Latest / All The Right Movies / Drive (2011) | Ep. 31 - Part 1

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Drive (2011) | Ep. 31 - Part 1 · All The Right Movies

• 0:04
  All are at movies. If I drive for you and you get
• 0:07
  your money, that's a guarantee. You tell me where we start,
• 0:12
  where we're going, where we're going afterwards.
• 0:14
  I give you 5 minutes when we get there.
• 0:17
  Anything happens in that 5 minutes and I'm yours no matter
• 0:19
  what. Anything admitted on either side
• 0:22
  of that and you're on your own. I don't sit in while you're
• 0:25
  running it down. I don't carry a gun.
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  I drive. On the slow, more neon drenched
• 0:31
  streets of LA, a stunt driver by day and getaway driver by night
• 0:35
  gets embroiled in a complex web of violent crime to protect the
• 0:38
  woman he loves. Nicholas, Wine in reference
• 0:40
  cerebral crime drama introduced a new talented mainstream
• 0:43
  audiences. Ryan Gosling brought the star
• 0:45
  power as a silent anti hero and a hugely talented support and
• 0:49
  cast confirmed drive status as a modern classic.
• 0:52
  My Name Is Luke. And the real heroes with me are
• 0:55
  Westy. Now this.
• 0:56
  That is one fine ass mother fucking pussy mobile mother
• 0:59
  fucker. Damn.
• 1:00
  And Matt? Kind of like action film, sexy
• 1:03
  stuff. One critic called them European.
• 1:05
  I thought they were shit. All the right movies, we'll give
• 1:08
  you a two hour window. Anything happens in that two
• 1:10
  hours, and with yours, no matter what, Anything happens a minute
• 1:13
  either side of that and you're on your own.
• 1:33
  Hello and welcome to all the right movies at 100 Mile an Hour
• 1:36
  Head Stump and podcast on Classic and Hit films.
• 1:39
  We're behind the wheel of Nicholas Winding Reference Drive
• 1:42
  this week, but there are no clean getaways.
• 1:45
  Before we get into all of that, we're going to tell you about
• 1:48
  the extra podcast that you can listen to by becoming in all the
• 1:51
  right movies, Patreon Supporter. What you're listening to is
• 1:54
  standard ATRM, and Patreon is the deluxe version.
• 1:58
  Very nice. Yeah, we've been creating
• 2:00
  podcasts for a long time now and have a master huge well of
• 2:04
  dynamite podcasts on classic and hit films.
• 2:07
  The podcast that you're listening to now is our classic
• 2:09
  podcast and we do this every two weeks and only 20 episodes are
• 2:13
  available on general release. Yep, but you can get your hands
• 2:16
  on them all by signing up to be a patron of atrm.
• 2:20
  This is episode 87, so you know simple mathematics.
• 2:23
  It's 67 in our archive and we also produce a brand new podcast
• 2:27
  every month exclusive to people who support us on Patreon.
• 2:30
  That is our now legendary double feature show.
• 2:34
  Legendary is absolutely correct. Yeah.
• 2:37
  There are other exclusive podcasts that we've created for
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  Patreon over the years. So with the Classic Archive, the
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  fronts on social media, YouTube, and our website.
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  So if you could support us, that would be a huge help.
• 3:05
  And in return you'll be staring lonely back at us at your
• 3:09
  speakers or your phone or something, at the sound of our
• 3:12
  voices talking about your favorite films.
• 3:14
  Yeah, you know, if you want to play The Drive soundtrack over
• 3:16
  the top of our podcasts, well then that's fine with us.
• 3:19
  That's. Absolutely fine with me,
• 3:20
  definitely. That's perfect, a little over
• 3:21
  anything. We don't go in for the whole
• 3:27
  overcharging bit either. You do get absolute value for
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  money, so go to patreon.com/all the right movies to sign up.
• 3:34
  Absolutely yes. It all makes sense.
• 3:35
  Just go and have a look. Yeah, it.
• 3:37
  All makes sense. It all makes.
• 3:38
  Sense that what I've just said didn't.
• 3:40
  No, it does it all. It all comes together.
• 3:42
  Yeah. And you see what you get how
• 3:43
  much it oh. Yeah, this is good.
• 3:45
  That's a lot, yeah. It's a lot.
• 3:46
  Yeah, it is a lot. It is a lot.
• 3:48
  Back behind the wheel then, fellas.
• 3:49
  Westy, this one was your pick. It was.
• 3:51
  Naturally. So why do you want to talk about
• 3:53
  Drive? But why not?
• 3:54
  I mean. Been on their affair few times.
• 3:57
  One of them films that I thoroughly love and one of them
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  rare films that are very rarely watch because I don't want to
• 4:03
  overdo it. Have you got them?
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  Like, I don't want to get sick of it.
• 4:07
  I just, I want to be surprised every year.
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  I've ought to be surprised every time I watch it.
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  And this is definitely one of them.
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  And I just walk away from this thinking, was that an hour and a
• 4:15
  half that so much happens in it? It's such a beautiful switch of
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  genre as it goes from a romance to this incredibly violent crime
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  thriller. It's got some really good
• 4:25
  performances and soundtracks, Fucking amazing, the directions
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  really self assured. The cinematography is unreal,
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  the action signatures are great. It's it's really, really
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  surprising film that subverts expectations left, right and
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  center and it's right up there for me At this time around 2011,
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  I needed a film like this to come out which had this kind of
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  sensibility. Constantly surprised by it?
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  Yeah, constantly, constantly love it.
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  I think it's a brilliant, brilliant film and I'm very,
• 4:49
  very excited to talk about it. Very nice.
• 4:53
  Well, I'm sure we all do remember the film coming out.
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  I remember that. And I remember the hype that it
• 4:58
  got, which generally tends to put me off a film.
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  I don't know why, but my brain pushes against that.
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  I think I. Mentioned I'm exactly the same.
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  If anything's overhyped at the time, I have to wait.
• 5:07
  I mean, I'm just getting into The White Stripes.
• 5:10
  Every time the white. Time I.
• 5:14
  Rule you pulled out about 3 episodes ago.
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  Exactly 13. Say if you sign up for Pier Ron,
• 5:20
  you get all this crack. When's the first time you did
• 5:23
  that? Like last week, yeah.
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  It was, yeah. And on the surface, this film
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  seemed a little too arty. Farty really For my tears.
• 5:33
  Yeah, for your tears. Yeah, absolutely.
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  But I did get around to watching it pretty soon after it came out
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  and I really enjoyed it. But I hadn't seen it since until
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  revisited for this episode, and I was pleasantly surprised how
• 5:43
  well it's held up and how well it's endured.
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  I was really captivated by the mood and the feel of the film.
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  The long silences should really be a put off for me, but I was
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  hanging on every word, of which there are few and every scene.
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  And I think it's, it's a magnificent film.
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  It's one of those films that we talk about on the show that I
• 6:01
  wasn't too familiar coming into it.
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  And then I go away with something that I absolutely have
• 6:06
  fallen in love with. Yeah.
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  And of course, Gosselin, you can't go wrong.
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  No. No.
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  And Matt, what about drive for you?
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  It's just really cool, that's. Why?
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  It's. Sure is.
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  Great film, Great one to get into a film make we've not
• 6:21
  tackled before. Probably in all unseen.
• 6:24
  Not likely to tackle again after this, I wouldn't have.
• 6:26
  Fortunately. Definitely not.
• 6:28
  Definitely could. Oh, Westie.
• 6:30
  You'd be on your own, and that'd be one man show.
• 6:33
  It is. It is your.
• 6:34
  Album from Westie. That's wings, yeah.
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  And I just think you take an edgy European director trying to
• 6:42
  make a crossover American Philly, you're guaranteed to get
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  interesting results in something really different.
• 6:47
  And that's what you do get. We all love Goslin.
• 6:50
  We've not talked about him in any real detail yet in the whole
• 6:53
  film. We just have this vibe to it.
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  That means even though you look at it on the surface, you think,
• 6:57
  am I going to get many surprises in the narrative.
• 6:59
  I've not seen this kind of before.
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  It still has something to it that does entice your back and
• 7:04
  does take you very much into that world again.
• 7:06
  Very Much OK Drive was written by Hossein Amini, directed by
• 7:11
  Nicholas Weiner, Reffen from Mark Platt Productions and Bold
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  Films, and distributed by Film District.
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  Shot on location in LA and released on the 16th of
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  September 2011, it stars Ryan Gosling as the driver.
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  Kerry Mulligan is his neighbor and love interest Irene, and it
• 7:26
  has a wealth of talent in the sport cast including Albert
• 7:29
  Brooks, Oscar Isaac, Bryan Cranston, Christina Hendricks
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  and Ron Perlman. First up, we're headed to the LA
• 7:35
  streets for a perfectly executed getaway.
• 7:39
  Strapping fellas. Oh, here we go.
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  A pulsating soundtrack introduces us to the world of
• 8:00
  our own name protagonist. Plotting a job?
• 8:02
  Westy? Take it away.
• 8:04
  I mean, the way this opens is just so cool.
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  Yeah, it's so slow. It's so, so confident, isn't it?
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  Oh, it's just delicious. I love it.
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  Absolutely. No.
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  But I could just watch this this scene I think over and over
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  again. But it's the user miss on San
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  here and the use of that's how good it is.
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  Visual storytelling. Yeah.
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  Doesn't explain anything on the phone.
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  He just basically got a 5 minute window.
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  You don't know where he's going. You don't know what he's doing.
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  But he's got a map of downtown LA.
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  He's got the game on the TV. He knows exactly how long he's
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  left. Yes.
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  So meticulous and so measured. Throws the burner on the bed.
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  Doesn't need that anymore. You're not going to hear from me
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  on this phone. Yeah.
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  Don't bag out of there. It's just great.
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  The way that it's all set up and that skyline is, he's looking
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  out over it. It's really mysterious.
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  It just really pulls you in and nothing is really happening.
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  It's just great. It's great use of just a track,
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  a great use of just moving around the room in an
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  introduction to a character that absolutely sucks you in.
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  And you kind of just think, well, how slow is this film
• 9:04
  going to be? Where's, where's it going to go
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  from here? Who is this guy?
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  And it's very 70s. It's very like.
• 9:10
  The Samurai, even. It goes right back to that kind
• 9:13
  of introduction to a character where it's just this mystery.
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  I just absolutely just wanted to stand up in the cinema and
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  applaud when I first saw it. And I still do, to be honest.
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  Like, it's just a wonderful introduction to the character.
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  It is, yeah. I mean, we know this guy's in
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  complete control. He ain't in no rush at all.
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  We sauntering through that garage to get to his Chevy
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  Impala. That's slow tracking shot that
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  matches that as well. I just love that I.
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  Would, Yeah. I'll be bumbling all over the
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  place. I would have like, me phone
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  wouldn't have enough battery in it.
• 9:42
  I'll be like, what time is it? Is the game on already?
• 9:44
  Jesus Christ will be all over the place.
• 9:47
  But it's just, it's how meticulous this is without being
• 9:49
  pretentious. And that's one thing I'll say
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  about this film. It should be really pretentious.
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  And it's not. It's super cool and super
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  accessible, which is a very, very rare balancing act pulled
• 10:00
  off by referend, I think. Very much, yeah.
• 10:02
  I'm sure we'll get into that, yeah, as our conversation goes
• 10:05
  on. Yeah, consistently, probably,
• 10:07
  Yeah. Matt, what about you in this
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  opening sequence? It's the getaway for me because
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  that getaway, it's like a chess game, yeah, because you've
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  obviously got a sense of speed in there, but.
• 10:20
  And underneath all of that is how he's thinking strategically
• 10:23
  to get them out of there. I absolutely love that bit ways.
• 10:26
  He's the cop cost at the junction.
• 10:27
  So he just pulls in behind the the park truck and knocks the
• 10:30
  lights off. Yeah, and just waits.
• 10:31
  You're not focused on the speedometer.
• 10:33
  No. Ever.
• 10:33
  No. You never know how fast he's.
• 10:35
  Going it's not about speed. Is it?
• 10:36
  No, no. It's about precision.
• 10:37
  I think that's the whole film. Yeah, it is.
• 10:39
  And it's also all about what the other person is doing.
• 10:42
  So when he's watching, the helicopter tried to pick out the
• 10:44
  right car and he's listening to the police broadcast at the same
• 10:47
  time. And only then.
• 10:49
  Does he accelerate and draw attention to himself perfectly
• 10:52
  tight so he's one step ahead at all times.
• 10:54
  And it's not about taking dangerous risks or driving
• 10:56
  faster than anyone else. This, to me, is why I just have
• 10:59
  this feel of strategy too. It's about holding your nerves.
• 11:02
  So when the drives at the red lights and the cop cast at the
• 11:05
  opposite side and he knows he's being clocked, that to me, it's
• 11:07
  like when you watch 2 gunslingers in the western we're
• 11:10
  we're informed, to like draw 1st and for all to kick off.
• 11:14
  I want to pick up on the word Wesley said.
• 11:16
  Because I've got a mind notes as well.
• 11:17
  It's meticulous. You know, tying his watch around
• 11:20
  the the steam wheel so he doesn't get distracted by having
• 11:22
  a look at his wrist. Instead it's just there.
• 11:25
  It's that those like NTH degree differences to the job that he
• 11:29
  does. And it's one of those lovely
• 11:31
  things where the meticulous nature of the character mirrors
• 11:34
  the meticulous nature of the film itself.
• 11:36
  Like everything is so precise. The fact that in the sort
• 11:39
  sequence, yeah, either in the car, are you seeing it from the
• 11:41
  POV you've been. In the car, you don't do the
• 11:43
  cliche thing of switching to a shot of the car itself dodging
• 11:46
  around traffic accelerating. It just gets, you know, the
• 11:49
  headspace of the character and and the feel of the film at the
• 11:51
  same time. Revan said that he wanted this
• 11:53
  scene to feel, or this moment in this scene to feel like a diver
• 11:56
  in an ocean of sharks. I think you get that very few
• 11:59
  places to hide, only seconds of safety available.
• 12:02
  And like you 2 fellas, I also have the word meticulous in in
• 12:06
  my notes. Is this the first one where
• 12:08
  we've all used it? I think it might be.
• 12:11
  It's ridiculously meticulous. I do love all the little moving
• 12:16
  pieces that lead up to this point.
• 12:18
  He has been so in control. The opening scene in his
• 12:21
  apartment. It's half time, like you said,
• 12:23
  between the Clippers and the Knicks Westie.
