Refn Teaming with Gosling for Drive

[Rac]

He should take over Pirates, if Disney & Depp can't get Verbinski back.

 

[Crockett]

It's fantastic that he won the Best Director award. A talented director and based on the reviews, Drive seems to be another great addition to his filmography.

 

[ttotheusher]

It's fantastic that he won the Best Director award. A talented director and based on the reviews, Drive seems to be another great addition to his filmography.

I hope it also brings his name into more public recognition. Bronson certainly got a lot of attention here in the UK, but barely any for Refn himself. I'm kinda tired of having to explain who he is and why he is so exciting right now, even to my film student friends.

 

[Crockett]

I hope it also brings his name into more public recognition. Bronson certainly got a lot of attention here in the UK, but barely any for Refn himself. I'm kinda tired of having to explain who he is and why he is so exciting right now, even to my film student friends.

Yeah that'll sure push him into public recognition since Drive was well received in Cannes so I can't wait to hear what people thinks about the film when it comes out in cinemas, and also that'll get them interested to see his earlier works.

 

[GREEN =w= DAY]

i want to see a trailer for this already

 

[Heisenberg]

Obviously can't post it here, but the red-band trailer that was shown at ComicCon was officially released. Got chills to be honest, I really, really want to see this.

 

[Slick]

Just saw the trailer on IGN and this looks great. I liked Ryan Gosling since Half Nelson and the rest of the cast looks great as well. I still need to see Bronson tho.

 

[Rowsdower!]

YES! YES! YES! Now THAT was a badass trailer. Well worth the wait.

This movie looks f**king awesome. Great premise, great cast, great director... MUST. WATCH. NOW.

 

[Rac]

Probably my most anticipated film of the year.

 

[Sgt.Pepper]

Holy ****! I've waited long to see some footage from this film and that trailer certainly didn't disappoint me. Been a big fan of Refn since Pusher and will always look forward to see his films.

This is, without a doubt, my most anticipated film this year.

 

[Crockett]

Yes! A trailer, finally.

The trailer's just...wow. Looks like another solid film from Refn.

 

[ttotheusher]

Fantastic trailer. I get the feeling from watching it that there's a whole lot of suprises left in store in the actual film. As people have said, easily my most anticipated movie of the year.

 

[hugekent]

They nearly showed too much, but as ttotheusher said, you get the feeling there's a lot they're not showing us.

 

[Lencho01]

I really liked the trailer. Can't wait to see it.

Here are some posters...

http://collider.com/drive-movie-posters/104206/








Here's a review...

http://collider.com/drive-movie-review/104215/

I’ve been a fan of Refn ever since watch the Pusher trilogy and Bronson, but his American-debut is his strongest film yet. As he did with his previous films, he takes a simple genre (in this case an action-crime flick) and twists its conventions and rethinks its possibilities and comes away with a magnificent reinvention. Drive is an exhilarating ride where the thrills are as raw and intense as the emotions.
Rating: A

 

[Rowsdower!]

Just found out that Refn and Gosling are working together again on the Logan's Run remake. I'm now significantly more interested in that project. Back when Bryan Singer was supposed to do it, I couldn't have care less about it.

 

[Hunter Rider]

The trailer had less car action than I was hoping for, film looks ok.

 

[Sgt.Pepper]

The posters looks great. I want one. t:

Just found out that Refn and Gosling are working together again on the Logan's Run remake. I'm now significantly more interested in that project. Back when Bryan Singer was supposed to do it, I couldn't have care less about it.

Refn and Gosling are working together again on Only God Forgives, so Logan's Run will be their third time, they've worked together.

I wasn't interested in the new adaption of Logan's Run, but as soon as I've heard that Refn is attached to it, I was immediately excited for it.

 

[Lencho01]

http://collider.com/nicolas-refn-interview-drive-comic-con/104314

Question: One thing that’s so satisfying about Drive is how much is not said and over-explained. Was it a struggle or fight to pare the script down, in that fashion?

