Drive: The book that inspired the major film starring Ryan Gosling
View all 6 comments. I saw this book at the library and I wanted to read it.
I saw the movie a few years ago and it's one of my favorite movies and I wasn't even aware that it was a book, and the book is only pages with pretty big font so I was able to finish it in a little over an hour, but wow this was nothing like the movie. I mean it was, but it wasn't. I didn't like how it was written, it's so detached from the main character Driver, and maybe it's meant to be that way I mean we don't eve Long story short: I didn't like how it was written, it's so detached from the main character Driver, and maybe it's meant to be that way I mean we don't even know his real name, he's referred to as Driver throughout the entire book but I didn't care for that.
It was impossible to be attached to any characters in this book, really. Any time any characters died in this book it seemed to have little to no affect on Driver, and the writing style was so hard to get into. I didn't like how nearly every other chapter had some random flashback of his childhood that was almost always irrelevant to things happening in the story. The only thing I really liked about this book is the fact that Driver is a stunt driver for movies in Los Angeles, I thought that was a really interesting job to read about. I also like that it takes place in Los Angeles, and the way it captures the essence of Los Angeles perfectly with the shitty apartments and sketchy streets and loud Spanish commercials playing next door all day long.
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I totally get it and it's so accurate. Other than that this book is completely forgettable which is a shame because I absolutely love the movie. This is one of those rare occasions where I say don't waste your time reading the book, the movie is so much better. Ein junger Mann kommt nach Hollywood. Das Einzige, was er wirklich gut kann ist Autofahren. View all 11 comments. May 01, Trekscribbler rated it it was ok.
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As a consequence of such overblown rhetoric, James Sallis' DRIVE ends up being memorable only on the grounds that one was duped into believing such a middleground neo-noir tale is destined to be literature's next classic when it'll probably be nothing in the next ten years.
Yes, it's "lean," and it could quite probably be read in a single sitting if not in a handful of hours, and, yes, it's full of the pretty-sounding, poetic prose any reader of Sallis has come to expect, but there's little meat on these bloodied bones: Driver sticks to what he does well -- he drives, be it for movie studios or as the getaway driver for a handful of hardened criminals -- but, once he's double-crossed, you find out he's a wealth of other talents in extracting revenge on those who set him up.
The grim reality here is that no one REALLY sets Driver up; he simply takes the wrong job at the wrong time, and, as generally happens in noir tales, there's a price to be paid. Driver isn't fond of paying such a price, so he hits back at those he try to take him for a Unfortunately, unlike some of the other reviewers, I found the narrative extremely difficult to follow, as Sallis attempts to successfully unfold this yarn out of chronology -- think of it as sort of an even hipper, jet set, PULP FICTION type narrative where some events are even told twice It's a gamble -- a highly calculated gamble -- and I didn't feel it came off very well here.
As a matter of fact, it forced me to flip back to the earlier section in the book to make certain I wasn't somehow lost in this page novel. It's been my experience that critics who don't dabble in 'hard-boiled' literature usually do this -- attach the adjective to what they believe is 'hard-boiled' in order to sound relevant -- and this tends to produce a flattening effect: I give credit to Sallis to creating a inventive modern day noir, but, at this cynical, I give his salivating critics credit for selling more copies than was humanly necessary.
Apr 23, Richard rated it really liked it Shelves: I liked it a lot more this time, which might be due to the fact that I'm more familiar with his writing, or I'm in just a different mindset. In Drive , Sallis tries his hand at a hard-boiled, Parker-style heist story. And while being true to all the conventions of the genre, he still infuses it with his own trademark style: Our main man only known as Driver is a skilled stunt driver for the movies by day and still manages to hold a part-time job as a wheelman for thieves. As with Sallis's other work, this is more of a character portrait, and Driver is definitely an intriguing character, tough but still private and introspective.
He wouldn't hesitate in stabbing a hard-ass in the throat, but also wouldn't hesitate to walk to a local payphone and call a screenwriter friend whenever he needs help understanding a difficult word he reads in the used paperbacks he buys at the cut-rate store. And the book also has an awesome first chapter, and one of my favorite opening paragraphs in fiction: Much later, as he sat with his back against an inside wall of a Motel 6 just north of Phoenix, watching the pool of blood lap toward him, Driver would wonder whether he had made a terrible mistake.