• 12:25
  Yeah, he's got another half of the game to go to get at the
• 12:27
  Staples Center. It may not have been his plan
• 12:29
  all along, but we know that he knows the earlier streets like
• 12:32
  the back of his hand on account of that phone call and the map
• 12:34
  on his table. Yeah, and the game is playing
• 12:36
  all the way through this opening scene.
• 12:37
  So he's keeping tabs on it through the second-half.
• 12:40
  And they say on the commentary when he gets made at the lights
• 12:42
  and that gunslinger bit that you said, Matt, there's less than a
• 12:45
  minute to play at the game. And he takes note of that.
• 12:48
  You can see he turns the the volume up and.
• 12:50
  He takes note of that. And that's his get out.
• 12:52
  That's why you make. His play?
• 12:54
  Yeah, yeah. Boom.
• 12:54
  Because there's a minute left, Yeah.
• 12:55
  Exactly. Passed the cup car into the
• 12:57
  stadium like a pro. Amazing stuff.
• 12:59
  And. And it's all about time.
• 13:01
  The song in the scene called Tick of the Clock, his
• 13:04
  wristwatch obviously on the wheel that you mentioned, Matt,
• 13:06
  There's a countdown on the radio.
• 13:08
  The driver knows that time is everything, and that's how we
• 13:10
  can do what he does. And what I love is that he just
• 13:13
  leaves the two guys to fend for. Themselves.
• 13:15
  Yeah, he does. Yeah, that's it. 5 minutes. 5
• 13:17
  minutes he's given them 5 minutes he's kept up his end and
• 13:19
  it's executed perfectly. Cap on, jacket inside out of the
• 13:22
  shoulder. Magic.
• 13:22
  Yeah, yeah. Just walks past.
• 13:23
  Fantastic. Yeah, he stops for them as well,
• 13:26
  yeah. He stops.
• 13:28
  And kind of lets them. That's so fucking good, that
• 13:30
  one. Perfect set up for the
• 13:32
  character? Yeah, brilliant.
• 13:36
  Following this scene, we see the driver at both lines of his
• 13:38
  work. He meets his next door neighbour
• 13:40
  and gets further acquainted with her when he fixes her car.
• 13:43
  In our next sequence, we're looking deeper into that
• 13:46
  burgeoning relationship between the driver and Irene and the
• 13:49
  shady quarters he operates in Westy.
• 13:52
  Chopsticks and a fortune Could be video, yeah.
• 13:57
  It's the introduction of Bernie here, the introduction of
• 13:59
  Shannon, the introduction. You know, it's all fantastic,
• 14:01
  these three coming together. It's so funny and it's got this
• 14:04
  real playful tone, but at the same time, I don't want to be in
• 14:07
  there. I don't want to have anything to
• 14:08
  do with these. There isn't that.
• 14:10
  It's just it's violent and it's racist and nobody likes each
• 14:13
  other and everyone's trying to get one up on each other and
• 14:15
  he's like, what? Put out the fucking cigarette
• 14:18
  I'm eating over. He's like, oh, he's so nervous.
• 14:20
  He's just doesn't even know what he's doing.
• 14:22
  And you have this bumbling from Shannon and he's just trying to
• 14:24
  set this up when he asks for like it's a 400 KS and that he
• 14:27
  asks for and then he just goes, it's it's like children
• 14:32
  negotiating over 4400 grand and they're just lovely back and
• 14:37
  forth. And you can just see this
• 14:38
  tension building between it all and you kind of, you know, these
• 14:41
  are the bad guys. And the first time I saw this,
• 14:44
  and everyone that I watch it with, who's seen it for the
• 14:45
  first time, is expecting some kind of days of Thunder ending.
• 14:50
  Where he's the driver and he's going to fuck this guy over and
• 14:53
  he's going to buy the race car and it's such a red Heron where
• 14:56
  it leads the end of the film and you think, well, that's where
• 14:58
  it's going then and it goes somewhere completely different.
• 15:01
  And Bernie's just one of the best characters Brooks has
• 15:04
  played for me. No, without doubt.
• 15:05
  I think he's so funny and so dry and so terrifying.
• 15:09
  And I've seen Brooks funny and dry, but I don't think I've ever
• 15:12
  seen of this terrifying. No.
• 15:14
  No. And I also find Pearlman
• 15:16
  hilarious in this. Giant Face.
• 15:18
  Pearl. Massive Face.
• 15:19
  Massive teeth, massive personality, massive booming
• 15:22
  vocals. Just too much.
• 15:24
  He's like once you take a fucking hike, I want to talk to
• 15:26
  my partner, I'm only fucking with you.
• 15:28
  Sharing as a fucking leg. It is like a prick.
• 15:30
  Oh. It's that pause, isn't it?
• 15:33
  We don't know at this time, but he's responsible.
• 15:35
  We find out he's responsible for shattering his pelvis Dick.
• 15:39
  Yeah, it reminds me of school bullies.
• 15:41
  And I guess the kid who wants to be in with the bullies is trying
• 15:44
  to be in with him and he's trying to be taken seriously and
• 15:46
  he isn't. I like that Shannon calls
• 15:49
  Bernie. Mr. Rose just lets you know the
• 15:51
  hierarchy immediately. Yeah, yeah, Cranston here.
• 15:54
  I mean, I love him in this. And he was hot from the success
• 15:56
  of Breaking Bad at the time, so he wasn't short of movie offers
• 15:59
  and he wasn't really sure if Shannon was the right part.
• 16:02
  From Sword to Side, he'd started writing a list of pros and cons
• 16:05
  about the part. And literally as he was doing
• 16:08
  that, he happened to get a follow up call from Refin.
• 16:10
  So he took that as a sign and said yes over the phone.
• 16:12
  Oh, nice fate. Yeah, it's quite a left field
• 16:15
  move for him, isn't it? Because, you know, big props.
• 16:17
  He could have chosen any brainless blockbuster to take
• 16:20
  this small part in this small film by this weird European
• 16:23
  director. Yeah.
• 16:24
  I'm going over the sequence when the driver takes Irene and
• 16:27
  Benicio out on a little drive because I just think it's a
• 16:31
  beautiful thing. Where does this scene come from?
• 16:34
  Greece, obviously. Obviously as these outbursts of
• 16:40
  ultra violence and then you get this incredibly romantic and
• 16:44
  beautiful scene. It's like I'm watching The
• 16:45
  Notebook or something with in there, like the dappled sunshine
• 16:50
  bouncing off the river, just hanging out with with this
• 16:53
  little family, you know, driving.
• 16:54
  Up the side, the flood canal, yes, like Greece, obviously
• 16:57
  taken from there. Thunder.
• 17:00
  Road It's just like this genuinely really lovely day out
• 17:03
  for everyone. But you know, the music is a bit
• 17:05
  ambiguous though. Is it saying he's a real human
• 17:07
  and a real hero? I think that could, you know,
• 17:09
  maybe get that across a bit from.
• 17:12
  Not sure what the message is in that song that.
• 17:15
  What you're saying is. It not entirely sure about
• 17:17
  what's happening there. No, no.
• 17:19
  What's the message? But I think just the way in
• 17:22
  general it plays out, it's almost like some cheesy meat,
• 17:26
  cute, like the driver he saw, like he's almost bumbling at the
• 17:29
  garage. He saw like, bashful around
• 17:31
  there. And I love Shannon.
• 17:32
  He had like, doing all the prompt and he's doing all the
• 17:34
  matchmaking. I don't have wheels on my car.
• 17:38
  Yeah. Then he says, we got. 5 minutes
• 17:40
  I'll be like if you got three days.
• 17:42
  Yeah, yeah. I need to say this, the
• 17:46
  Halfords. I'm absolutely fucked.
• 17:49
  I think Quick Fit is shut, yeah. So yeah, I love that slight
• 17:58
  awkwardness staff, but that just melts away and you can see how
• 18:01
  relaxed he becomes around her. And you can see this is that
• 18:03
  instant connection, which is pretty much done without
• 18:05
  dialogue. It's it's in the visuals, it's
• 18:07
  in the music, it's in the body language, love around each
• 18:09
  other. And to end on that slow, more
• 18:11
  shot of him walking down the corridor with like beneath your
• 18:14
  sleep, slung off his shoulder, wearing his jacket.
• 18:16
  And Irene's just smiling herself.
• 18:18
  Like, who isn't in love with Ryan Gosling at this point?
• 18:21
  Like I. Absolutely.
• 18:23
  I'm in love with everybody at this point.
• 18:25
  I'm in love with love at. This.
• 18:27
  Point So isn't it? It's just a lovely day out for
• 18:29
  everyone. Is it cheesy at all?
• 18:31
  Is it Fuck? No how.
• 18:32
  No. How is it not?
• 18:34
  I don't know. I don't know how.
• 18:35
  I don't know how this scene exists in this film.
• 18:37
  Yeah, it does. I mean, I absolutely.
• 18:40
  I'm in love with Ellie in this film, in this.
• 18:42
  Scene Yeah, yeah, yeah. Locations as important to the
• 18:45
  film as any cast or the writing or anything like that.
• 18:48
  It's a character in itself isn't obviously, yeah.
• 18:50
  And it reminds me very much of the Ellie that we see in
• 18:53
  Nightcrawler. Yeah, and he.
• 18:55
  That's kind of fast moving and kinetic and here it's kind of
• 18:59
  dizzy and and balletic and wonderful and just take this
• 19:03
  section when they're out for this drive play and happy
• 19:04
  families, the location that dried up LA River that we see in
• 19:08
  Greece. We've seen it 1000 times in
• 19:10
  movies, but it's so cinematic here and it's not a place like
• 19:14
  in real life that you want to get caught alone.
• 19:16
  But reference makes it just look idyllic.
• 19:18
  He does, and I think it's reflected in that green leafy
• 19:21
  landscape that the end up in this sanctuary amid the.
• 19:24
  Pollution and grime of the city, the sun reflecting off the
• 19:27
  water. It looks beautiful and there's
• 19:28
  something dreamlike about this, I think the drivers playing nice
• 19:31
  with Irene and beneath you, but we know this isn't reality for
• 19:35
  him. It feels like the end of some
• 19:38
  other film with the three of them driving away into the sun
• 19:40
  drenched distance, like set of fields out of place.
• 19:44
  But I think locations are so important and none more so than
• 19:46
  this seemed to me here because. It's the life the driver catches
• 19:50
  A glimpse over with Irene, but with that scorpion jackets, it's
• 19:53
  the life you just will never have, You could never have.
• 19:56
  He's always going to get pulled in.
• 19:57
  I think that's why he's got that line.
• 19:58
  You want to see something. And I think it's him showing her
• 20:01
  who he wants to be as opposed to showing him anything at all,
• 20:05
  because everything's just, it's cliched in this generic.
• 20:07
  It's a tiny little stream. I could show you that around the
• 20:10
  corner from mine. Yeah, it's going.
• 20:12
  To be back around the corner, I. Just want to go to the burn.
• 20:16
  Wouldn't be anywhere near a school, but I think that's what
• 20:18
  he's saying was do you want to say something?
• 20:19
  Do you want a glimpse of, like who I really want to be?
• 20:22
  Who I would like to. Be and I think that's what he's
• 20:24
  saying to the audience as opposed to her.
• 20:25
  I think it's very nice. Beautifully measured, so 2 great
• 20:29
  sequences in the open and one of the best opening scenes this
• 20:32
  century and a beautiful romance doomed from the beginning.
• 20:35
  Absolutely. The director, the director that
• 20:44
  we haven't talked about on any of our podcast before.
• 20:46
  It's nice to get a new face into the mall from Corbenhagen,
• 20:50
  Nicholas Wind and Reffen is the man in the drive hot seat.
• 20:53
  Matt What do you think of his work on Drive?
• 20:56
  I think his work here, what he does is he's made a film that's
• 21:00
  really difficult to know how to classify it.
• 21:02
  Like on the face of it. It's a thriller, but there's not
• 21:05
  really any scenes allowed to grip in a way that thriller
• 21:09
  usually does not. Don't mean that as a criticism.
• 21:11
  It's like the escape at the beginning.
• 21:13
  It's not like you would get that in a Jason Bourne film.
• 21:16
  Or like what Ed Greit would do with Baby drive a few years
• 21:19
  after which and much more straightforward and which more
• 21:22
  like slam bam bam bam. Zoom all that stuff.
• 21:26
  Bam, bam. Slam bam.
• 21:27
  Zoom Matt's review of Baby Driver.
• 21:29
  You. Ever covered 10 seconds to five.
• 21:34
  Yeah. There we go.
• 21:34
  Whiz bang zoom bang, yeah. And then you get the escape from
• 21:39
  the pawn shop. And that's like the most
• 21:41
  straightforward action sequence in the film.
• 21:44
  Yeah, and it's probably the most boring sequence in the film by
• 21:48
  the rest of the film standards. Yeah, yeah.
• 21:50
  Is it? I would say so.
• 21:52
  Compared everything. Reversed for fucking half of it.
• 21:55
  It's not dislike, it's just compared to everything else,
• 21:58
  it's. Everything.
• 21:59
  Else. Yeah, and then also you get
• 22:02
  elements of film and war. And here's You got the tough guy
• 22:04
  hero who's sensitive on the inside but doesn't say much, but
• 22:07
  strong silent type. Yeah, yeah, strong, but some.
• 22:09
  Then again, how many film wars have like Electro pop
• 22:12
  soundtracks like this? Non.
• 22:14
  You know, the same we've just talked about.
• 22:15
  He takes Irene and beneath child, it has this, like, lush
• 22:18
  romanticism to it. But then you can watch it.
• 22:20
  And sometimes it feels like I'm watching the Western.
• 22:22
  You know, the driver literally is the man with no name, like
• 22:25
  Clint Eastwood and Clint Eastwood.
• 22:26
  In those films, he had his poncho.
• 22:28
  The driver has his jacket. Eastwood also had a true in his
• 22:31
  mouth, the driver's got a toothpick, and the whole plot
• 22:34
  line about Driver come to the aid of a widower and a young boy
• 22:37
  to protect them. That's classic Western tropes.
• 22:40
  Particularly Shane, which I'm going to talk about later on the
• 22:44
  talk about the Mobs. There's gangster influences in
• 22:46
  there as well, but then you get these explosions of violence
• 22:49
  where it becomes like a horror film.
• 22:51
  Like I think the whole sequence where he Dons the the like fire
• 22:54
  guard mask to track down the mask and then drown him on the
• 22:57
  beach, that's slasher territory. That with the images.
• 23:00
  Yeah. Mask on, yeah.
• 23:01
  It's, so it follows it is. Really is.
• 23:04
  Yeah, needle in a fucking. Pile.
• 23:06
  Yeah. Has a fucking leg.
