're quoting, but either way you might be calling me a subscriber to this 'theory' prematurely.
That's true... I think I'm a little jumpy today. Sorry.
Quote from: socketlevel on October 24, 2011, 11:45:59 AMbut if you've made a masterful movie, it really shouldn't matter because you've drawn the audience into the experience.
See, now you've lost me again.
You're arguing against a straw man position... that plot revelations and visual revelations are everything. I don't believe that. As such, I don't believe such spoilers ruin all or even most of the experience.
It's just a very significant part of the experience. This significance varies dramatically from film to film. It's particularly significant with Drive, because much of the movie relies on plot revelations and striking visual revelations (my example was the mask-through-the-glass scene).
Contrast this with Melancholia. I watched that trailer, and it didn't negatively affect my experience of that movie one bit as far as I can tell, and it didn't take anything away. It's just a very different movie.
So again, the difference varies dramatically from film to film. I won't argue Melancholia, and you probably shouldn't argue Drive. The experience of watching a film whose lifeblood is revelation is going to be hugely affected by
not having that revelation. Isn't this simple?
Your argument (quoted above) is essentially that a masterful movie, even if so much of it has been robbed from the viewer by spoilers, should be so incredibly masterful that the sheer power of its mastery will overcome that. How does that work? Also that "drawing the audience into the experience" is good enough. I'm sorry, but an episode of I Didn't Know I Was Pregnant easily "draws the audience into the experience," so no, that's not good enough. I can find nothing of substance in this argument.
It does it by paying attention to story and character development over plot. It can actually then start playing with conventions of plot as well.
This film is about those two things more than anything else. 99 times out of 100 i would quote you (or anyone else) on this board and add "yes don't watch this trailer." I've done it before. I felt that way about "the game" for example, and it's a great movie, but it's all about heavy plot reveals. Drive isn't ruined because of the trailer, because it's not only immaterial to know this plot, but it actually makes for a better experience thinking it's just like every other movie that's done this mundane plot in the past. Almost everything in the film is cliche, just like the trailer sets up, but when you actually see it in the theater the character development adds and takes away from this preconception. That was the most rewarding thing for me when i left the cinema.
I'm not barking up the tree of some theory, i'm barking up the tree in the defense of this movie and the very few other films that are going for a similar sense of turning cliche's on their head.
you quoted my "masterful movie" line and ran off from it out of context, i explained it in the rest of my post.
I'll take you at your word, but I sincerely hope your pro-spoiler theory is limited to this movie.
I guess our disagreement is about why this movie works (because I like it too), and how that's affected by spoilers.
I honestly think your interpretation is very bizarre. Valid, perhaps, but definitely bizarre. Firstly, I'm not at all convinced that turning cliches on their head is a significant part of the film. It has some cliche plot points, and it does thoroughly transcend them, but I don't think it's specifically trying to do anything with those cliches, let alone specifically turning them on their heads. I'm not sure where in the film a cliche is turned on its head in the way you allude to.
Even if such an instance does exist, I'd still be skeptical that it's enhanced by having been spoiled. Why? If a cliche plot point seems less cliche because you know it's coming and are not alarmed by its clicheness, wouldn't that undermine the flip that you're talking about, if the thing you're flipping from is deflated and entirely less flippable?
Also, the trailer did not lead me (at all) to believe that this was going to be "just like every other movie that's done this mundane plot in the past." (What trailer did you watch?)
In any case, the elevator scene is a great example. It may be cliche in that elevators exist and sometimes appear in movies, but outside of that, I don't see the cliche here. This is probably the most important scene of the film, and the tension that obviously should have been there was completely robbed from me because I had seen the trailer. I had a completely different experience than what the filmmaker clearly intended. I could still enjoy it on one level, in a rewatch sort of way, but certainly not on the same level. This is another reason why your suggestion that "story development and character development" can be separated from plot just baffles me. All of the above happens in this scene, and it's hardly the only scene like that.
There's also the issue (which I've brought up repeatedly, apparently to no avail) of the various spectacular images, which are meant to be revelatory in a more visual/abstract way. The best example is the scene where the driver looks through the window with the mask on. Which was made the freaking centerpiece of the trailer. Thus... no revelation when I actually saw the film. It was more like "oh, there's that really great image I saw in the trailer."
it's limited to movies that play on these conventions, not just this film.