And the moment includes this blood lapping toward him, the pressure of dawn's late light at windows and door, traffic sounds from the interstate nearby, the sound of someone weeping in the next room. Root canal with Novocain wearing off, yup, I know the feeling. Hemorrhoids, and explosive diarrhea, I hear you! The book and movie are so different; this is one of those rare cases where the movie excelled and the novella fell flat.
Ryan Gosling played Driver as a man of few words who forms intense attachments to a select few. The Driver of this book is verbose and has lots of friends. This book belongs in the ninth level of literary Hell, consigned to those who commit treachery, as I was duped into thinking this would be a masterpiece. I purchased this book thinking it was going to be an intense crime-noir; instead it just ended being a crime that made me snore.
The NY Times called James Sallis's Drive , "a perfect piece of noir fiction," but as usual they've got their heads up their asses, since Drive is a book that would be more accurately described as, "a perfect piece of shit. Drive jumps around in time, mostly to disguise the fact that its plot is stupid, its main character is less interesting than Of Mic The NY Times called James Sallis's Drive , "a perfect piece of noir fiction," but as usual they've got their heads up their asses, since Drive is a book that would be more accurately described as, "a perfect piece of shit.
Drive jumps around in time, mostly to disguise the fact that its plot is stupid, its main character is less interesting than Of Mice and Men 's Lenny during a nap, and every action in the book is contrived. Hard-boiled crime fiction should be simple, at least on the surface. When it's not, it's usually because the author has nothing to say. The thing about movies made from novels is often which one you experience first colours your experience of the other.
I loved Drive the movie. I thought it vibrant, intriguing, uber violent and effortlessly COOL. A loner deciding to risk his life to stand up and be counted for a wife and child was an affecting story and the ending was apt. James Sallis' novel differs rather wildly from the cinematic story and unfortunately suffers by comparison. The book jumps all over a timeline more to hide th The thing about movies made from novels is often which one you experience first colours your experience of the other. The book jumps all over a timeline more to hide the fact that the story is so simple and basic than for dramatic effect the movie wisely foregoes this.
I much preferred the decisions made by the screenwriter than Sallis regarding the fate of certain characters and the movie definitely takes greater advantage of the concept than the book. A shame is the fact that viewing the movie first will only leave you waiting for the cool stuff to happen whilst reading the novel and ultimately being disappointed. Would I have liked the novel more had I read it first and viewed the movie second? Jun 23, Sarah rated it liked it. Like most of the recent reviewers, I read this after seeing the movie, which undoubtedly changed how I viewed the book.
Still, I have to say that I preferred the movie, and not just because of this: Although I won't lie, that face definitely helps. Style-wise, Drive was pretty fantastic. It's got such a cool, urban, haunting sort of tone going for it, and the writing could be really great. But in terms of substance, it was just sorely lacking. Mysterious, invincible Driver makes for a stylis Like most of the recent reviewers, I read this after seeing the movie, which undoubtedly changed how I viewed the book.
Mysterious, invincible Driver makes for a stylish idea, but he was so abstract and mysterious and invincible that that's all he was - an idea, not a character. The book jumped around and was so vague about the characters that I had no idea what was happening or who it was happening to. This book is beautiful but empty. The movie kept the style but added clarity, and that's why I ended up enjoying the movie more. By all means, read the book if it sounds interesting to you - it's short and quick and interesting.
But it could have been much better than it was. Rock Solid Noir Short, compact, deadly noir. There are sentences and phrases here that tell whole volumes. This shows that you don't need to put out a five hundred page treatise. Like classic pulp fiction, this is right on target, right to the point. Like Richard Stark's Parker, Drive is the only name you know this guy by.
And it's the only thing he knows how to do. Hollywood stunt driver by day and the world's best getaway driver by night. Drive yearns Rock Solid Noir Short, compact, deadly noir. Drive yearns to drive in capers. The problem is his partners never seem to focus only on the task at hand. They are often too busy changing plans and double-crossing. And in life, few things ever go as planned. Drive is stark, brutal, beautiful, and perfect. Language cut to the bone but retaining a beautiful flow..
Emotional, detailed descriptions of food, music and cars while the equally omnipresent violence and death is presented in a matter of fact dead pan. A narrative pitched between 40's noir, 70's cult flick, and a French existential novel. Funny, furious and readable, Sallis should be ranked with, while not quite resembling, American existentialists like McCarthy, Denis Johnson, Lucius Shepard, Drive is stark, brutal, beautiful, and perfect.