• 23:13
  Yeah, I think Drive Reference brings all these like lashings
• 23:16
  of style to a bit. It's all wrapped around this
• 23:18
  film that. He just doesn't give an easy
• 23:20
  categorization to, and that is something that could go so badly
• 23:23
  wrong. You'd be like, what is he trying
• 23:25
  to do? Hey, I don't know what he's
• 23:26
  doing, but he's pulled it off. He certainly has.
• 23:29
  Yeah. And one of the genres that you
• 23:32
  mentioned there, Matt, I am. I'm very much struck by the
• 23:35
  romance in the film, which I mean it may well be the most
• 23:40
  romantic film that we've covered.
• 23:42
  Says a lot about us all, to be fair, doesn't it?
• 23:47
  More than the film, I would say, yeah.
• 23:51
  I mean, it's it's pure cinematic language from Refn and we're
• 23:54
  going to get this all the way through this episode.
• 23:56
  You've mentioned it already, Westy.
• 23:58
  We know that this sparse dialogue, obviously there's less
• 24:02
  dialogue in this film than than any I can think of, But the
• 24:04
  looks and the mood and the framing of these two characters
• 24:08
  says everything that you need to know.
• 24:10
  They don't utter one word to make their feelings clear to
• 24:13
  each other about each other or to us as an audience.
• 24:17
  But I'm more bought into this relationship than than most in
• 24:20
  cinema, because reference completely draws you in.
• 24:23
  It's those looks and those slow linger and pushes into faces
• 24:27
  with the camera. It dragged me personally,
• 24:30
  dragged me completely in. And I think also that has
• 24:33
  something to do with the fact that we know that this is a
• 24:35
  doomed relationship from the start, The unsettling torn, the
• 24:38
  circumstances surrounding Irene's husband, the shady
• 24:41
  dealings that the driver is up to.
• 24:42
  But I am desperate for them to make it through and live happily
• 24:45
  ever after. Wouldn't that be wonderful?
• 24:47
  And I think that's credit to the actors.
• 24:49
  But Reference makes a cerebral film about LA and crime and
• 24:53
  driving. Also a deeply affecting love
• 24:55
  story, which I don't know how he's done that.
• 24:58
  No, I I have no idea. I'm still baffled by that.
• 25:01
  No idea. You can tell that the driver has
• 25:04
  never experienced these kind of emotions in his life.
• 25:06
  He's probably never let anybody into his life emotionally like
• 25:09
  this, but he and Irene just connect on emotional level, a
• 25:12
  spiritual level, and the kid feeds into that as well.
• 25:16
  Yeah, he does. Either looks so content in their
• 25:18
  company, just with a big smile on his face.
• 25:20
  He only smiles when he's in their company.
• 25:22
  Yeah, and he talks much more than he does in any other
• 25:25
  company. Yeah, about cartoon sharks.
• 25:27
  Cartoon sharks. Yeah, he's the bad guy.
• 25:30
  No good sharks, brilliant. All of that that I've said
• 25:33
  there, I get all of that from no dialogue.
• 25:36
  How's he done it? This is my interpretation.
• 25:39
  But Refn has painted that picture for me with these
• 25:42
  lingering slow images and that cinema at its core, isn't it?
• 25:45
  It's a visual language as it was from the start.
• 25:48
  So I think a really strong imprint from Wine and Refn here
• 25:51
  for me with his directional style and the way that he's
• 25:54
  framed these two characters and their romance, it's it's
• 25:57
  wonderful stuff. Yeah.
• 25:58
  Wesley, what about you and Refn on the film?
• 26:00
  I adore how visual he is. And how literally cares what
• 26:04
  other people think and how they always seem so personal.
• 26:07
  And I think what I get from him is this incredible mix of what
• 26:12
  is perceived to be masculine in cinema and what is perceived to
• 26:14
  be feminine and how he mixes the two together.
• 26:17
  I mean, the driver for me is a very effeminate character,
• 26:20
  doesn't seem very masculine until he has to be very softly
• 26:23
  spoken, very much like. I'm not saying this is a
• 26:26
  definitive review of what masculinity is and what
• 26:28
  femininity is at all. I was saying that's how it's
• 26:31
  been portrayed in cinema in the past.
• 26:33
  And how he subverts that expectation into something
• 26:35
  completely different. And if he has to be masculine,
• 26:37
  regrets it. He has to be violent to be
• 26:39
  masculine. And that's not necessarily that
• 26:41
  trait. I think when he says do you want
• 26:43
  to say something, it's him stripping back that masculinity
• 26:46
  and showing something that's that's a lot more open and has a
• 26:49
  lot more of a feminine appeal to it.
• 26:51
  There's no violence there. There's no aggression there.
• 26:53
  And that's what cinema has been like.
• 26:55
  He's the man. Like Matt said, if it's a cowboy
• 26:57
  film, he's the violence. She's the homestead and I
• 27:00
  honestly think that's why it works, because it's refreshing
• 27:03
  and it's very European and it has been done before, but you
• 27:06
  need to really seek it out and it's ballsy.
• 27:09
  And I'm so pleased this came out and disappointed a lot of people
• 27:12
  because they were expecting a Fast and the Furious 9 or
• 27:15
  whatever the fuck was coming out at that point.
• 27:17
  I totally, totally get his output and I'm so pleased he's
• 27:20
  doing it. I am so pleased.
• 27:22
  I mean if it was ever a director who I would say without knowing
• 27:25
  Westie that you would like, it would be this director and his
• 27:28
  body of work. Yeah, this is straight up your.
• 27:31
  Alley. It is absolutely my neon
• 27:33
  drenched, rain soaked alley. Very slow tracking up there.
• 27:39
  Is a sin. What could we find up there
• 27:44
  though? That's the worrying thing.
• 27:45
  You'll never know. Joy.
• 27:49
  Nice little bit of garden little stream.
• 27:53
  The perfect mix of masculine and feminine.
• 27:55
  That's. What we'll find up there.
• 27:57
  Interpret that how you will. I'm going to move on.
• 27:59
  The Garden of Eden. We mentioned Patriana at the
• 28:02
  top. And another benefit if you sign
• 28:04
  up is that you get the opportunity to ask us a question
• 28:07
  for the films that we're covering.
• 28:08
  We have our first of the show here right now and this one
• 28:11
  comes from Troy Gilbert. Nice to hear from you, Troy.
• 28:14
  How you doing? Troy.
• 28:16
  Hello, Troy, Troy says. Do you think the film style
• 28:19
  alone is enough to make it a classic Westy?
• 28:22
  Why don't you take that? Definitely asking the wrong
• 28:25
  person here, isn't he? Absolutely.
• 28:28
  Style of a substance is something I've enjoyed since
• 28:30
  I've enjoyed film substance of a style.
• 28:35
  Is to me quite laborious and quite obviously cliched and a
• 28:40
  little bit disappointing. Whereas I'd like to see style
• 28:44
  inserted with substance, which I think Tarantino's humane boy for
• 28:47
  that, Scorsese's main boy for that.
• 28:49
  But it's how much they're influenced by style that makes
• 28:52
  the storytelling so unique. And I think the style and drive
• 28:55
  is influenced by so many classic films that it's hard to pin down
• 28:58
  exactly which one he's trying to reference.
• 29:00
  At which point it is very Tarantino in that way.
• 29:04
  What he doesn't? Take from them is the cliche.
• 29:06
  What he does take from them is the style.
• 29:08
  If you find a perfect mix of styles and do them right, and if
• 29:12
  you really believe in what you're putting on the screen,
• 29:14
  absolutely 100%, it's enough to make it a classic, OK?
• 29:17
  And Luke disagrees here. We're fucking go, man.
• 29:22
  Yes, And we do come to this kind of thing, Wesley.
• 29:25
  We'll meet in the middle on a lot of things.
• 29:27
  We do come to this kind of thing from a different.
• 29:29
  Point. Yes, definitely.
• 29:31
  In general, I don't think style is enough to make a film a
• 29:33
  classic. And I love a film with a beaten
• 29:36
  heart, and that often comes from dialogue for me.
• 29:39
  But every so often something comes along and rips up your own
• 29:42
  rulebook and that for me was Drive.
• 29:46
  But this film, it's not just about style.
• 29:49
  I think that's a criticism that does get levelled at the film a
• 29:52
  lot. A lot of the Twitter comments
• 29:53
  when we were asking for a written for it mentioned that
• 29:56
  style over substance, but I disagree.
• 29:58
  I think it's got 3 dimensional characters.
• 30:00
  The plot isn't Rashamon, but it's got twists and it got turns
• 30:04
  that you weren't expecting. But it goes back to what I was
• 30:06
  saying a few moments ago. Actors could easily just read
• 30:09
  out reams and reams of dialogue lines and lines of dialogue to
• 30:12
  tell you how they feel. But it's much harder to show
• 30:15
  just reactions and gestures. And it's the old adage of show
• 30:19
  don't tell. Acting is reacting and I think
• 30:22
  that's what Drive is all about. Reffin, Gosselin Mulligan pull
• 30:25
  that off very, very well. I do think that Drive stands
• 30:28
  head and shoulders above most that's been released since, and
• 30:31
  not just on account of its style, which I'll concede it
• 30:34
  does have a shit load of. Yeah, but there's more to it
• 30:36
  than that. There's a depth in the whole
• 30:38
  filmmaking process here, I think, and you can see that on
• 30:41
  screen if you just peel back a few layers.
• 30:43
  There's what he's talking about and she gives him a glass of
• 30:45
  water and he's reflected in silhouette, you know, a
• 30:47
  standard. And Benicio in the frame, and
• 30:50
  she's on the other side of it, and that's the family unit.
• 30:52
  And he's this like mysterious figure.
• 30:53
  And it's just that one frame. You don't even need dialogue.
• 30:56
  You go there you go, no, you don't.
• 30:57
  And that's style. Yeah, yeah, it is style.
• 30:59
  But it is also it's telling you a story.
• 31:01
  Yeah, but it's the style that tells you the story.
• 31:04
  Yeah, but often that doesn't necessarily add on.
• 31:07
  No. Often if you got style, it
• 31:09
  doesn't necessarily mean you've got substance.
• 31:11
  I think you need confidence with style.
• 31:13
  Yeah, you do. Yeah.
• 31:15
  Matt. Yeah.
• 31:16
  What about you? What are your thoughts on that?
• 31:17
  Well, I think this questions go on.
• 31:19
  It's because it doesn't just apply to drive, does it?
• 31:21
  You could ask it as a general question, which is kind of where
• 31:24
  I came from to be honest. And I think, no, I don't think
• 31:27
  style is ever enough in general. I think style is what gets you
• 31:31
  to take notice first time around.
• 31:32
  But. For repeat view.
• 31:34
  And so I think you do need more than that because I think you
• 31:37
  could take something like Alien 3 and genuinely say, well,
• 31:40
  that's got some style to it. It's got incredible production
• 31:42
  design, so amazing camera work. French makes it looks great, but
• 31:47
  everything else is missing, You know, characters, interesting
• 31:51
  narrative, story choices that work.
• 31:53
  So you wouldn't come back for that just because it looks good
• 31:56
  and sometimes style can override everything else to the detriment
• 32:00
  where it becomes distracting. You know, I'm a fan of Wes
• 32:02
  Anderson, but when he's at his worst and that is more self
• 32:05
  indulgent and I've seen Asteroid City now his style is just
• 32:10
  irritating. It's like just stop it like.
• 32:15
  Just stop. It stop making.
• 32:16
  Things. Look straight.
• 32:19
  Yeah, it's. Primary colors.
• 32:21
  It's frustrating, that film, yeah.
• 32:22
  Yeah. And I think the only time you
• 32:24
  can say style is enough is if it's genuinely broken your
• 32:28
  ground with that style. And I think for that I think you
• 32:31
  really have to go back in history.
• 32:32
  So really something like The Cabinet of Doctor Kalagari,
• 32:35
  which is the definitive German expressionist film, and that is
• 32:39
  all style. But because there'd been nothing
• 32:41
  like that before, because obviously we're talking the
• 32:42
  1920s, that has to be seen as the classic.
• 32:45
  So in general. No, style isn't enough to make a
• 32:48
  film classic for me, but to bring it back to Drive.
• 32:51
  I do think Drive has got substance to go with that style
• 32:53
  though. Yeah, I agree with that.
• 32:55
  I think we all agree with that. Great question.
• 32:57
  Yeah, it's a great question. We could be here all day.
• 32:59
  Blade Runner, anyone? Yeah, yeah, exactly.
• 33:03
  Yeah. Yeah.
• 33:04
  Jesus, Heaps of style. But there's so much under the
• 33:06
  surface. Yeah, by this point in his
• 33:08
  career, Refn had a number of films under his belt.
• 33:11
  He's from Denmark, and he made the Violent Pusher trilogy in
• 33:14
  his homeland. He moved to English language
• 33:16
  films with Bronson and Valhalla Rising before his first foray
• 33:19
  into Hollywood. He went to LA originally because
• 33:22
  he was lining up to direct Harrison Ford in a film.
• 33:25
  Dying of the Light was written by Paul Schrader.
• 33:29
  I hadn't heard of it either. Refin was particularly
• 33:32
  interested in that project because Ford's character dies in
• 33:34
  the film and he wanted to be the director that killed Harrison
• 33:37
  Ford. He was very happy about that,
• 33:41
  But in the end Ford was replaced by Nick Cage and Refin was
• 33:44
  replaced by Paul Schrader himself.
• 33:46
  Right. Yeah, yeah.
• 33:48
  But while he was there in LA, he got a call from Ryan Goslin who
• 33:51
  wanted to arrange a meeting and at the time Gosselin's like star
• 33:54
  was on the rise because of the likes of Half Nelson in the
• 33:56
  North book. So.
• 33:58
  You know, half Nelson's is really gritty drug drama.
• 34:00
  The notebooks is big romance. So he could surely he could do
• 34:02
  everything. Yeah.
• 34:03
  And so he took the lead role in a universal production and they
• 34:07
  had the idea. And Wes, he's kind of mentioned
• 34:08
  it already, but they did want to make a big butchered racing film
• 34:11
  to rival the Fast and Furious franchise.
• 34:14
  That's what they initially wanted Gosselin to do.
• 34:16
  And because he had so much credit in the bank at that time,
• 34:18
  they gave him the privilege of choosing the director.
• 34:21
  And so he approached reference because he loved all those films
• 34:23
  you've mentioned. Luke Just like Wesley.
• 34:25
  Yeah, I would have done the same.
• 34:28
  Gossen Referen met for lunch, which started out as a
• 34:30
  disjointed meeting for creative minds.