NICOLAS REFN: Nope, it came out of me not liking talking. I feel that silence is the greatest word, ever. I just wanted them to look at each other because it’s the purity of love. It’s like seeing your first love. You just look at her. Because he (Ryan Gosling) is a man of silence, in the sense that he is a character that only speaks when he is spoken to or when he has something to say, and that automatically makes him mythological, in the sense that, when you don’t talk, people begin to read things into you or you become what they long for. When you don’t talk, you almost become the mirror image of the other person. When I did Valhalla Rising with Mads Mikkelsen, he was mute all the way through. I was very interesting in that kind of storytelling, working with protagonists that don’t speak.

Do you find that actors have a more difficult time dealing with that?

REFN: It’s the hardest thing for an actor not to speak because you take away their main tool. So for an actor, it’s very frustrating and very challenging, and very few people can pull it off. But, Ryan [Gosling] is one of those few actors that can say a thousand words with just a look, and it’s a unique gift. Very few people have ever had that gift.

What about Carey Mulligan?

REFN: Same thing. The love story within them is heightened because of that. It’s never defined. It’s just pure and almost innocent, in a way. That’s because the Driver protects innocence against evil. It’s very much structured like a fairy tale. I had been reading Grimm’s fairy tales to my eldest daughter a few years ago and I thought, “Well, it would be interesting to make a movie like a fairy tale.” So, when this came up, that was the style I wanted to do it in.

Does that also revitalize a genre, to just do it in its purest form?

REFN: Yeah, I believe the stronger the purity, the stronger the drama.

Can you talk about the importance of the music in the film?

REFN: Well, the music was very important. I don’t do drugs anymore, and so music very much gets me going. I’m a fetish filmmaker, in that I don’t know why I do what I do, I just like to see things. When I figure out what I would like to see, I will put it in a film. When I do something, I think, “If it was a piece of music, what would it be?” Kraftwerk, from the ‘70s, created electronic music and very crude instruments, and that was very similar to the Driver being a machine, but he’s an antique machine. He drives an antique car. So, knowing that I always wanted electronic music, that was the inspiration. I would listen to a lot of very early electronic music, and that was it. It was that whole Euro sound. And then, after I had chosen the songs, I had Cliff Martinez emulate that specific sound.

Do you use music on the set?

REFN: On the set, and then when I write it or when I think about it. I would even walk around with my iPod on, through all the scenes when I was shooting, listening to specific kinds of music.

In this film, it seems very easy for people to kill people. Were you exploring how easily you could just end someone?

REFN: Like fairy tales, once the bad guys are judged, it’s always very vicious, but it’s always in one sentence like, “And they died a violent ending.” It’s very quick. I felt that violence works when it’s quick and unpredictable.

Is there a limit to how far you can push the violence in a movie like this?

REFN: No, I don’t think there’s any limit. It’s just about how you do it. But, you must understand that violence is only a tool. If it’s used badly, it will be horrible. If it’s used correctly, it can be very interesting. But, essentially, it’s just a tool.

Are there other directors that you think use violence well?

REFN: Well, I think that Sam Peckinpah certainly was one of the great masters of violent cinema. John Ford certainly had a very violent impulse in his films and characters. John Woo is another example. [Jean-Pierre] Melville from France is a good example. I always admire Tony Scott’s films. People use it in different kinds of ways.

 

[Heisenberg]

I love the use of the stunt-driver's mask, that shot in the trailer is excellent.

 

[Lencho01]

Another interview. There's more than 10 pics, so I took some out...

http://collider.com/comic-con-carey-mulligan-drive-interview-images/106223/

Comic-Con 2011: Carey Mulligan Interview DRIVE; Plus 18 Images from the Film

by Christina Radish Posted:July 28th, 2011 at 9:03 am

In the action drama Drive, actress Carey Mulligan plays Irene, the mother of a young son whose father (Oscar Isaacs) is in prison. One day, Driver (Ryan Gosling) meets Irene in an elevator ride at his apartment and he becomes transfixed. When trouble starts, Driver finds himself embroiled even further in Irene’s life.

Following the FilmDistrict Studio panel in Hall H at Comic-Con, Carey Mulligan sat down for a roundtable and talked about how Nicolas Refn was on her fantasy wish list of directors that she wanted to work with, the challenge of making a film where the dialogue has been stripped away, how she wishes she had more stunt work to do, and that she would love to play a butt-kicking heroine in an action movie, but preferably without a spandex costume. Check out what she had to say after the jump:

Click here for the audio. You can also click here for all our Drive coverage from Comic-Con, which includes more interviews and our recap of the footage/panels.