This book is a great introduction to the fiction of a writer who I already loved as an essayist and critic. If the narrative style of Pulp Fiction and the raw action of Steve Mcqueen's classic Bullitt had a child together, this book would probably be that child. It's cool, slick, slim, and efficient. And it still manages to be remarkably touching at times. This little novel is as American as a Mustang with a roaring V8 and a cold Budweiser on a hot California day, but it is also an alluring and poetic description of a stuntman and part-time getaway driver who lives simply, kills violently, and drives If the narrative style of Pulp Fiction and the raw action of Steve Mcqueen's classic Bullitt had a child together, this book would probably be that child.
This little novel is as American as a Mustang with a roaring V8 and a cold Budweiser on a hot California day, but it is also an alluring and poetic description of a stuntman and part-time getaway driver who lives simply, kills violently, and drives fast. In direct contrast with the other characters who flit in and out of the story, always scheming and double-crossing and trying to predict the paths their own lives will take, Driver finds that life is so much simpler behind the wheel of a car.
The plot is straightforward enough, and focuses mostly on our young Driver as he escapes and battles those who have double crossed him in the seedy California underworld. I quite enjoyed Drive , as quick of a read as it was. It is a contrasting achievement of grit and hidden philosophy, and for that I commend Sallis. Here he has written a novel that is refreshing in the way it takes the common tropes of the genre and turns them on their heads. The tone of Sallis' novel ebbs and flows in a blend of existential prose and almost deconstructionist storytelling that is quite rare for crime-noir.
Beneath the cars and the noir-laced dialogue is a book that is almost sweet, almost violent, almost poetry, and definitely fast. There was so much to like about this book but there were also some things that really bugged me as well. Driver is a mysterious protagonist but I felt he talked far too much for something that would have been more suited as the strong silent type.
Full reveiw can be found on my blog http: Oct 01, David rated it it was ok Shelves: I liked the film because it didn't take itself too seriously. It was "Grand Theft Auto: The Movie" complete with Vice City's sexy pink font. The book has less of a sense of humour, and it presented a much stranger world. What was with all the weird friendships in bars?
Do straight American men really buy each other burgers and then go back to a trailer to drink bourbon and watch movies? Aren't these "tough guys" ever self-conscious? Driver leaves a huge amount of money, a homeless dog and a thoug I liked the film because it didn't take itself too seriously. Driver leaves a huge amount of money, a homeless dog and a thoughtful note at the home of his adopted parents.
A bit too "man from Milk Tray"? Did the character not think "Shit, I feel like someone in a movie"? The police are totally shit. Driver is having meals with people in busy restaurants and then killing them in the car park. No fear of arrest. Three people shot dead in a motel: Gosling gained wider recognition in with a leading role in the commercially successful romance The Notebook.
For playing a drug-addicted teacher in Half Nelson , he was nominated for an Academy Award for Best Actor , and for playing a socially inept loner in Lars and the Real Girl , he was nominated for a Golden Globe Award. After a three-year acting hiatus, Gosling starred in the marital drama Blue Valentine , earning him a second Golden Globe nomination.
Gosling co-starred in three mainstream films in , the romantic comedy-drama Crazy, Stupid, Love , the political drama The Ides of March , and the neo-noir crime thriller Drive , and received two more Golden Globe nominations. His directorial debut, Lost River , was released to poor reviews in Greater success came to Gosling when he starred in four critically acclaimed films: Gosling's band, Dead Man's Bones , released their self-titled debut album and toured North America in Gosling has been involved in peace promotion efforts in Africa for over a decade.
He has been in a relationship with actress Eva Mendes since , and they have two daughters together. Ryan Thomas Gosling was born in London, Ontario ,  the son of Thomas Ray Gosling, a travelling salesman for a paper mill ,  and Donna, a secretary. This incident led to a suspension. He began to model his accent on that of Marlon Brando. Gosling has credited the experience with instilling in them "this great sense of focus. Timberlake's mother became Gosling's legal guardian after his mother returned to Canada for work reasons.
He wanted to spend more time sitting with and devising a character as well as play a variety of roles, so he chose to enter film and not accept any more television work. At the age of nineteen, Gosling decided to move into "serious acting". He was dropped by his agent and initially found it difficult to secure work because of the "stigma" attached to children's television. Director Henry Bean said he cast Gosling because his Mormon upbringing helped him understand the isolation of Judaism.groupect.staging.ctrlweb.ca/27396.php
In , Gosling co-starred in the psychological thriller Murder by Numbers with Sandra Bullock and Michael Pitt ,  where Gosling and Pitt portrayed a pair of high school seniors who believe they can commit the perfect murder. Bullock played the detective tasked with investigating the crime. Lisa Schwarzbaum of Entertainment Weekly described him as "a phenomenal talent even in junk like this"  while Todd McCarthy of Variety felt that the "strong and "charismatic" young actors were "let down by the screenplay". Gosling has said that the opportunity to work with Morse made him "a better actor".