• 34:32
  Referen was ill with the flu and it's really not into it at all,
• 34:36
  and Gossen thought he was. He wasn't interested in the
• 34:38
  pitch, so his interest in the director slowly evaporated.
• 34:41
  Ironically, Referen didn't drive.
• 34:43
  Did he's? Did he's test 8 times and fail.
• 34:46
  Yeah, times he failed at 8 times, yeah.
• 34:50
  So after the meeting, he asked of Ghosten could drive from his
• 34:52
  hotel in Santa Monica to Gotham. Was put out, but ended up taking
• 34:55
  the hour out of his time to drive reference back to the
• 34:56
  hotel. Yeah, yeah.
• 34:58
  I mean, the car ride was as painful as the meeting by all
• 35:01
  accounts, right? Fair enough.
• 35:02
  No conversation coming from refin at all.
• 35:05
  So Gosselin thought to punctuate the unease with a little bit of
• 35:08
  music. So he slipped the radio on.
• 35:10
  Yeah, and what was playing was REO.
• 35:12
  Speedwagons can't fight this feeling.
• 35:15
  We all know it. Yeah, we all know it.
• 35:16
  Mor Classic. That's RA.
• 35:19
  Oh, Speedwagon. Little Alan Brownridge for
• 35:24
  everyone. The greatest stadium band of all
• 35:26
  time. But as soon as he heard this
• 35:30
  song ref and changed on a dime, he was hopped up on flu
• 35:33
  medication and he started singing and crying.
• 35:36
  Oddly enough, it was a long way from home, Yeah.
• 35:39
  And he turned around to Coslin and said we're going to make a
• 35:41
  movie about a man who drives around in a car listening to pop
• 35:44
  music because that's his emotional release.
• 35:46
  And Goslin turned around and said I mean.
• 35:49
  Yes, and you got a scorpion on your back.
• 35:53
  Fucking yes, man. In that moment when it was a
• 35:56
  universal production, when it was going to be a big budget car
• 35:59
  race and actioner, the original director attached to it was our
• 36:02
  very own Neil. Marshall Marshall, Yeah, with
• 36:05
  Hugh Jackman. Hugh Jackman, Yeah.
• 36:07
  He was out off the back of the descent it would have been with
• 36:09
  Hugh Jackman. Jackman left to do Real Steel
• 36:12
  and Marshall followed and had languished at Universal for a
• 36:14
  while before this fateful car ride.
• 36:17
  Had a very different film that. Yeah.
• 36:18
  That is a totally different film, yeah.
• 36:21
  Yeah, I still think this one could have been made, even if
• 36:23
  they made that one. Yeah, I think so.
• 36:27
  Yeah, easily. And Ruffin took inspiration from
• 36:31
  a few sources for drives or the overarching theme he saw on
• 36:34
  fairy tales from the likes of the brothers Graham.
• 36:36
  And he said, like a Grimm's fairy tale, it had to be
• 36:39
  extremely pure in the beginning, but then it had to be very dark
• 36:42
  and moralistic at the end. One part needed the other part
• 36:45
  to justify the circle. You have the driver who's like a
• 36:47
  knight, the innocent maiden, the evil king, and the dragon.
• 36:50
  They're all archetypes. Yes, they are, yeah.
• 36:52
  He banged on about the Brothers Grimm and fairy tales like that
• 36:57
  all the way through, Kind of like the press junkets and
• 36:59
  Cannes and stuff like that. He wouldn't stop going on about
• 37:01
  on, Yeah. The work of Mexican director
• 37:05
  Alejandro Jodorovsky was a big influence as well, specifically
• 37:08
  his experimental 1970 film El Toppo.
• 37:12
  Oh yeah, yeah, yeah. And from an unusual source, the
• 37:15
  hot pink of the titles was inspired by the titles of Risky
• 37:19
  Business. Risky business, yeah.
• 37:21
  Should have been yellow. And staying on the 80s tip
• 37:26
  Referend loved the work of John Hughes.
• 37:28
  I mean, who doesn't? If you'd like to check out the
• 37:29
  pair, An episode just done. Yeah, that's a lot of fun.
• 37:34
  And the romance at the heart of 16 Candles worked its way as an
• 37:37
  influence. So reference said.
• 37:38
  The thing is, you can't talk about love, you can only feel
• 37:41
  love, and I think he nails that, He definitely does, Gosselin
• 37:45
  said. We both agree that if 16 candles
• 37:47
  had a head, smashing it would be a masterpiece.
• 37:51
  And ref. And then allowed the actors to
• 37:52
  play around with the characters that he'd given them.
• 37:54
  So the script that was being stripped back on a daily basis,
• 37:57
  basically. So there wasn't much more than a
• 37:59
  skeleton structure to work from. But this allowed the actors to
• 38:02
  develop the characters as they saw fit.
• 38:04
  So he would ask Oscar Isaac things like if the scene could
• 38:07
  be anything, what would it be? And the Aussie cast member to
• 38:10
  come up with IDs for their character.
• 38:12
  Yeah, it feels like a really organic process, doesn't it?
• 38:15
  And everybody's chipping in. He's not kind of like the the
• 38:18
  omnipotent director that you would maybe anticipate.
• 38:21
  And Bryan Cranston decided to make Shannon a mortar mouth to
• 38:24
  contrast the drivers laconic style, which I think you can
• 38:26
  tell Gossam was happy to have. Limited dialogue because he just
• 38:30
  finished Blue Valentine and said he was tired of talking.
• 38:34
  Oh, we all get on with it, man. Oh shit.
• 38:39
  We've missed a tricky We should just have silence for two hours.
• 38:41
  We'll just go back on YouTube and just stare at the camera as
• 38:44
  it slowly pushes in. It was very much a family affair
• 38:48
  during production. The cast and crew, they all
• 38:50
  stayed at Reference House and he worked on the script with Amini.
• 38:53
  He had an edit and suite set up there and he edited with Matt
• 38:56
  Newman on a night after film. It wrapped on the day.
• 38:59
  So they would go back home, watch movies, listen to music
• 39:02
  and go out for drives life imitating art.
• 39:04
  Ryan Gosling said That Permanent Brooks would sit outside smoking
• 39:07
  cigars and just joke around What's a wonderful setup.
• 39:13
  Refn obviously wasn't familiar with Ellie, and he picked out
• 39:15
  locations with Amini and Gosling on night drives in the city.
• 39:18
  Nice. They did say that they felt as
• 39:20
  if they were living the plot and narrative of the film as they
• 39:23
  were doing that. Yeah, so Ref and Take an
• 39:26
  Audience is unawares by breathing new life into a well
• 39:29
  worn genre with his dizzy and European aesthetic.
• 39:32
  Definitely. The cast.
• 39:39
  A big cast on Drive, an important cast and a lot to talk
• 39:42
  about, and we picked out the main players in this section.
• 39:45
  Westie, it's over to you again. Obviously we know who you're
• 39:48
  going for. Obviously my pick, my shout, my
• 39:51
  choice, my man Ryan Gosling. I think he's just wonderful in
• 39:56
  this. It's just it really, really
• 39:58
  stands out as a as a real talent and one that we hadn't seen for
• 40:02
  a long time. A real Hollywood talent, yeah,
• 40:06
  And that he didn't want dialogue.
• 40:08
  He didn't need dialogue. There's such a depth to the
• 40:11
  character, where. It's quite rare that you get
• 40:14
  this. You don't need the back story
• 40:16
  and more importantly, you don't. You don't want it?
• 40:18
  No. Is there anything he isn't
• 40:20
  capable of? Do you know what I mean?
• 40:22
  He's like, he's a father figure. He could be a husband figure.
• 40:25
  He'd be an absolute fucking maniac.
• 40:26
  He could smack anybody and he can drive like a son of a bitch.
• 40:29
  He's everywhere and everything, but really humble with it and
• 40:33
  really laid back with it as despicable as he is.
• 40:36
  Yes, he pulls it off. It's a it's a brave role from
• 40:39
  the take and I think he really, really nails it on every level.
• 40:43
  I think there's not a scene where I don't find him
• 40:45
  absolutely, totally engaging denim, check it, his outfits,
• 40:49
  his boots. He's just and he doesn't have to
• 40:53
  do anything else. Like he's not sitting there
• 40:55
  small gun or he's not doing anything where it's like, Oh
• 40:57
  well, that is going to make us cooler.
• 40:58
  He's literally so clean cut. It's just one of the best things
• 41:02
  I've ever seen as like a character, just the way that
• 41:05
  everything just merges together. No matter what he's wearing, no
• 41:08
  matter what he's doing, it works on the screen 100%.
• 41:12
  Yeah, it's great. But there can't be unspoken
• 41:15
  anymore. The jacket.
• 41:17
  Right, right, right. What?
• 41:19
  I don't quite understand that outrageous jacket.
• 41:22
  It's never called into question by Irene or anyone else.
• 41:26
  Irene doesn't say, what the fuck are you wearing?
• 41:30
  I'm not going out with you wearing that, but neither does
• 41:33
  the audience either. It's unbelievable.
• 41:37
  He pulls it off. He does magnificently well.
• 41:40
  The jacket itself was inspired by the stage costume of the band
• 41:43
  Kiss Ref and Loved. He said that the jacket was like
• 41:47
  a suit of armor and that the scorpion evokes that kind of
• 41:50
  protection, but surely it fits into the frog and scorpion
• 41:54
  unfeasible that he references at the end.
• 41:57
  I think at his heart the driver is a decent man, but his shady
• 42:00
  dealings will inevitably catch up with him.
• 42:02
  He's been marked for death since the start with that scorpion,
• 42:04
  the mobile on his back, and it's only a matter of time until he
• 42:07
  gets stung, which I think does make the fact that he seemingly
• 42:11
  survives. I know it's ambiguous, but he
• 42:13
  seemingly survives at the end. I think that feels, if that is
• 42:17
  the case, a little thematically disjointed for me.
• 42:20
  OK, if he does survive, but we can talk about that later.
• 42:23
  Yeah, obviously there were stunt drivers for a lot of the shots.
• 42:26
  I mean, there had to be, but Gosselin did a number of his own
• 42:28
  stunts, which is really surprising.
• 42:30
  He took a crash course and driving stunts to get up to
• 42:32
  speed. He's not car crazy, but he was
• 42:35
  given the choice of What Car he wanted to for the film and he
• 42:37
  ended up with a 73 Chevy Malibu from a scrap yard and he
• 42:41
  restored it all himself. I would put myself in the same
• 42:45
  bracket as as Goslin I'm. Crazy at all.
• 42:48
  That's the only one. Oh yeah.
• 42:50
  Yeah. That's it.
• 42:51
  Thanks. Very, very.
• 42:53
  Much. Like Goslin has to be said.
• 42:54
  Very much like Goslin, that I don't like cars.
• 42:57
  Yeah, well, very much You like me in your right.
• 42:59
  Very, very much like. Big fan of Moody silences.
• 43:03
  Don't like to say much to anyone?
• 43:05
  It's discovered on the back of me denim jacket.
• 43:08
  But I don't think he restored himself without looking at like
• 43:11
  a billion YouTube. Yeah, I mean he probably worked
• 43:14
  through it did taken like 6 months or something, I think two
• 43:17
  months. But something like that.
• 43:18
  Another really great thing as well as he learned from stunt
• 43:20
  drivers that if you watch him he has he stones over the top of
• 43:22
  the wheel, not underneath because if stunt drivers crash
• 43:25
  like that it's a higher risk for your thumbs breaking.
• 43:27
  So every time he drives he stones are at the top, which is
• 43:29
  another lovely little touch. Wow.
• 43:31
  Brilliant, right? I have to remember that.
• 43:33
  Pause as well for when I'm in some You crash your tea and
• 43:35
  pursue, and you're driving. Like Gosling around.
• 43:37
  See him here. The last thing you need to worry
• 43:41
  about is your thumbs. Instant driver Robert Nagle
• 43:47
  worked prominently on the film and he was instrumental in
• 43:50
  creating a rig with six wheels, which was 400 horsepower that
• 43:54
  was used to capture a lot of the high speed footage in the film.
• 43:57
  Nice. It was called the Biscuit Rig
• 43:59
  and it was created for the film Seabiscuit to capture that kind
• 44:02
  of motion. All right.
• 44:03
  Yeah, you would not expect it to be from Seabiscuit.
• 44:05
  No, you wouldn't the. Last film would have gone to
• 44:09
  Yeah, Same. Gosselin said that his character
• 44:11
  was influenced by action movies as a kid, which is why he grew
• 44:14
  up working in the movies. I imagine the driving gloves are
• 44:17
  not the stable queen, yes? And I'm hoping that the
• 44:20
  toothpick is his homage to Stallone in Cobra.
• 44:24
  Very much so, yeah. But you know what you shouldn't
• 44:26
  do? Give one to a small child.
• 44:29
  Do you want a toothpick? Well, you can't have one.
• 44:31
  You can't have one. Because you're only 5.
• 44:33
  Because if you're tripping 4, they'll be worse than your
• 44:35
  thumbs breaking off, won't it? To cap off our bit on Ryan
• 44:40
  Gosling, we've got our second Patreon question.
• 44:43
  This one comes from a familiar face.
• 44:46
  It is from Dean Jones. Good to have you back, Dean.
• 44:49
  Ah, hello Dean. Hello, Dean.
• 44:50
  Dean asks as a leading man, where does Ryan Gosling rank in
• 44:54
  your opinion? Can he be considered one of the
• 44:56
  greats? Matt?
• 44:58
  Can he be considered one of the greats?
• 45:00
  Well, leading man to me, that to me it's a bit of a loaded term.
• 45:03
  Like if you say leading man, I think of people like Tom Cruise
• 45:08
  or DiCaprio or maybe George Clooney, people where just their
• 45:11
  name in the film alone. You'll get people interested on
• 45:13
  that basis. Jean-Claude Van Damme, people.
• 45:16
  Obviously Stevens again, yeah. Yeah.
• 45:18
  Yeah, yeah, all the big ones. You know, you can have a poster
• 45:22
  with just them on it and that's enough for people.
• 45:25
  And I don't think Gosselin is quite there.
• 45:27
  I think you can put them on the poster, but I don't think that's
• 45:29
  necessarily going to get people into the cinema.
• 45:31
  On the 1st. Man proved that, didn't it?
• 45:34
  Yeah, yeah. And The thing is, well forgot.
• 45:36
  I think he's just more quirky than the term leading man
• 45:39
  suggests. Like, yeah, you could put him in
• 45:41
  Mission Impossible, but I'm also thinking that would be a bit of
• 45:43
  a waste. He's got more range, hasn't.