MASSIVE SPOILERS
examples of turning the cliche:
- Brian cranston's character would have been the George mcfly (as I've stated before) and not someone that jokes with brooks' character about perlman. he simply would have been a fuck up.
- brooks would have not felt so much emotion when having to kill his old friend
- the driver would not be so innocent, almost autistic. rather, he would be byronesque and one step ahead of the antagonists in the third act. he never outsmarts the bad guys, he "out-honors" them.
- standard would have never had such a powerful first scene, he would have been a deadbeat dad. his second scene is taken less as a threat because we just watched him poor his heart out to a room full of family friends.
- mulligan would have loved the driver but was forced to be in the relationship with said deadbeat dad (probably due to deadbeat's violent temper) not because she feels the boy should have his father or actually still having feelings for him
- there never would have been the scene with standard joking around and involving mulligan in telling the story of how they met. they both laugh and feel touched by the memory, it would have been some crazy ray liota type character joking around and mulligan's character would have been scared of his wrath.
I'll think about more, and post again if this is not enough.
You're talking about ways that the movie sidesteps or transcends cliches, or just simply avoids doing things that worse movies might do, when you were originally talking about turning cliches on their head. Your argument was about actively engaging with those cliches and flipping them, and I don't really see that happening. Your closest example is probably the deadbeat dad, but yeah, I really don't find much meaning in any of that, even if I did buy your cliche flipping thing. This could be the least meaningful thing about the movie.
If your argument is actually that the trailer trains you to expect cliches (which I don't believe anyway), and then the movie reverses those very specific expectations, and that makes it good... well, that makes even less sense to me at this point.
Yeah, Socketlevel, you've gave it a try, but that theory is pretty bunk. The trailer is a spoilerpalooza... it's sad.
also, alternate poster (sorry it's so big, couldn't find smaller):
(https://xixax.com/proxy.php?request=http%3A%2F%2Fbadassness.wpengine.netdna-cdn.com%2Fwp-content%2Fuploads%2F2011%2F10%2Fdriveposter2.jpg&hash=26c0a96937e5d14343be026b2b7b3a62e6a6a669)
Wow... love that poster.
haha ok, i feel like we're going down that rabbit hole together... yes what you just described is what I'm saying. whether it sidesteps or turns it on it's head is a semantic debate we don't need to get into. fairy tales don't usually spend the time to do either. If it makes less sense now, I'm sorry, I don't have anything to add other than to go back to my original point; the trailer doesn't ruin what is the paramount reason to see this film.
one love.
Best film of the year imho, I think. The only problem I find: Carey Mulligan. What a miscast!!! She totally can't sell the lower class teen mom. She looks rich just from her face.
Stay Pas.
Hehe that's a great page start. I might, as I have to promote the movie I co-produced... SAY WHAT PAS! Hell yeah, a full length feature directed by another Xixax alumni. Not completely shot yet... The Artifacts of Idealism is the title... to be continued. You may resume Drive thread, as it is a fucking good film.
Quote from: Pas on October 27, 2011, 09:00:01 PM... The Artifacts of Idealism is the title...
sounds like a SoNowThen title. :ponder:
haha :yabbse-thumbup:
Before Buying 'Drive' On BluRay You Might Want To Wait For The "Queen" Edition Nicolas Winding Refn Is Planning
Source: Playlist
Although a date has yet to be announced for the home video release of "Drive," director Nicolas Winding Refn suggests that fans might want to skip the first release of the film on DVD and Blu-ray and wait for a deluxe edition that he'd like to put together in a year or so. Speaking to The Playlist recently, Refn indicated that an upcoming double-dip will offer greater insights and information about the film than the bare-bones iteration that's due in a few months.
"The version that is released now, like soon, is fairly standard," Refn revealed. "It does not include any audio commentaries with either Ryan [Gosling] or myself, and it does not include any secret, revealing elements, or mysteries solved, or a huge amount of spinoffs. [But] because I'm a Blu-ray fanatic – no, fanatic, like religiously – I hope that in the near future, I will be able to release a movie that's not just a movie, but also one that describes the process of the filmmaking, and answers some of the more mysterious elements of the success of that it has achieved."