He was drawn to the role because it was unusual to find a character that was "emotionally disconnected for the whole film. Gosling came to the attention of a mainstream audience in after starring opposite fellow Canadian Rachel McAdams in the romantic drama film The Notebook , a film adaptation of Nicholas Sparks ' novel of the same name , directed by Nick Cassavetes.
Shepard co-starred in The Notebook. In , Gosling appeared as a disturbed young art student in Stay , a psychological thriller film co-starring Naomi Watts and Ewan McGregor. What the f was that movie about? I'm just as proud if someone says, 'Hey, you made me sick in that movie,' as if they say I made them cry.
To prepare for the role, Gosling moved to New York for one month before shooting began. He lived in a small apartment in Brooklyn and spent time shadowing an eighth grade teacher. Gosling played an introvert who falls in love with a sex doll in the film Lars and the Real Girl. He drew inspiration from James Stewart 's performance in Harvey. He originally turned down the role, but changed his mind when Hopkins signed on.
Each actor is playing a pulp type rather than a fully formed individual, but both fill in the blanks with an alchemical mix of professional and personal charisma. Gosling was scheduled to begin filming The Lovely Bones in However, he left the production two days before filming began because of "creative differences" and was replaced by Mark Wahlberg. The director Peter Jackson and the producer Fran Walsh persuaded him that he could be aged with hair and make-up changes. It was our blindness, the desire to make it work no matter what. I just showed up on set, and I had gotten it wrong.
Then I was fat and unemployed. It's OK to be too young for a role. Following a three-year absence from the big screen, Gosling starred in five movies in and I used to kind of dread it. It was so emotional and taxing. But I've found a way to have fun while doing it. And I think that translates into the films. In , he co-starred with Michelle Williams in Derek Cianfrance's directorial debut, the marital drama Blue Valentine. The low-budget film was mainly improvised and Gosling has said "you had to remind yourself you were making a film".
Scott of The New York Times found him "convincing as the run-down, desperate, older Dean, and maybe a bit less so as the younger version". He played the role of New York real-estate heir David Marks, who was investigated for the disappearance of his wife played by Dunst. Gosling's first action role was in Drive , based on a novel by James Sallis. It's irresistible to liken his economical style to that of Marlon Brando.
In his final appearance of , Gosling co-starred with Philip Seymour Hoffman in the political drama The Ides of March directed by George Clooney , in which he played an ambitious press secretary. Yet neither actor has great material to conjure with in the script. In 's Gangster Squad , a crime thriller, Gosling portrayed Sgt. He was reunited with Emma Stone as his love interest, after their earlier pairing in Crazy, Stupid, Love.
Stone has said she hopes they will find more projects to work together on. Scott of The New York Times described the film as an excuse for the cast "to earn some money trying out funny voices and suppressing whatever sense of nuance they might possess. Scott of the New York Times praised the performance: Gosling uses a soft, wounded half-whisper that tells us this is all some kind of put-on It's a close variation on the role Gosling played to stronger effect in Nicolas Winding Refn's existential Hollywood thriller, Drive , where it was clear the character was meant to be an abstraction.
Gosling undertook Muay Thai training in preparation for the role,  and has described the script as "the strangest thing I've ever read". Then he stopped acting and started posing. His performance in Only God Forgives would God forgive that title? In early , Gosling announced that he was taking a break from acting, stating, "I've lost perspective on what I'm doing. I think it's good for me to take a break and reassess why I'm doing it and how I'm doing it. And I think this is probably a good way to learn about that.
David Sims of The Atlantic felt that he was "smarmily funny, somehow simultaneously magnetic and repulsive; after years wandering the halls of mediocre art cinema, it's wonderful to see him cut loose again. Gosling was signed on to work with Terrence Malick in on the biographical film Che , but later dropped out. Gosling's role was as Officer K, a "blade runner" working for the LAPD whose job it is to kill rogue bioengineered humans known as replicants. Scott found him to be perfectly cast, adding that his "ability to elicit sympathy while seeming too distracted to want it — his knack for making boredom look like passion and vice versa — makes him a perfect warm-blooded robot for our time".