• 45:46
  He he's got more range, he could be more investing, you know, And
• 45:49
  he does have charisma to burn, which makes him perfect for
• 45:51
  something like La La Land, where he's got to sing, he's got to
• 45:53
  dance, he's got to be romantic and funny.
• 45:56
  But then, like we say, give him something like first Man where
• 45:58
  he's playing Neil Armstrong. And he doesn't give the the kind
• 46:01
  of typical lead man performance. There's an all American hero.
• 46:03
  You know, Armstrong was, you know, a very internal, private
• 46:07
  person who couldn't even communicate with the skits.
• 46:09
  And Gosselin does that. But it's not necessarily leading
• 46:12
  man stuff like Wesley says that's going to get people in
• 46:14
  the drawers to go and see us. So Gosselin for me, you put them
• 46:17
  in something like this where he has relatively little dialogue,
• 46:20
  or you put them in the nice guys, or you put them in Barbie,
• 46:23
  where it's about the deadpan comic sensibility.
• 46:26
  He has very good. That's when he comes into his
• 46:28
  own. I don't think the typical lead
• 46:31
  in man performances, he's not that for me, he's something more
• 46:34
  interesting to be honest. OK, right, right.
• 46:37
  Well, that when I read the question, I didn't take lead in
• 46:40
  man, as like a Robert Redford or somebody like that.
• 46:43
  I just took it as, you know, a great actor and I was thinking
• 46:46
  about De Niro comparisons to De Niro for that.
• 46:49
  So I don't think that he can be considered one of the greats at
• 46:52
  the moment. I think that comes with time and
• 46:54
  reflection, to be honest. I'm pretty sure that in the mid
• 46:56
  70s, late 70s, when De Niro was probably doing his best work,
• 47:00
  that there would have been an argument against calling him one
• 47:02
  of the greats alongside, you know, Brando or Mitchum going
• 47:05
  back a few generations. Yeah.
• 47:07
  So I think it just comes with perspective and I think Gosselin
• 47:10
  probably needs a few more great roles under his belt.
• 47:13
  I mean, I love him, obviously. We all do.
• 47:16
  And I think he's got such magnetism.
• 47:18
  And we all love his comic chops. Absolutely irresistible in the
• 47:22
  nice guys. Yeah, great in La La Land.
• 47:25
  Really like him in The Place Beyond the Pines.
• 47:27
  I am rooting for him to be honest, to confirm his status,
• 47:30
  but I don't think he's quite there yet.
• 47:31
  Again, the nice guys. I mean, that was a big flop,
• 47:33
  wasn't it? No one went to say that,
• 47:34
  unfortunately. Which massive?
• 47:36
  Turkey. Yeah.
• 47:37
  On by which I mean what's wrong with people?
• 47:39
  What is wrong with? People because it's.
• 47:42
  Brilliant. Westie what do you think about
• 47:44
  Dean's question? Yeah, I kind of stand exactly
• 47:46
  the same as you guys. And I would say a lead man is
• 47:49
  one way you go this guy and carry a film like Matt says, you
• 47:52
  know it's gonna be like Schwarzenegger in the 80s are
• 47:54
  still on and they were battling leading men of like, yeah,
• 47:56
  darted this film. And I think what we have now
• 47:59
  closer that is leading directors that you're going to your
• 48:01
  Scorsese film over at DiCaprio one like if you ever seen Blood
• 48:06
  Diamond now, right. OK, well.
• 48:08
  Once. Yeah, maybe once.
• 48:10
  But they got. But he's at a score.
• 48:11
  Easy for much of scores. Easy picture, right?
• 48:13
  Graphic. You can see the film.
• 48:14
  Yeah, you can see. So I think what we have now is a
• 48:16
  kind of a shift on what's focused on in terms of
• 48:20
  celebrity, whether that is not or it's more of a director, it's
• 48:22
  more crew. Now people are going to see
• 48:24
  Roger Deacon's film and be like, oh, did he shoot that?
• 48:27
  It's making more sense in that way of people are appreciating
• 48:29
  the craft a bit. A little bit more, yeah, for me.
• 48:33
  I'm sorry, but I just don't think mainstream audiences are
• 48:37
  saying, oh, Roger Deacon, shut this one straight in there for
• 48:40
  that. Then you're probably right.
• 48:45
  You're probably right. No, you're definitely right.
• 48:48
  I mean, I just wish the world was a better place.
• 48:50
  I. Know, I think you're talking
• 48:51
  about it from our perspective. Just mine, basically.
• 48:54
  Just just mine, yeah. I mean, you mentioned Redford
• 48:58
  there and he reminds me of Redford because I think he's
• 49:00
  best with Hoffman. He's best with Newman.
• 49:02
  He's best when he's got someone to work with as a as a bit
• 49:05
  player. Not an amazing leading man, but
• 49:07
  an incredible actor. Yeah.
• 49:09
  Thank you very much for the question, Dean.
• 49:10
  And that brings a close to our conversation on Gosselin.
• 49:13
  Very nice. Well, for my cast member, I'm
• 49:18
  talking about Carey Mulligan, who plays Irene, Neighbor, love
• 49:22
  interest, wonderful woman, yes, and I'll be honest.
• 49:26
  When I came back to revisit this film, which I hadn't seen in
• 49:28
  years, probably about 10 years, my first thought was Kerry
• 49:33
  Mulligan sticks out like a sore thumb in this cast.
• 49:36
  She's British. I didn't know she could play a
• 49:38
  role like this. Nothing to do with her act in
• 49:41
  chops, but can she sell that she's a an American gal married
• 49:45
  to the wrong guy instead of the genteel English girl that I know
• 49:48
  she is with that accent quite prim and proper, and I was
• 49:53
  completely wrong. I think she's perfect for this
• 49:55
  role. She sells the accent.
• 49:57
  She's got some toughness, which is kind of lurking below the
• 50:00
  seemingly fragile exterior. I mean, she'd have to be tough
• 50:03
  to make it as a single parent in this world and all that comes
• 50:06
  with being married to someone like Standard.
• 50:09
  I love that Irene isn't in a an abusive relationship with
• 50:13
  Standard. I think that feels a bit too, by
• 50:15
  the numbers, yes, definitely. I also like that she doesn't
• 50:18
  verbalize that she doesn't want to be with him either.
• 50:20
  Pretty sure that she doesn't, but that's not obvious, no?
• 50:23
  A role like this, the misery of Irene's existence could have
• 50:26
  been heaped on far too thickly, but Ref and just floats over
• 50:29
  that and Mulligan plays it out beautifully for me.
• 50:32
  Yeah, she does. The one thing that stuck out
• 50:34
  from me right near the start, and you've mentioned the
• 50:36
  slightly westy, is that the drive has gone to a lot of
• 50:38
  trouble. I imagine to get her help with
• 50:40
  the car, fix the car, I'd take her back.
• 50:42
  Home, yeah. When they get back to her place,
• 50:44
  all she offers them is a glass of water for his trouble.
• 50:46
  That's it, yeah. I can get that at home for free
• 50:50
  and it's next door. Give them something to warm the
• 50:53
  coggles. But Carey Mulligan scenes in
• 50:59
  that first act with Gosling, I really love them.
• 51:01
  It's down to the strength of her performance because she's really
• 51:04
  got to work hard to convey those emotions.
• 51:07
  Yeah, I think she just. Fantastic work in doing that
• 51:10
  without the aid of being able to explain verbally.
• 51:14
  Great stuff. Yeah.
• 51:15
  Thing is though, her character in the novel, she's Latina, and
• 51:18
  that was the original plan for the film until Mulligan came in
• 51:21
  to audition and as soon as reference, All right, he said
• 51:24
  You're it. And apparently he was struck by
• 51:26
  the innocence she conveyed and thought it'd fit Irene
• 51:29
  perfectly. And also reference Wife had seen
• 51:32
  The Education from 2009 which Mulligan.
• 51:35
  Probably a big breakthrough, to be honest, and she loved her in
• 51:38
  that. Yeah, yeah, she's great.
• 51:39
  Yeah. I really, really like her.
• 51:40
  And I like a lot of the stuff that she's done after this as
• 51:43
  well, yeah. She said that making the film
• 51:46
  boiled down to quotes staring Long and Lee at Ryan Gosling for
• 51:50
  hours each day. What?
• 51:51
  A shame, it. Was worth jobs let's?
• 51:54
  Be honest, lucky lucky girl. Yeah, I do think that she's got
• 51:59
  this ambiguity to her performance as well.
• 52:00
  They find out she was 17 and she was normally 17 and she knew
• 52:04
  that for a fact, what Standard was doing and that was
• 52:06
  approached. I think she does have this dark
• 52:09
  past. You don't know why Standards in
• 52:11
  prison. You don't know why he's safe.
• 52:12
  Maybe he's taking the fall for her.
• 52:14
  He said that that was illegal to start with.
• 52:16
  And she does have this weird kind of silent reserve, I think,
• 52:20
  as a character. And she plays that super well
• 52:23
  because she's just so sweet and gorgeous and just lovely and
• 52:26
  cute and you just say, well, I'm just going to hide behind that.
• 52:29
  And I think that again, that's what reference does.
• 52:31
  When he's playing with the feminine in the masculinity of
• 52:33
  both the characters, he's kind of pushing them and subverting
• 52:35
  them. And what you think you should
• 52:37
  know about this person when really I think there's a
• 52:39
  darkness to the character that it's only there and only really
• 52:42
  appeals after a few views. And all she wants is for Benicio
• 52:45
  to be fine. She doesn't really care about
• 52:46
  herself and that's obvious. But I think this there's
• 52:50
  undertones to her character where people know.
• 52:52
  Yeah, there's a lot that we don't know.
• 52:54
  And we can only imagine the darkness that she's seen, which
• 52:56
  is the brilliance to the right, and the brilliance of the
• 52:58
  performance or the right, really.
• 53:00
  Yeah, OK. Finally, Matt, we're talking
• 53:05
  about a performance I'm sure that we're all big fans of.
• 53:08
  Albert Brooks, Because I think, Oh yes, it's one of the most
• 53:11
  interesting and left field pieces of cast, not seen in
• 53:14
  quite a while because he's normally just such a comic.
• 53:17
  An affable presence. You know, it's wonderful as.
• 53:20
  Well, Albert Brooks, it's films like broadcast news.
• 53:22
  I also associate him with really not as a gangster, but that's
• 53:26
  what makes it all the more effective.
• 53:27
  And I like, I love the fact you only get a little hints of
• 53:30
  Bernie's background night. He used to be film producer, so
• 53:34
  how is he a mobster? At the same time?
• 53:35
  I like how that isn't explained. And I think Brooks brings a
• 53:39
  sense to Bernie he'd probably be happier just being a producer.
• 53:43
  And you kind of feel this lifestyle isn't really for him.
• 53:45
  It doesn't. If the films weren't shit, he
• 53:47
  might have enjoyed it. Yeah, yeah, when European.
• 53:50
  Yeah, he. Would have enjoyed the
• 53:52
  overcharge him as well. Like you let him do it.
• 53:54
  Yeah. Yeah.
• 53:54
  Exactly. That's it.
• 53:55
  Like being him opposite, it doesn't bring him any happiness.
• 53:58
  It just feels like, oh, this is a responsibility and the less he
• 54:02
  has to do with that aspect of his life, the happier he is.
• 54:04
  And very much contrast to the character and performance from.
• 54:08
  Perlman is Nino, who gets off on being this huge scary dude that
• 54:13
  breaks people's pelvises. There's none of that with
• 54:16
  Bernie. There's never a sense that he
• 54:18
  enjoys making people scared, or he enjoys being sadistic, or he
• 54:22
  wants anything other than a quiet life to run the
• 54:24
  restaurant, maybe get into the racing business, make some money
• 54:27
  from that. But what's really clever is that
• 54:30
  doesn't soften the performance from Brooks.
• 54:33
  Like, we'll talk about the scenes in detail later on, but
• 54:35
  when he has to be violent. He's extremely convinced.
• 54:38
  Oh, he brings the noise, doesn't he?
• 54:40
  Extremely scary shit. Yeah.
• 54:42
  Yep, absolutely. So it's like, it's like this
• 54:44
  kind of Ying and Yang with him. He's someone you can have a
• 54:46
  reasonable conversation with. You know, Shannon can insult me,
• 54:50
  you know, when he goes, oh, he couldn't find pussy in a whole
• 54:52
  house. Don't.
• 54:53
  He lets him get away with it. He doesn't like walk or he's
• 54:56
  above you. You can't say yeah, he lets it
• 54:58
  go because it's easy for him and he gets where he's coming from.
• 55:03
  You know, he generally tries to make a connection with the
• 55:05
  driver, generally tries to converse with him, yeah.
• 55:07
  He does, Yeah. We're A-Team now.
• 55:09
  Yeah, we're A-Team now, yeah. But you do also believe that
• 55:11
  this man can have you killed and will do it himself if need be.
• 55:14
  He just won't enjoy it. Yeah.
• 55:16
  Yeah, and and like, Brooks really got into it.
• 55:19
  Because to minimize emotional cues and make him more menacing,
• 55:21
  it was his idea to shave off his eyebrows.
• 55:24
  Yeah, that's right. Yeah, right.
• 55:25
  Right. Wow.
• 55:26
  I knew there was something amiss.
• 55:28
  Yes, Totally gone. Yeah.
• 55:30
  Yeah. Yeah.
• 55:31
  He's just such a great presence. Brooks as well.
• 55:33
  Yeah, he's amazing. It was a curveball cast in
• 55:36
  Brooks because, you know, obviously he's best known for
• 55:38
  his comedy sketches, writing, directing performances, he said.
• 55:42
  You've got to convince a movie studio to take out the stellen
• 55:45
  Skarsgard and put you in. It's hard to do, yeah.
• 55:48
  It's fair enough. He met Reverend in San
• 55:50
  Francisco, where he asked Brooks why he thought he should be
• 55:53
  given the rule. And Brooks said in a very Brooks
• 55:55
  style, the same 10 people always play the bad guy.
• 55:58
  So if you want everyone to think that your movie's old heart,
• 56:00
  cast them. Old hat it's.
• 56:04
  Great. Yeah, all right, Granddad.
• 56:09
  Yeah. And then during this
• 56:10
  conversation they were having, reference told Brooks that a
• 56:13
  scene of his from Lost in America.
• 56:15
  It scared him. And then without warning, Brooks
• 56:18
  grabbed hold of him, pinned him up against the wall and quietly
• 56:21
  said to be violent. You don't have to scream with
• 56:23
  people. Nice.
• 56:26
  Wow. You can see El Brooks seeing
• 56:28
  that. Yeah.
• 56:29
  Being very calm and very measured, Yeah.