Retrospective featurettes typically seem most interesting only years after a film is released, when audiences and critics, and even the filmmakers themselves, have had an opportunity to honestly assess its artistic and commercial merits. But Refn said he's confident he and star Ryan Gosling will be able to provide some deeper perspectives, much less production details, about the conception and execution of "Drive."
"I think it will be fun to sometime next year to just start thinking about putting it all together," he said of the potential timeline. "By then it has played itself through in all of the countries in the world, and all of the various Blu-ray editions have been released. So that would be the time to make, what I would say would be the 'Queen' version. That's what is in the plan for Ryan and I."
Of course what he means by "Queen version" we'll have to wait and see, but hopefully everything can come together for Refn to deliver the full blown DVD/BluRay release the film deserves. And if FilmDistrict aren't up to the task, maybe The Criterion Collection can step in? Dare to dream.
FUCKING YES.
Animated Tribute to Drive w/ Music by Glass Candy (http://vimeo.com/32905466)
Quote from: squints on December 11, 2011, 04:06:54 AM
FUCKING YES.
Animated Tribute to Drive w/ Music by Glass Candy (http://vimeo.com/32905466)
looks great! I just finishing watching this movie last week,...and I really want that jacket.
:)
heh? :ponder:
Here's (http://www.dvdactive.com/news/releases/drive2.html) a link to the actual site.
A fantastically violent film that had it all for me. I could watch this once a month I love it so much. Saw it in the new york in november and it really really stayed with me. Albert Brooks' steals every scene he's in and is a methodical son of a bitch.
This is last years story, but I saw John Oliver do a bit about it today and this is the best part:
true story:
"I threw the hot dog toward Tiger Woods because I was inspired by the movie 'Drive,'" Kelly told the Santa Rosa Press Democrat. "As soon as the movie ended, I thought to myself, 'I have to do something
courageous and epic. I have to throw a hot dog on the green in front of Tiger.'"
Yeah, because throwing a Hot Dog near a half-black GOLFER is a prime example of "Courageous and epic"...
Now, if he had thrown it from one of those little golf carts, wearing shades and a badass leather jacket... That would've been kinda cool. Instead he did it on foot... while wearing a pink shirt. :yabbse-thumbdown:
at least throw some sushi or fried chicken at him. Make a statement
Quote from: Reelist on August 08, 2012, 10:36:19 PM
at least throw some sushi or fried chicken at him. Make a statement
I like both of you guys, but
Quote from: InTylerWeTrust on August 08, 2012, 10:29:11 PM
Yeah, because throwing a Hot Dog near a half-black GOLFER is a prime example of "Courageous and epic"...
Now, if he had thrown it from one of those little golf carts, wearing shades and a badass leather jacket... That would've been kinda cool. Instead he did it on foot... while wearing a pink shirt. :yabbse-thumbdown:
hack premise.
Quote from: Reelist on August 08, 2012, 10:36:19 PM
at least throw some sushi or fried chicken at him. Make a statement
hack riff.
I'm not claiming that I'd do better in your shoes, but you guys should work on that shit.
Quote from: Reelist on August 08, 2012, 10:36:19 PM
at least throw some sushi or fried chicken at him. Make a statement
Quote from: pete on August 09, 2012, 12:40:37 AM
hack riff.
Ok. Fine, fine.
Quote from: pete on August 09, 2012, 12:40:37 AM
fried chicken with a sushi twist.
I learn from the best :yabbse-grin:
speaking of which on that show I saw your homeboy Sheng Wang, man was he funny. I liked his set the most. Gotta seek out more of him..
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.qkme.me%2F3p3m40.jpg&hash=63547da9eae006e5bcc7a1f4a57b245773b9d5b7)
NOTE TO SELF: When on Xixax, never joke about black people.... cuz Pete will be there to "Malcolm X" you.
doubling down hack with more hack.
I know that's what you're supposed to be doing and I applaud you, but kid, your lines stink. "malcom x" you? If you actually think you're getting a response due to the edgy content of your edgy lines, then good luck with that. I don't mean to get you riled up or have you resort to whatever other def jam tourettes you might have in store, and I've got relative little interest in speaking for black people, but please, please don't blame them for your unfunny. I know it's easier to see yourself as a Daniel Tosh than a kid on the internet who said two hacky things in a row and might come back to say the third one, but then you'll just be confusing the issues.