In , Gosling portrayed Neil Armstrong , the astronaut who became the first man to walk on the Moon in , in Chazelle's biopic First Man , based on the book First Man: The Life of Neil A. In , Gosling made a solo recording called "Put Me in the Car" available for download on the Internet. In September , Gosling and Shields had a three-night residency at LA's Bob Baker Marionette Theater where they performed alongside dancing neon skeletons and glowing ghosts.
In , the actor spoke of his intentions to record a second Dead Man's Bones album. No children's choir will be featured on the follow-up album because "it's not very rock 'n' roll". Gosling previously resided in New York City with his mixed-breed dog , George. Gosling dated his Murder by Numbers co-star Sandra Bullock from to Gosling is supportive of various social causes. He has worked with PETA on a campaign to encourage KFC and McDonald's to use improved methods of chicken slaughter in their factories, and on a campaign encouraging dairy farmers to stop de-horning cows.
From Wikipedia, the free encyclopedia. Gosling at an event for First Man in London, Ontario , Canada. Indie rock folk rock. Vocals keyboard guitar bass guitar cello. List of awards and nominations received by Ryan Gosling. Archived from the original on July 14, Retrieved July 9, Archived from the original on June 29, I realized I needed to show in one situation that driver is the hopelessly romantic knight, but he's also completely psychotic and is willing to use any kind of violence to protect innocence. But that scene was never written. As I was going along, it just kind of popped up.
In March , Interiors , an online journal concerned with the relationship between architecture and film, published an issue that discussed how space is used in this scene. The issue highlights Refn's use of constricted space and his way of creating a balance between romance and violence. Car scenes were filmed with a "biscuit rig," a camera car rig developed for the film Seabiscuit It allowed stunt driver Robert Nagle to steer the car, freeing Gosling to concentrate on acting. Budget restrictions were also a factor in this decision.
Drive ( film) - Wikipedia
Although many stunt drivers are credited, Gosling did some stunts himself,  after completing a stunt driving car crash course. Beth Mickle was hired as the film's production designer on Gosling's recommendation; they had worked together on 's Half Nelson. Prior to filming, Mickle supervised a crew of 40, routinely working to hour days. This was her most expensive film to date, and Mickle felt freer since "there was another zero added to the budget," compared to that of Half Nelson.
Mickle also built a strip club set and Bernie Rose's apartment in an abandoned building. Turning a "run-of-the-mill" Los Angeles auto body shop into a grandiose dealership was one of the most challenging tasks. Painting the walls an electric blue color, she filled the showroom with vintage cars. While Drive is set in the present day, it has a s atmosphere, underlined by the vehicles, music, and clothes, and by the architecture.
The parts of the city seen in the Valley and near downtown Los Angeles are cheap stucco and mirrored glass; the film excludes buildings constructed more recently. As the Los Angeles Times pointed out, whenever gleaming buildings are shown, it is because they are being seen from a distance. Refn shot those scenes from a helicopter at night in Bunker Hill, Los Angeles.
Refn chose Johnny Jewel of Desire and the Chromatics to score the film. He wanted electronic music and to have it be abstract, on occasion, so viewers can see things from the Driver's perspective. During Drive ' s climax, " A Real Hero "'s keynote melody, about becoming "a real human being, and a real hero", refrains because that is when the Driver displays both those characteristics. He definitely got the nuance of the song, and understood what it was supposed to mean, and he wanted to give that emotion to the viewer, that same feeling.
Thinking of music in terms of basic elements, Jewel would tell the director that for certain scenes, it should not have bass since, as an earth tone, it is usually used for a more emotional or ominous part. Jewel thought the music should be in the upper register and relaxing for the "dreamlike" scene. To help himself with the music composition process, and to conjure up melodies, the producer would highlight many phrases from the novel, then print those words in large font, and hung them on his walls or draw pictures during viewings of Drive. Although Jewel's music was used in the score, at the last minute the studio hired composer Cliff Martinez to imitate the style and feel of Jewel's bands Chromatics and Glass Candy.
Editor Mat Newman suggested Drive ' s opening credits song: Jewel reworked his unused soundtrack for the film into Themes for an Imaginary Film , the debut album by his side-project Symmetry. A re-scored soundtrack for the film was produced for the BBC by Zane Lowe for its television broadcast in October Prior to beginning principal photography , Refn went to the Cannes Film Festival to sell the rights to Drive and released promotional posters for the film.