Question: It seems like you’ve been working a lot lately.

CAREY MULLIGAN: Does it? That’s awful.

Is it true that you hadn’t worked in awhile before you made Drive?

MULLIGAN: I didn’t work for a year after Wall Street. I finished that in November, and then it was the following October that I did Drive, so I took a year off. I didn’t do anything at all, really. I just hung around.

Was itdirector Nicolas Refn that really interested you in the project?

MULLIGAN: I did Wall Street, and then everything that happened with An Education took me up until March. I didn’t want to work during that because there was just so much stuff. I didn’t realize you had to go to so many parties. It was a nightmare! I had to go to all these parties! The glamour! No. Then, everything I was reading after that and things that were around just seemed to be a little bit too similar to stuff that I’d done. There were some teenagers that felt a little bit like An Education and some similar roles to Never Let Me Go, and lots of TV things that I’d done earlier on, so I just didn’t find anything.

I had seen Bronson when it came out ‘cause I love Tom Hardy so much, and just thought it was the most incredible film. And then, I watched the Pusher trilogy because it was Nicolas. And then, last summer, I watched Valhalla Rising and emailed my agent and said, “I just want to work with someone like Winding-Refn. I want to work with anyone who makes films like he does.” And he emailed me back and said, “Well, he’s making a film.”

But, the character was originally written for a slightly older Latina woman, so my agent said, “We’ll get you a meeting and just see what happens.” So, I went and met him at his house. We’d actually met before, in Melbourne, a couple of years ago when I was there on the press tour for An Education, and we hadn’t really spoken very much, but when I walked into his house, Nic is the most brutally person I’ve ever met in my life, and he was sitting on the sofa and he turned and said, “Ah, Carey, you were much fatter last time we met.” So, from then on, I thought, “Right, well, he won’t lie. He’ll always tell me if I’m being crap.” And then, we just had the best time making it. He was on my fantasy wish list of directors, so I was just thrilled to be in it.

If you hadn’t have liked the character, could you have still done the film to work with him?

MULLIGAN: I don’t think I would have walked in and played a precious 16-year-old. I don’t think I would have done anything repetitive. But, other than that, I basically would have done anything to be in his film. It was lucky that it was something quite different for me, but I desperately wanted to work with him.

What did he discuss with you about your character? Do you see her as more of a reactionary character?

MULLIGAN: There are all these stories from the actors that worked on this film. Nic would invite you around to his house, you’d meet him and he’d ask you a series of questions, and basically use that to formulate what he thought the character was. So, I went in and just said ********. I just wanted the job so badly that I started saying anything that came to mind. I started having all these ideas that didn’t make any sense. I was trying to convince him to cast me basically, so I was trying to make it fit me, but then she has an 8-year-old child in the film. Oscar Isaacs, who plays my husband, and I came up with our whole love story together. There was a scene that was cut, that was about when we first met, and him being a couple of years older than me and me being 17 years old. We came up with all of our backstory. When it comes to the film, so much about my character’s relationship with Ryan Gosling’s character in the film is about this calm center, which is surrounded by just complete chaos. It was this fairy tale, slightly surreal love story, with a knight in shining armor and a girl stuck in a tower. It was really more about two lonely, struggling people who found a way to be temporarily peaceful, so dialogue and backstory and all that sort of stuff was stripped away.

So much is not said in the film. Does that make it easier or harder for you, as an actress?

MULLIGAN: It makes it easier, if you can’t do an American accent. I don’t know. It’s different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character’s point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He’s such a brilliant actor and he is so prepared. He doesn’t have to warm himself up to be in a scene. He’s just in it. It draws you in, in a way. We had scenes where we stared at each other with no words for three minutes, until it was weird, but somehow I feel like it works because the rest of the film has all the complex and witty and intelligent and terrifying characters. This is the part of the film where there’s a little bit of hope. It’s quite nice.

Were you involved in the action at all?