• 56:31
  Yeah. It was a pivotal moment in
• 56:33
  Brooks getting the gig, but initially, reference was
• 56:35
  understandably uncomfortable, Brooks said.
• 56:37
  For a guy who films all this violence, I don't think he likes
• 56:40
  being touched too much. Who would like that?
• 56:45
  Yeah, it's fair enough. I think a lot of credit needs to
• 56:47
  go to casting director as well. Mindy Marin, Yes, who brought
• 56:50
  together this incredibly eclectic cast.
• 56:53
  You've got great character actors like Ron Perlman and
• 56:55
  Albert Brooks, red hot TV talent like Christina Hendricks and
• 56:58
  Bryan Cranston, and open comers like Austin Isaac and Carrie
• 57:01
  Mulligan, one of the best cast in recent memory.
• 57:03
  And you've even got Russ Tamblyn.
• 57:05
  And there is the doc who patches up the driver.
• 57:08
  Yeah. What's he doing in there for?
• 57:10
  10 seconds and I'm going to end on a quote from Refin, who was a
• 57:14
  fan of the custom process. He compared it to having sex and
• 57:17
  said even when it's bad, it's still good.
• 57:29
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• 58:40
  the Right Movies The Middle. The second active drive sees the
• 58:49
  happy family thing break apart for the driver.
• 58:51
  Standard, Irene's husband is out of jail and back in her life,
• 58:55
  and he brings his criminal baggage along for the ride.
• 58:57
  Yes, the driver intervenes for the safety of Irene and Benicio,
• 59:01
  and that's the scene that we're talking about now.
• 59:03
  The pawn shop heist. Yeah, I'm starting this off and
• 59:07
  it's the meeting that introduces us to Cook and Blanche.
• 59:11
  Yes. It's a very short scene, but
• 59:13
  very important. It reinforces Goslin's character
• 59:16
  and sets all the chaos in motion.
• 59:18
  Yes, the driver gives it his usual spiel.
• 59:21
  I don't carry a gun. I drive.
• 59:23
  Who does cucumber love it? Yeah, brilliant.
• 59:26
  And I mean, this guy Cook is a son of a bitch.
• 59:30
  He's an asshole, isn't he? Thinks he's a tough guy in his
• 59:33
  green tracksuit, shouting and barking orders all over the
• 59:36
  joint. And I just love the menace that
• 59:39
  the driver brings to everything without any of the ranting.
• 59:41
  And Raven, that cock does, Yeah, just hands in pockets, Just very
• 59:44
  cool. Yeah.
• 59:46
  Very cool. And this feeds off a previous
• 59:48
  scene in the diner, which blew my socks off when I first when I
• 59:51
  came back to watch it. When the guy comes over talking
• 59:54
  about the job that they did a year ago, he's talking all kinds
• 59:57
  of shit and the camera flies into the driver's face and he
• 1:00:00
  says how about this? Shut your mouth or I'll kick
• 1:00:03
  your teeth down your throat and I'll shut it for you.
• 1:00:05
  Oh yes, that's what I want to hear.
• 1:00:08
  Because you don't really expect him to be a tough guy, Gosling.
• 1:00:11
  Really. No, up up until that point.
• 1:00:13
  But the way he's framed in that scene and this, you better not
• 1:00:17
  cross. Him and I just.
• 1:00:17
  Heard about Standard coming back as well.
• 1:00:19
  So he's double pissed? Yeah, of course.
• 1:00:22
  Yeah, he's double pissed. And I mean, Gosling with that
• 1:00:25
  face shouldn't be convincing as a badass.
• 1:00:27
  Not really. But he nails it, and this scene
• 1:00:30
  helps ease you in the believable notion that he is not to be
• 1:00:33
  messed with in the slightest. Really.
• 1:00:36
  Like those two scenes kind of back-to-back.
• 1:00:38
  Yeah, well, when the high scores wrong and we've talked about
• 1:00:41
  him, this is when I want to talk about standards.
• 1:00:43
  Irene's husband, Oscar Isa. Because on the face of it, you
• 1:00:46
  think, all right, OK, here comes the antagonist, an ex criminal
• 1:00:50
  to sound the prison comes home. To find out some of the guys
• 1:00:53
  being making inroads into his family unit, but I think apart
• 1:00:57
  from that initial very frosty conversation in the corridor.
• 1:01:00
  Is like helping out, helping out.
• 1:01:02
  That's nice of you. It's nice.
• 1:01:05
  To you let Mommy talk to a friend.
• 1:01:06
  Yeah, like, apart from that, it doesn't really go down that
• 1:01:10
  road. And it's great, that standard.
• 1:01:12
  He's a loving dad. He's not horrible.
• 1:01:14
  He's not horrible driving. Very likable character.
• 1:01:16
  He's a very likable guy. He's cleaning, not had much luck
• 1:01:20
  in life and has made one bad decision in the still paying the
• 1:01:22
  price for that. Like he clearly doesn't have
• 1:01:25
  good judgement, you know? Didn't realize Irene was only 17
• 1:01:28
  when he saw the chatting rope, and then she's pregnant a year
• 1:01:31
  later. But when he says you know that
• 1:01:33
  was still the best day of his life, he absolutely means that.
• 1:01:36
  Yeah, he does. He does.
• 1:01:37
  There's this real tragedy to him that I think fundamentally he's
• 1:01:39
  probably a decent guy, but he just doesn't have the smarts to
• 1:01:43
  make anything of himself or to get out of the situation.
• 1:01:45
  And it's really striking how he takes his ego out of the
• 1:01:48
  equation. And he does view the driver as a
• 1:01:50
  genuine friend who's helping him and his family, and he doesn't
• 1:01:52
  make a big thing out of it. There's no kind of false
• 1:01:54
  confrontation between them. So when you get to that high, he
• 1:01:57
  can see he's trying to sum up the bravado.
• 1:02:00
  Bad. He doesn't really have, you
• 1:02:01
  know, and the drive says see you in 5 minutes, I'll see you in 4.
• 1:02:04
  So you're in four. Like stop trying to be the come
• 1:02:07
  on. Yeah, stop trying to be like the
• 1:02:09
  bad guy here, the tough guy. It's not going to work.
• 1:02:12
  And so I generally find it quite sad when he's taken out in this
• 1:02:15
  sequence and again, this one, it's it's so paired back.
• 1:02:18
  It's done in silence. Bland strolls are like it's not
• 1:02:21
  a big deal and it's gone fine, but then it obviously doesn't.
• 1:02:25
  But you don't see the heist itself, and it's one of these
• 1:02:27
  things. You don't need to see the heist,
• 1:02:29
  no, And you don't miss the fact that you don't see it.
• 1:02:31
  No. The thing is, like, if he didn't
• 1:02:33
  have to prove himself, which he's trying to prove himself to
• 1:02:35
  the driver, that he's better, he's probably rushed it and
• 1:02:38
  fucked it. Yeah, but he had an extra
• 1:02:39
  minute. He probably got it.
• 1:02:40
  Got away with it. Yeah.
• 1:02:42
  When that shotgun blasts and breaks the deafening silence, it
• 1:02:45
  always makes me jump. Yeah, it's great.
• 1:02:48
  And just a little note on the car chase.
• 1:02:51
  The car was modified so the back was the front and vice versa.
• 1:02:54
  So when the car does 180 and it looks like it's reversed and
• 1:02:57
  it's actually going forward, right?
• 1:02:58
  Robert Nagle, the stuntman driving out of shot because you
• 1:03:01
  can only see what looks like the front, but it's actually the
• 1:03:04
  back end. Yeah, and when that goes around
• 1:03:07
  the corner, though, that is one of the coolest shots.
• 1:03:09
  I've never been a massive fan of Blanche's reaction with the car
• 1:03:13
  in the background. Really, I love it.
• 1:03:15
  I. Don't know if it's it's it's not
• 1:03:16
  held long enough. Hmm, yeah, I know what you mean.
• 1:03:19
  Do you know what I mean? It's it's fucking excellent.
• 1:03:21
  I mean, I want to see more of it just cuts a bit too quick, but
• 1:03:23
  the staging of the shot, it's incredible to get the crash out
• 1:03:27
  of the back of the car with Blanche, yeah, because that's
• 1:03:30
  practical footage. Is I want to see more of it.
• 1:03:33
  I want to see the date. Yeah, I don't want to see it hit
• 1:03:34
  the ground and spin away to perfect way to end the scene.
• 1:03:37
  It is. I just think that it.
• 1:03:38
  I just wanted to see a touch more of it.
• 1:03:40
  I think it's something to do with the budget though.
• 1:03:42
  Yeah, very possibly. Yeah.
• 1:03:43
  I mean and though. Incredible.
• 1:03:45
  Stuff. Yeah, brilliant.
• 1:03:46
  And Westie. Oh, it's a bloodbath.
• 1:03:49
  Yeah, I'm going to go for the bit where the film completely
• 1:03:52
  spins the audience on its head. We're in the motel and the
• 1:03:56
  driver completely changes personality.
• 1:03:58
  He locks that door. He walks over.
• 1:04:00
  Oh yeah. Gloves go on.
• 1:04:03
  Slap on the bed and he points at a unforgivable and he's but it's
• 1:04:07
  disgusting. But he's pointing at it as if
• 1:04:09
  he's got a gun to her face and she buys it completely.
• 1:04:13
  And he said, every word out of your mouth is the truth, or I'm
• 1:04:16
  going to hurt you. Yeah.
• 1:04:18
  And you're like, why? Why do I still like this guy?
• 1:04:21
  Yeah, it's gotten his performance.
• 1:04:23
  It's absolutely amazing. And then you find out he's been
• 1:04:25
  ripped off, and then you're back on his side.
• 1:04:27
  Yeah, she's part of it. And then it just goes into
• 1:04:30
  Nicholas Wind and Ref in Territory, which I'm just you're
• 1:04:34
  all over. It.
• 1:04:35
  I'm all over it. She gets up.
• 1:04:36
  She walks into the bathroom, just fixing herself focus.
• 1:04:39
  She needs to see Cook now. She's going to take him.
• 1:04:42
  The camera pushes in stops and comes back out and then comes
• 1:04:46
  around and frames Gosling perfectly in a Warner.
• 1:04:49
  In out frames him. He sat there.
• 1:04:52
  You got that text message. You don't know what it said.
• 1:04:54
  Yeah, just his reaction. His look to hers like oh for
• 1:04:57
  fuck's sake, what have you done? And the way he picks the map or
• 1:05:00
  something what you different. But obviously he's by in time,
• 1:05:03
  somebody at that door and when that shotgun blast goes off.
• 1:05:07
  And her head explodes. Oh, Jesus Christ.
• 1:05:10
  You're like, what is this now? Like how and how is he going to
• 1:05:14
  get out of this And he just explodes and just turns in and
• 1:05:17
  just turns that guy over and he gets the shower rail, stabs him
• 1:05:22
  straight through, the guy turns up, he spins around blast.
• 1:05:25
  And the thing that's really, really European center of me and
• 1:05:28
  really, really winding reference is when he's comes forward into
• 1:05:32
  the light. And it's Thomas Newton Siegel as
• 1:05:34
  well. Let's not forget about that.
• 1:05:35
  So he comes forward into the light.
• 1:05:37
  He's covered in blood, but the camera waits.
• 1:05:40
  It stops and the audience stop. And he just watch it again.
• 1:05:43
  He disappears from that frame so slowly and it waits for him just
• 1:05:48
  to go behind the door. And what's left behind him is
• 1:05:51
  just this mess on the wall. It's like that's what he's got
• 1:05:54
  to face now, that whole sequence for me, if I was going to show
• 1:05:58
  anyone any sequence from the past 20 years where I'm like.
• 1:06:02
  This is quite shocking. This comes from left field.
• 1:06:04
  This is a completely different change in the film where they
• 1:06:07
  just driving down where the shot grease there 20 minutes ago and.
• 1:06:11
  I'm gonna love the whole day out.
• 1:06:13
  Is he a real human being? He was skimming a stone.
• 1:06:15
  Now he's skimming a skull, you know what I mean?
• 1:06:17
  And it's just beautifully realized, beautifully done.
• 1:06:20
  It's just a wonderful, wonderful piece of filmmaking And
• 1:06:23
  beautifully realized. I absolutely adore, Yeah.
• 1:06:26
  I mean, that head exploding is hard to bear.
• 1:06:28
  It is hard to bear, but it's beautiful violence in the role
• 1:06:31
  of Blanche. Refin wanted to hire a porn
• 1:06:33
  actress, thinking that somebody from that background would have
• 1:06:36
  a natural authenticity. He tested a number of actresses,
• 1:06:39
  but what they lacked was a natural acting talent.
• 1:06:42
  Yeah, obviously understandable. Yeah, So, yeah.
• 1:06:46
  That makes sense, yeah. Hendrix came on board after
• 1:06:48
  Refin's wife saw a picture of her and thought she was
• 1:06:51
  beautiful. But I mean, she was huge from
• 1:06:53
  Mad Men as well. Moving straight over to the
• 1:06:58
  sequence that follows. The driver is on a rampage to
• 1:07:01
  find out whose money he has. Then he get caught up in one
• 1:07:04
  hell of a confined bloody space. Yep.
• 1:07:08
  And to start us off, I love the moment where he goes to the
• 1:07:10
  strip joint to see Cook. And when I say go to see Cook, I
• 1:07:14
  mean smash his hand to pieces and threaten him with a bullet.
• 1:07:18
  Yeah, God, how good is it? The hammer?
• 1:07:19
  How fucking cool is this? Yeah, it is.
• 1:07:23
  I think a nice little detail here is that he smashes his left
• 1:07:26
  hand, but his right hand is already in some kind of cast.
• 1:07:30
  You know this? Yeah.
• 1:07:32
  All right. Yeah, presumably he's got on the
• 1:07:34
  wrong side of another mean cat. Yeah, and this must happen all
• 1:07:36
  the time because he is an absolute prick.
• 1:07:39
  Nobody's eating pizza. He's really struggling.
• 1:07:40
  Yeah, I like that. When he bursts in, some of the
• 1:07:44
  dancers leave. Understandably, Yeah.
• 1:07:46
  Some of them stay. They're unfazed by what's
• 1:07:48
  happening. And because Cook is such a piece
• 1:07:50
  of work, presumably they're happy to see his comeuppance.
• 1:07:53
  Yeah, yeah. But nobody steps in to stop
• 1:07:55
  what's happening. No, no.
• 1:07:57
  Would you? I mean, he gets what he
• 1:07:58
  deserves, yeah, Reference said. The girls become this strange
• 1:08:01
  mix of sex and violence that's pleasurable.