The film premiered on May 20, in competition at the Cannes Film Festival. Turns out what we really wanted all along was a scene in which a man gets his head stomped in a lift. They welcome it in like a long-lost relation. The film was greeted with hoots and howls of joy from the media, with viewers cheering on some of the scenes featuring extreme violence.
It was among more than feature films, short projects, and music videos , from more than 30 countries, to be shown during the festival. The site's critical consensus states, "With its hyper-stylized blend of violence, music, and striking imagery, Drive represents a fully realized vision of arthouse action. It was one of the highest-ranked, and most-featured, films on critics' year-end top 10 lists. It ranked as fourth-best film of the year, behind The Tree of Life , The Artist , and Melancholia on Metacritic's tally of top 10 lists.
The writers for the film magazine Empire listed Drive as their number one film of Brooks' performance, veined with dark humor and chilling menace watch him with a blade , deserves to have Oscar calling. Movieline ' s Stephanie Zacharek complimented the film's action and wrote that it "defies all the current trends in mainstream action filmmaking.
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The driving sequences are shot and edited with a surgeon's clarity and precision. Refn doesn't chop up the action to fool us into thinking it's more exciting than it is. Her score for the film is 9. In praising the film, he wrote, "Here is a movie with respect for writing, acting, and craft. It has respect for knowledgeable moviegoers. Anthony Lane wrote in The New Yorker that Drive ' s violence was far too graphic, and this ultimately was a detriment to the film.
Referring to the violence, he said, "In grabbing our attention, he diverts it from what matters. The horror lingers and seeps; the feelings are sponged away. Phillips thought the film relied too much on "stylistic preening" and did not have enough substance. Andrew O'Hehir of Salon described Drive as a "classic Los Angeles heist-gone-wrong story," that "isn't trying to outdo Bullitt or get the next assignment in The Fast and the Furious franchise ". Quentin Tarantino 's Pulp Fiction , and [with] angst-laden love scenes that would not be out of place in a Scandinavian drama".
Ballard , and Mike Davis. Drive has been described as a tough, hard-edged, neo-noir , art house feature,  extremely violent and very stylish, with European art and grindhouse influences. Refn's inspiration for Drive came partly from reading Grimms' Fairy Tales , and his goal was to make "a fairy tale that takes Los Angeles as the background,"  with The Driver as the hero. To play with the common theme of fairy tales, The Driver protects what is good while at the same time killing degenerate people in violent ways. Jean-Pierre Melville 's crime productions influenced the cinematography.
The Driver has been compared to the Man With No Name , a character Clint Eastwood portrayed in the Sergio Leone western , because he almost never speaks, communicating mostly non-verbally. Refn chose to give The Driver very little dialogue and have him drive around listening to synth-pop music, taking control when it counts. It was one of the most-nominated films by critics' groups in James Verniere of the Boston Herald graded it an A , stating, "The cool crowd isn't just watching Drive ; they're listening to it, too The Drive soundtrack is such an integral part of the experience of the film, once you see it, you can't imagine the film without it.
She stated the album, beginning with non-Martinez songs instead of mixing it up for a more enjoyable listening experience, cost it a star. That same month, Johnny Jewel, College, Electric Youth, and Cliff Martinez discussed the impact of the soundtrack and film on their lives and contemporary music culture.
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Jewel told Vehlinggo that Drive ' s "blend of sonic and visual nostalgia with a contemporary spin is always deadly. From Wikipedia, the free encyclopedia. Drive Theatrical release poster. I was very taken with this little crime story that James Sallis wrote. I felt that the way the world was presented in the book demanded that its true grit be retained in the script.
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The grit comes from seeing the world from the point of view of the driver in the car. It's those elements that I felt were critical to retain to make this film a very unique cinematic experience. It's more about the questionable choices that drive people — and, ultimately, the ones that drive them away. List of accolades received by Drive film. American Film Institute Catalog. Retrieved December 7, British Board of Film Classification.
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This Is My Superhero Movie". Archived from the original on April 19, Retrieved April 12, Archived from the original on October 30, Retrieved January 26, Nicolas Winding Refn Joins Next". Retrieved December 22, Archived from the original on September 23, Retrieved September 17, Archived from the original on May 12, Retrieved May 22, Archived from the original on May 9, Archived from the original on January 25, Archived from the original on July 22, Retrieved September 16, Archived from the original on June 28, Archived from the original on October 12, Retrieved October 9, The New York Times.
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