I don't know, I don't care anymore. go ahead. say something else hacky. make it your personality.
I was the one who made the joke about black people. you don't have to stick up for me, Ty.
also: Don't fuck with pete
Quote from: pete on August 09, 2012, 10:53:07 AM
doubling down hack with more hack.
I know that's what you're supposed to be doing and I applaud you, but kid, your lines stink. "malcom x" you? If you actually think you're getting a response due to the edgy content of your edgy lines, then good luck with that. I don't mean to get you riled up or have you resort to whatever other def jam tourettes you might have in store, and I've got relative little interest in speaking for black people, but please, please don't blame them for your unfunny. I know it's easier to see yourself as a Daniel Tosh than a kid on the internet who said two hacky things in a row and might come back to say the third one, but then you'll just be confusing the issues.
I don't know, I don't care anymore. go ahead. say something else hacky. make it your personality.
(https://xixax.com/proxy.php?request=http%3A%2F%2Fjonathanblogs.files.wordpress.com%2F2012%2F06%2F30u4baf.jpg&hash=8d0e683eb65c36b9aeb5c5480af1b5001fdf77ed)
Listen Pete , I know Im new here. The last thing I want is to have bad blood between me and anyone here, specially someone like you, who I can tell has been here for a long time. If I offended you, I apologize (btw Im BLACK, so I wasnt trying to be racist like that. It was all for the sake of comedy. You didnt find it funny? Dont laugh. Easy as that). But on another note, you really need to calm down, man. Dont get a heart attack over an internet post, bro. Its NOT worth it.
Anyways, I respect you and I respect The Reelist too. Have a nice day both of ya. :yabbse-grin:
*Walks away with Chin up and a smile*
*generic moderation warning*
Wow, haven't had to do that in a while.
Let's keep the off-topic one-upsmanship to a minimum.
Quote from: InTylerWeTrust on August 09, 2012, 11:31:14 AM
Im BLACK
is he our first black?
:bravo:
I welcome you and your people.
Quote from: Reelist on August 09, 2012, 01:14:39 PM
Quote from: InTylerWeTrust on August 09, 2012, 11:31:14 AM
Im BLACK
is he our first black?
:bravo:
I welcome you and your people.
Actually I lied. I'm not "really black". My Dad is Black, Mom is dominican (but my mom is white). Which makes me Half Black, Half Dominican.... Which means I'm good at Basketball AND at Baseball.
EDIT: When did this thread become the U.N RACIAL DISCUSSION FORUM?
Back to talking 'bout DRIVE.
Anyone knows if the Bluray comes with a director's commentary track? I'm recently getting into Winding Refn's work (Saw the whole "Pusher" trilogy a couple weeks ago) and would love to hear his comments on this one.
Dude, you're BLACK. you said it yourself in ALL CAPS to defend your argument, don't try to back down and play up your whiteness now. OWN IT.
just remember that Jeremy is the original Black man around here.
and I do in fact know that the Drive bluray does have a commentary track, and I'm only vaguely familiar with that release, really wanna see it too.
Yes, back to Drive, anything about Drive. I love it.
Quote from: Reelist on August 09, 2012, 04:34:05 PM
Dude, you're BLACK. you said it yourself in ALL CAPS to defend your argument, don't try to back down and play up your whiteness now. OWN IT.
Ok, Spike Lee.
Back to Drive: Ok, so it does have a director commentary track? I'm buying it then... I'mma order it on amazon. Along with a Bluray copy of Barry Lyndon and I'll also pre-order the "The Master" Soundtrack which just got announced :yabbse-grin:
:Feel-like-a-sir:
very Drive inspired music video for the Kavinsky song 'Protovision'
Do you know much about the character of "Kavinsky"? The video kind of plays into that, so I think the Drive link is just coincidental.
From Wikipedia:
"Kavinsky is a character made by Vincent Belorgey that has a striking resemblence to Vincent himself but the backstory doesn't follow anything in Belorgey's history. Kavinsky's story is that after crashing his Testarossa in 1986, Kavinsky reappeared as a zombie in 2006 to make his own electronic music."
no shit? I didn't know that..that makes me like Kavinsky even more! Well, that's what I get for assuming. Still belongs in this thread, though.