MULLIGAN: No. I was really annoyed, though. I wanted to be in more stunt stuff. There was, for a moment, a scene there where Ryan was shooting someone and covering me, and I was so excited, and then it all got cut. I had never had anything involving a gun before. So, there’s one portion of the film where this love story crosses over with the action stuff, which is a scene in an elevator, but other than that, no I didn’t get to see the action stuff. I was on set a lot and Ryan nicked the producer’s Mini-Cooper and did some stunt driving in a parking lot that scared the **** out of me. It was just to scare me, pretty much.

Would you like to do an action movie where you’re the butt-kicking heroine?

MULLIGAN: Yeah. I don’t want to wear spandex, though. I don’t want to wear any of the lycra costumes. No, I would. I’d love to. I’d love to do a Paul Greengrass movie, or something like that, that’s a character-driven action film. I’d like someone to make me go to the gym every day, and all that stuff. I don’t know. Wherever the good characters are, I tend to try to get a job. It was nice because this was dipping my toe in the action genre. Maybe I might put my foot in, next time.

Were you a fan of this type of film, about criminals with a change of conscious when they meet the right sort of girl?

MULLIGAN: The only film I watched that really helped me, in terms of Irene, was Alice Doesn’t Live Here Anymore. I thought her relationship with her son, in that film, was so beautiful. I was quite nervous about having a grown-up kid in the film, and her relationship with her son, in that film, was so beautiful and so honest. You don’t see very much between me and Kaden [Leos], the boy who plays my child, but I took a little bit from that.

Here’s the full image gallery for Drive. Click on any image for high resolution​

 

[Rowsdower!]

The posters looks great. I want one. t:



Refn and Gosling are working together again on Only God Forgives, so Logan's Run will be their third time, they've worked together.

I wasn't interested in the new adaption of Logan's Run, but as soon as I've heard that Refn is attached to it, I was immediately excited for it.

Nice. Here's to hoping that Tom Hardy shows up in one of those films too.

 

[Sgt.Pepper]

Source

 

[Lencho01]

Here's a bigger version...

Also...

http://www.slashfilm.com/drive-poster/

Since I can’t give you a bigger poster image or a more general-audiences sort of trailer, I’ll offer up the film’s title track. This is by Kavinsky, an associate of Daft Punk and Mr. Oizo (aka the writer/director of Rubber) and is just a great late-night drive track. It works beautifully as the opening credits tune for the film, but also sounds great on its own. (You’ll find no shortage of remix versions of this track, and there’s a pretty good video for it made out of Terminator footage, too.)

[YT]7az3_-lvmNk[/YT]

 

[Sgt.Pepper]

Tv-Spot

UK Trailer

UK Banner:

 

[Lencho01]

http://collider.com/bryan-cranston-x-men-first-class-home-again-rock-of-ages/108970/

Could you talk about working on Drive?

Cranston: I read for the Kevin Bacon role in X-Men: First Class, and it was like “Oh yeah, that’s a possibility,” and then there was this thing happening over here. It’s kind of like things coming up like materials and projects that are coming in and out, because quite often it’s almost like a wave, “Oh here it comes, oh no that wave didn’t break. Why? Funding went this way, the lead dropped out, any number of things can happen. Or the studio said it’s too much money, so projects ebb and flow all the time. The same thing can happen in an actor’s career, there’s interest and there’s ebbing and flowing all the time (laughs). It’s like, “You have the offer, oh no you don’t!” (laughs). So that was happening, they offered it to Kevin, [and] they offered me a different role in it. At the same time I read Drive and I thought, “Oh, this is what I’d rather do.” So I turned down X-Men for the role in Drive, because I just liked the character much better. That experience with Ryan Gosling and Albert Brooks and Ron Perlman and Carey [Mulligan] was terrific, we had a great time. What was so much fun about it, is that we’d go over to [director] Nicolas Refn’s house in the canyons, and we’d all get together with the writer and we would pitch out ideas and thoughts, “What about this? What about this?” There’s nothing more satisfying than to have your thoughts and comments welcomed and incorporated in the script. You really feel ownership and a part of that, you’re not just a hired hand coming in, doing your job, and leaving. And Nicolas took a really film noir, European feel to it, it’s really hip and cool. So that comes out soon.