• 1:08:04
  The women become the audience and he's performed this
• 1:08:06
  psychotic behaviour in front of an audience.
• 1:08:09
  He's so pure in his actions and he's so right about it that it
• 1:08:12
  can be viewed as a piece of art. But.
• 1:08:15
  It can be. I mean, if you watch, if there
• 1:08:18
  was any one of us who would agree, it would have been
• 1:08:20
  Westie. But I think you can also see the
• 1:08:25
  driver's vulnerability here. He's not fearless, particularly
• 1:08:27
  when he's he finds out it's Nino's money.
• 1:08:30
  We know that Nino has a ponchon for smashing pelvises.
• 1:08:33
  Yeah, yeah. And then the driver's voice
• 1:08:35
  cracks when he's talking. He's just realized that a
• 1:08:37
  terrible situation is a hell of a lot worse.
• 1:08:40
  Yeah, definitely. Yeah, but the Jewish with the
• 1:08:42
  power that he bursts in there. Ruthless efficiency.
• 1:08:46
  Love it. Yeah.
• 1:08:47
  OK, Westy, what about you in this sequence?
• 1:08:49
  I'm going to go for when he's full of regret and he speaks to
• 1:08:52
  Irene before the elevator sequence because I think that's
• 1:08:56
  as yeah, it's as important as what happens in the elevator to
• 1:09:00
  be to be fair. And really starts him thinking
• 1:09:03
  that this is over. It's like a breakup.
• 1:09:06
  It's incredibly well done. These, I have to tell you
• 1:09:08
  something, They're both kind of looking at the floor.
• 1:09:09
  He's like a child in the sequence.
• 1:09:12
  He's completely broken by it. And that slap from Mullingham is
• 1:09:15
  so well timed. Flow and just just regrets it
• 1:09:17
  immediately and it's just the way delivers that line.
• 1:09:19
  He's like, you can have the money if you want to come with
• 1:09:22
  you right after you, just really beautifully done and really
• 1:09:25
  beautifully told in such a few amount of shots.
• 1:09:28
  And what I noticed about this, like the last time I saw it is
• 1:09:30
  every time he meets her in the elevator, they're going up the
• 1:09:33
  either meet at the bottom and then they're travelling upwards
• 1:09:35
  into something. This is the first time the
• 1:09:37
  descend, this is the first time they're going down.
• 1:09:40
  Into some kind of hell, yeah. He sees the guy in the elevator.
• 1:09:43
  He knows these. He's doing what he's saying.
• 1:09:44
  I'm going to look out for you. But it's the last time I'm going
• 1:09:46
  to do it. And I love how vulnerable that
• 1:09:50
  character is there. After everything you've seen,
• 1:09:52
  you still feel sorry from you. Beautiful.
• 1:09:54
  You do performance, both of them.
• 1:09:56
  Really, really great. Yeah, great.
• 1:09:58
  Take it away there, Matt. Yeah, I won for the 2nd
• 1:10:00
  bloodbath I will get. It's built up brilliantly, that
• 1:10:04
  look he gets in his. Eyes when he first clocks the
• 1:10:06
  guy in the elevator. And I love how he tries to bluff
• 1:10:09
  his way out of, like staying in the elevator because obviously
• 1:10:12
  he was going to try and get them in their apartments and said,
• 1:10:15
  oh, wrong floor, which is, you know, it's so blatantly sauce,
• 1:10:18
  So the driver knows what's up. And it does have this poignancy
• 1:10:21
  to it because this lift is where the first mess, that's where the
• 1:10:24
  first, like, shared the scene together and this is going to be
• 1:10:27
  their goodbye Lord, They don't know it yet.
• 1:10:29
  And I think that's why. He takes this moment to kiss him
• 1:10:31
  because he knows after she sees what she's going to have to see
• 1:10:35
  in just a minute, he's never going to have the chance to kiss
• 1:10:38
  her again. Either because they're going to
• 1:10:40
  be killed because there'll be more men coming after them, or
• 1:10:43
  her view of them will forever change of course, and she won't
• 1:10:47
  want to have anything to do with them.
• 1:10:49
  And I think that's why that Sloomo is so effective.
• 1:10:52
  I think that's why the light dimming is so effective.
• 1:10:54
  It like it doesn't make literal sense, but it makes movie sense
• 1:10:57
  and it's one of those moments where you think God.
• 1:11:00
  If I could make like, a moment last forever, it would be a
• 1:11:03
  moment like this. Like would be that first kiss
• 1:11:06
  with that woman that, you know, he's completely besotted with.
• 1:11:09
  And that's what this moment is about for me.
• 1:11:11
  And the music's really beautiful.
• 1:11:12
  And then it just switches into, like, psychotic rage and
• 1:11:17
  violence, and there's only one glimpse of that face being
• 1:11:20
  stomped in. But Gosselin's performance and
• 1:11:22
  the sound It does that classic thing if it makes you think you
• 1:11:25
  saw more than you actually did. It's when he grabs the reel.
• 1:11:28
  Yeah, you know he's going for. It he's not real, Yeah, Yeah,
• 1:11:31
  he's not mighty. And one of the most notable
• 1:11:34
  moments in the film for me is the expression on his face when
• 1:11:37
  Irene gets out and the doors closed between them and it's
• 1:11:39
  goodbye. It's oven.
• 1:11:41
  Like Wesley says, the lift has gone down now.
• 1:11:43
  Brilliant stuff. Yeah.
• 1:11:44
  Yeah. And he's lit in orange.
• 1:11:46
  Yeah, the hell. Of everything.
• 1:11:47
  And she's very blue and she's got the lights behind her of the
• 1:11:49
  heaven of everything. It's just a really great
• 1:11:52
  sequence. And then it's free frames.
• 1:11:53
  The Scorp, you know he's back perfectly.
• 1:11:55
  That's all you see at the end of that scene.
• 1:11:57
  This scene was influenced by a similar head.
• 1:11:59
  Busting scene. From Gasper nose irreversible.
• 1:12:02
  We all know that one right? Jesus Christ comes, which ended
• 1:12:05
  very early. In fact.
• 1:12:07
  Reference called Nord. Asked how he did it, Reference
• 1:12:09
  concedes that Noah is still the definitive head smashing scene.
• 1:12:14
  But takes comfort. And he got a kiss in his scene
• 1:12:17
  because they don't usually go together.
• 1:12:19
  No, they don't. No they don't.
• 1:12:21
  I mean God. I'm irreversible.
• 1:12:22
  Oh my goodness. Yeah, yeah, yeah, forget about
• 1:12:25
  it. Yeah.
• 1:12:26
  It was originally more graphic and was cut to avoid an NC 17
• 1:12:29
  rating. That can imagine.
• 1:12:30
  Yeah, for the better for me. I don't need to see.
• 1:12:32
  Someones head turn into motion for too long.
• 1:12:34
  No, no reference, doesn't mind. He makes it almost sexual of
• 1:12:37
  like. That the penetration of things
• 1:12:39
  and how things just break open, you know talking about
• 1:12:41
  penetration that's the whole point.
• 1:12:42
  It's like it's almost like. The driver forcing himself to
• 1:12:46
  just disappear into something else because he can't have the
• 1:12:48
  thing that he really wants it did caught criticism in some
• 1:12:52
  quarters or. Because of the violence, as you
• 1:12:54
  might expect, naturally, and then referen in response, said.
• 1:12:58
  I think that art is an act of violence, and the more
• 1:13:00
  emotionally engaged you are in a piece of art, the more violent
• 1:13:03
  it feels. So the body count is not as high
• 1:13:05
  in my film as it is in many other movies.
• 1:13:08
  But maybe what people are confusing is the physical
• 1:13:10
  violence with the emotional violence in the movie.
• 1:13:12
  So that can give you images in your head that aren't
• 1:13:14
  necessarily there in the film. But it's also much more
• 1:13:16
  satisfying because then the film has really touched and here
• 1:13:19
  comes the word penetrated you. Yeah, I totally agree with that.
• 1:13:23
  It's. Something that I totally believe
• 1:13:25
  in. You know, from a director like
• 1:13:26
  this and putting it across visually on the screen, how
• 1:13:28
  else, how else can you do it? Yeah, with poetry and with
• 1:13:31
  beauty. I think it's.
• 1:13:32
  Yeah, yeah. I mean, it's, it's quite
• 1:13:33
  stunning to pull off what he has with this extreme violence.
• 1:13:37
  But we're talking about what we see in poetry and beauty and
• 1:13:41
  penetration. Yeah, those, those don't usually
• 1:13:43
  go. No, no, they don't usually, but
• 1:13:45
  they do here, which is why I love.
• 1:13:46
  It reference said that this scene was a microcosm of the
• 1:13:50
  whole film, the whole Grimm's fairy tale of it all.
• 1:13:53
  Fewer and beautiful at the start and then incredibly hard to
• 1:13:56
  bear. An ultra violent at the end.
• 1:13:57
  Yeah, yeah, maybe. Think he's taking a little bit
• 1:13:59
  of artistic license, but we're on board with it, yeah.
• 1:14:03
  There was a bit of the ultra violent.
• 1:14:05
  I'm definitely on board with it. So reference makes good on his
• 1:14:07
  promise of all out bloody vengeance, particularly with
• 1:14:10
  that elevator scene which is a shocking stand out.
• 1:14:13
  Yes. Fantastic.
• 1:14:17
  The crew. Very talented crew on drive?
• 1:14:22
  Not necessarily household names. None of them have been mentioned
• 1:14:26
  on the podcast before, no, but they all bring something unique
• 1:14:29
  to Drive. And 1st up is the screenplay
• 1:14:32
  written by Hossein Amini. Matt, what do you think of the
• 1:14:36
  writing on? Drive.
• 1:14:37
  The striking thing about the writing for me is the
• 1:14:39
  minimalism. Of it.
• 1:14:40
  Everything stripped back to the bare minimum.
• 1:14:43
  No back story for the driver, no name for him.
• 1:14:45
  Standard gets out of prison and we don't waste time seeing him
• 1:14:48
  trying to go straight or getting into.
• 1:14:50
  In needless confrontation with the driver, which would move the
• 1:14:53
  film along within 10 minutes, he's in trouble again because
• 1:14:56
  that's what the plot needs to move along and that's all we
• 1:14:58
  need. Those three relationships
• 1:15:00
  between Shannon, Nino and Bernie all addressing two or three
• 1:15:03
  lines of dialogue, 1 little bit of exposition to the driver and
• 1:15:06
  that's all you need. You don't need flashback scenes.
• 1:15:08
  You don't need Shannon chipping into the driver.
• 1:15:10
  Oh yeah, that's what Nino did to my pelvis.
• 1:15:12
  This is how much it hurt. It's all established very
• 1:15:15
  quickly, very neatly and then moves on.
• 1:15:17
  We've been talking about already.
• 1:15:18
  But that relationship between. With the Driver and Irene,
• 1:15:21
  Referend just lets the actors tell out in the glances between
• 1:15:24
  each other how they soften around each other, and it's the
• 1:15:26
  only time we see the driver relax, which tells you
• 1:15:28
  everything you need to know. We don't need anything about how
• 1:15:32
  we became a stunt guard drive in the 1st place and then how does
• 1:15:35
  that tie in with being a getaway driver in the spare time?
• 1:15:38
  Which came first? Doesn't matter, you don't need
• 1:15:40
  to know. Like other films might want to
• 1:15:42
  tell you that, but you don't need to know it and you don't
• 1:15:45
  miss know on it, which I think is the important thing.
• 1:15:47
  Yeah, it's not a script where for me, there's lots and lots of
• 1:15:50
  like thematic undercurrents in there.
• 1:15:52
  I don't think it's that deep. And that's fine.
• 1:15:54
  Not everything has to be, I think.
• 1:15:55
  Oh no, it doesn't. The writing makes the most out
• 1:15:58
  of, not a. Hell of a lot, yeah.
• 1:16:00
  I mean, he didn't really cover himself in Glory before or after
• 1:16:02
  Drive. I mean, he with his writing
• 1:16:04
  career, right. I think he got a huge helping
• 1:16:07
  hand from reference because he, he definitely would have made
• 1:16:09
  that all action blockbuster at Universal given the chance.
• 1:16:12
  Yeah. Which, you know, can you blame
• 1:16:14
  him? I'm sure with the three of us
• 1:16:15
  would. Oh, yeah, yeah, absolutely.
• 1:16:16
  Yeah. Take a paycheck.
• 1:16:17
  Yeah. What I think he's done with
• 1:16:18
  this. Script is give a fresh spin on a
• 1:16:20
  very well worn path. The loner who gets in deep with
• 1:16:23
  the woman he shouldn't and has to go up against the mob to
• 1:16:25
  defend her. Seen it 1000 times but I
• 1:16:28
  genuinely didn't know where this was going to go from beat to
• 1:16:31
  beat. The rare that the characters are
• 1:16:32
  written, like you said, withstand it.
• 1:16:35
  That relationship should be much different to what it actually
• 1:16:38
  is, but I think it's the overall process that needs to be praised
• 1:16:42
  here. I love the depth of those
• 1:16:44
  important characters, but we know that the actors brought a
• 1:16:46
  lot of their own ideas to the party.
• 1:16:49
  I think what Amini has done has given us a very lean, very pure
• 1:16:51
  structure for everybody else to add flesh to the bones.
• 1:16:54
  Yes, There are particular choices made in the screenplay
• 1:16:57
  that I really like. We don't find out immediately
• 1:17:00
  that Standard has been released from jail.
• 1:17:02
  The We get the sound of that telephone that leaves us knowing
• 1:17:04
  that there's something up, but it leaves us in the dark about
• 1:17:07
  Irene's feelings about a husband's homecoming.
• 1:17:09
  We don't see the result in telephone conversation.
• 1:17:11
  Yeah. So we don't know how she really
• 1:17:13
  feels. And that lingers into the second
• 1:17:15
  act. And I like that a lot.
• 1:17:17
  And I love that when there's that conversation in the
• 1:17:19
  corridor, Standard comes out. He's getting angsty with the
• 1:17:21
  driver. And let Mommy talk to her
• 1:17:23
  friend. You mentioned this.
• 1:17:24
  Yeah. But let Mommy talk to her
• 1:17:25
  friend. There are no more words uttered.
• 1:17:28
  And I think that's because Standard doesn't understand the
• 1:17:31
  relationship between Irene and the driver.
• 1:17:33
  And they kind of share a couple of glances and a smile.
• 1:17:36
  And then he's off. Yeah.
• 1:17:37
  It's restraint in the writing when the easy route would have
• 1:17:39
  been to fill up with dialogue. Yeah, yeah.
• 1:17:41
  Great stuff overall. I think, I mean, he's got solid
• 1:17:44
  writing and has been a very, very effective collaborator,
• 1:17:48
  yes. Yeah.
• 1:17:49
  And not to take anything away from him.
• 1:17:50
  No, no. Definitely not.
• 1:17:52
  What about you, Wesley? What do you think of the
• 1:17:53
  writing? Yeah, I think it takes a real
• 1:17:54
  artist to sit with. Somebody and have stuff deleted
• 1:17:58
  from what you've done. Do you know very much to have
• 1:18:01
  that minimalist kind of view on things and then take their view
• 1:18:04
  and say right, OK, you're the director, you're the actor if
• 1:18:07
  you want to strip some dialogue. And the other thing is just how
• 1:18:10
  mysterious. The main character is how we're
• 1:18:12
  getting no back story, which we've mentioned before.
• 1:18:14
  We don't get anybody's back stories.
• 1:18:16
  We don't know any reason or anybody's here.
• 1:18:19
  And the great thing about that is we don't know anyone's past.
• 1:18:22
  But what he maintains is that we don't know anyone's future
• 1:18:24
  unless they die. Yeah, so if you're dead, you're
• 1:18:27
  out of there. But we don't.
• 1:18:28
  Quite. Know how Felicia and Irene are
• 1:18:30
  going to do. Are they going to be all right?
• 1:18:32
  Is he going to be all right? I mean, is anyone going to be
• 1:18:35
  all right? Probably not.
• 1:18:36
  Can you trust Bernie when he says that they're not good?
• 1:18:38
  They're not going to get touched because Shannon spilled the
• 1:18:41
  beans and he's fucked up so many times.
• 1:18:43
  And there's very few films that leave you satisfied without
• 1:18:46
  answering so many questions that it opens up.
• 1:18:48
  And I think that's the genius of it.
• 1:18:49
  I love the mystery of it. It's really romantic.
• 1:18:52
  But then the mystery of the ending is just as romantic.
• 1:18:55
  So I think it's brilliant, the way it top and tails that, the
• 1:18:57
  way it opens with mystery and it ends with mystery.
• 1:18:59
  I think that's really great writing.
• 1:19:01
  Yeah, sort of. Certainly a solid piece of work.
• 1:19:03
  Yeah, definitely. I mean, he adapted drive.
• 1:19:06
  From Jim Salas 's source novel, published in 2005.
• 1:19:09
  Read that one then. No, I haven't quite absorbed
• 1:19:11
  that one. I haven't.
• 1:19:12
  Absorbed that one. Yeah, I didn't give you 40
• 1:19:14
  pages, I. I led you that.
• 1:19:15
  I led you that in 19, 99, it's like.
• 1:19:18
  It's got a nonlinear structure. It's 140 odd pages of novel.
• 1:19:22
  It provided a challenge to adapt, which is why it
• 1:19:25
  languished for so long. Yeah, I mean, these initial
• 1:19:27
  drafts are more in line with what Universal had in mind.
• 1:19:30
  Big budget, big action, big chases.
• 1:19:32
  But all of that changed when reference came on board, so the
• 1:19:34
  narrative remained largely the same.
• 1:19:36
  But the torn and vision changed from the book, as did the
• 1:19:39
  dialogue, which is pretty much stripped bare.
• 1:19:41
  The shooting script was only 81 pages long.
• 1:19:44
  Yeah, I mean, that is just crazy, isn't it?
• 1:19:46
  Yeah, I think Pages and we've got it now and 40 in a book
• 1:19:49
  though it's not, it's not a big book.
• 1:19:50
  Is it? That's not even short.
• 1:19:52
  Quite fancy reading that, just in case there's.
• 1:19:54
  Anything else? Well, there are details in in
• 1:19:56
  the book that didn't make it to the film.
• 1:19:58
  So really. Yeah.
• 1:19:58
  Yeah, you see? You do actually see.
• 1:20:00
  Well, quite a lot of his back story.
• 1:20:02
  So in the novel, he gets under a foster home because he's seen
• 1:20:05
  his mother killer's dad in a fit of rage.
• 1:20:07
  And then he winds up stealing his foster parents car and
• 1:20:09
  running away from home. Right.
• 1:20:11
  OK, so you do see that. Yeah.
• 1:20:12
  In the. You don't.
• 1:20:13
  Need to see that? Is that it?
• 1:20:15
  Yeah, is that the main I'm? Not going to bother then?
• 1:20:17
  Yeah, it's fine. Yeah, wouldn't bother.
• 1:20:19
  Pretty clear to be honest. Yeah, fair enough.
• 1:20:22
  I think it's to reference credit that he kept.
• 1:20:24
  Amini on board. And collaborated with him on
• 1:20:26
  rewrites. I mean, how many times have we
• 1:20:28
  talked about directors changing in pre production and the
• 1:20:30
  original writer just being out in their eyes?
• 1:20:32
  Yeah, I think that's the beautiful thing about it feels
• 1:20:34
  like pretty. Collaborative, but it does sound
• 1:20:36
  quite singular. But everyone knows what they're
• 1:20:39
  doing and everyone's polished. It's great.
• 1:20:41
  Looking at this film, this looks like a pure.
• 1:20:43
  Singular artistic vision from Right.
• 1:20:45
  Yeah, right. Yeah.
• 1:20:47
  Reference said actors just have to approach.
• 1:20:49
  Their material in. A different way, but it's great
• 1:20:50
  because it's like exercising muscles that you don't usually
• 1:20:53
  put so much attention to, like gestures, movements and posture.
• 1:20:56
  It becomes so much more telling. You can't say what you're
• 1:20:59
  feeling with words, so you have to find other ways to do so.
• 1:21:03
  So regardless of how much input reference had in the screenplay,
• 1:21:06
  I mean he gives us a clear vision for the film in the
• 1:21:09
  structure. Next up, we're talking about the
• 1:21:14
  music in the film. It plays a very.
• 1:21:15
  Prominent part and is a mixture of Cliff Martin as a score and
• 1:21:19
  Cynthia pop songs. Westie.
• 1:21:21
  Yeah. What do you think of the music?
• 1:21:22
  Love it. Top five, Top five every.
• 1:21:26
  Time. Every time we talk about
• 1:21:28
  soundtrack, it's top five. It's, it's.
• 1:21:30
  Great. It's just so soft for what
• 1:21:32
  you're seeing here. It it needs to have this real
• 1:21:35
  booming score, and some of it's so subtle and so nuanced.
• 1:21:40
  And quite forborden in ways. If you do, if you don't really
• 1:21:43
  listen for it, it's not really there.
• 1:21:44
  You know the bit when he goes, say, Cook, it's just this 1-2
• 1:21:47
  nosphere, isn't it? It's very much so, and it's the.
• 1:21:50
  Atmosphere of LA. And I think no one really tapped
• 1:21:53
  into that. And just it's so obvious now you
• 1:21:55
  watch your back and go, Oh yeah, Neon Ellie, since that makes
• 1:22:01
  sense now you couldn't, you couldn't do this in New York.
• 1:22:04
  You couldn't do this in San Francisco.
• 1:22:06
  You couldn't do this in New Orleans.
• 1:22:07
  You could. You just couldn't.
• 1:22:08
  But an Elliot really works. And I'm shocked that it hasn't
• 1:22:12
  been done before, and it's definitely been done after.
• 1:22:15
  But I think it's just the the songs as well.
• 1:22:17
  A great choices. He's a real hero, a real human
• 1:22:20
  being. Like Matt said, it's a real
• 1:22:21
  like, yeah, OK, I'll get it. Fine.
• 1:22:25
  You know, it's so obvious and so cliched that it should be
• 1:22:29
  cheesy, but it isn't. I loved hearing this kind of
• 1:22:32
  soundtrack. I loved, I loved seeing this
• 1:22:33
  kind of emerge from this film. And a lot of bands have come
• 1:22:37
  from this and a lot of sins have come back from this.
• 1:22:39
  And yeah, it's great to see it is.
• 1:22:40
  Yeah, it's wonderful stuff. What do you think, Matt?
• 1:22:43
  Yeah, it's excellent. Really distinctive.
• 1:22:44
  And I am a big fan of that, like ethereal, dreamy, electoral pop
• 1:22:48
  style lovers generally. And to see you so well here and
• 1:22:52
  it just takes you away from reality a little bit, yeah, very
• 1:22:55
  much, which is what adds this film and it's.
• 1:22:57
  It's one where I kind of really struggle to describe how it does
• 1:23:00
  it or why he does. But I think some soundtracks
• 1:23:03
  that sound a little bit too obvious, like ah, that's music
• 1:23:06
  compose and they're just overlaid it on top.
• 1:23:08
  And that's fine, it's great. But that's where it's come from,
• 1:23:12
  this one, and I can't really explain why.
• 1:23:13
  It just feels like it's come from within the film itself.
• 1:23:16
  It's almost like it's its own character, almost as if, like
• 1:23:19
  it's the songs are playing in the characters heads of time.
• 1:23:22
  Oh yeah, definitely. Yeah, yeah.
• 1:23:24
  I mean the music. Just thunders it.
• 1:23:26
  Pulses with energy. It makes the film feel alive.
• 1:23:30
  And and not just the soundtrack, but the just the sound design in
• 1:23:32
  the film. It's massive.
• 1:23:34
  Yeah, it's huge in the mix throughout.
• 1:23:35
  But then we get these sustained periods of silence.
• 1:23:38
  Yeah. And that's really effective.
• 1:23:40
  I think it was one of those soundtracks that transcended the
• 1:23:42
  film itself and then took on a life of its own.
• 1:23:45
  It went to number one in the charts over here.
• 1:23:47
  I mean, unthinkable for a movie soundtrack.
• 1:23:49
  Yeah. I think it's the perfect
• 1:23:50
  marriage of music complementing the visuals and vice versa,
• 1:23:53
  Yeah. Yeah, I agree.
• 1:23:55
  That opening track tick of the. Clock by the Cromanix.
• 1:23:57
  Yeah, the one that's caused the job.
• 1:23:59
  It just fits so perfectly. Which is incredible when you
• 1:24:01
  consider it wasn't written for the film.
• 1:24:03
  Not at all. When it goes quiet, that's when
• 1:24:04
  the driver is hiding from the cops.
• 1:24:06
  And then the beat starts to get louder as the intensity of the
• 1:24:08
  chase rises. Yeah, and really shows the power
• 1:24:11
  of editing, like you said, Westie, to get the images to
• 1:24:14
  match the song. Yeah, and thematically tick of
• 1:24:17
  the Clock the opening scene's. All about time and the.
• 1:24:18
  Importance of it, Yeah. I mean, it's very difficult to
• 1:24:21
  know where the pop music ends and the score starts.
• 1:24:24
  It is. I think that's four or five
• 1:24:25
  songs. Yeah, it definitely is.
• 1:24:27
  And they blend together perfectly so well and they they
• 1:24:30
  kind of create a one like dreamy soundscape feels like it's been
• 1:24:34
  generated by the city itself. Yeah, there's one use of music
• 1:24:37
  in the film that does Take Me Out of the fit little bit, but
• 1:24:39
  I'll mention that later. I know which one you mean.
• 1:24:41
  That's fair. OK, right.
• 1:24:42
  The. Music wasn't decided on until
• 1:24:44
  post. Production they knew the one
• 1:24:46
  that Electro pop music but non retro sound in all the songs by
• 1:24:49
  one in the film, or at least no more than four years prior to
• 1:24:52
  2011. Editor Matt Newman had a big
• 1:24:54
  part to play in the song Choices.
• 1:24:56
  He suggested Nightcall and Real Hero.
• 1:24:58
  And I think you can tell he's like, we need to cut it to this
• 1:25:00
  one. Yeah, yeah.
• 1:25:02
  I mean, it's perfect. He's chosen the.
• 1:25:03
  Songs to edit to Yeah, it's wonderful.
• 1:25:05
  It's the same with the right? And it's it's wine and reference
• 1:25:08
  listening to the. Crew and it's a beautiful thing,
• 1:25:10
  Yeah. The older song is All My Love
• 1:25:12
  by. Catina Ranieri, which was from
• 1:25:14
  the early 70s, plays as Nino is killed.
• 1:25:16
  Yeah, love it. Yeah, and Reference said.
• 1:25:18
  We didn't. Have to emulate the feel and
• 1:25:20
  sound that we were looking for. Those songs embodied the film's
• 1:25:23
  move perfectly, so we started editing the film with those
• 1:25:25
  playing in the background. I had to cut the movie to those
• 1:25:28
  particular songs and it kept me in the right state of mind.
• 1:25:31
  Johnny Jewell from The Chromatics was originally signed
• 1:25:33
  on to. Score the film, but at the last
• 1:25:35
  minute he was replaced by Cliff Martinez.
• 1:25:37
  Martinez been scoring movies since the 80s.
• 1:25:39
  Reference Loved his work on sex, lies and videotape.
• 1:25:42
  Yeah. Support Under Your Spell and
• 1:25:44
  Tick of the Clock were both written by Johnny Jewell, so he
• 1:25:46
  did get some of his music in there.
• 1:25:48
  And that leads us to our third and final pirion question.
• 1:25:51
  This one is from Stephen Garland.
• 1:25:54
  Hi Stephen. Hello, Stephen, Stephen Says.
• 1:25:56
  Drives ambience. Synth heavy.
• 1:25:58
  Soundtrack as a rare approach for more modern films, but if
• 1:26:01
  executed right, which it very much is in this case, can
• 1:26:04
  totally immerse you into the film.
• 1:26:05
  Agreed. Steven asks what other movies
• 1:26:07
  have a similar unique soundtrack that submerges you into that
• 1:26:10
  film. He's also says that you're not
• 1:26:12
  allowed to pick Blade Runner. Oh well, that's me out.
• 1:26:15
  Yeah, got no answers. Matt, I'm not really out of
• 1:26:21
  answers. I can't be.
• 1:26:23
  West, don't worry about it. I don't know it is.
• 1:26:27
  So unique. I do struggle thing of any quite
• 1:26:31
  like this to be honest to to the extent that this one does.
• 1:26:33
  The ones that do come to mind do.
• 1:26:35
  I think Kubrick handles music really well.
• 1:26:38
  I think 2001, particularly the opening music, The Shining, the
• 1:26:43
  music he uses there. Like Jesus Christ.
• 1:26:48
  Yeah, and I think the. Other director who came into
• 1:26:52
  mind, Terrence Malick with the music, he brings in something
• 1:26:55
  like Tree of Life. Yeah.
• 1:26:57
  I think Malik always uses music really well to really kind of
• 1:27:00
  take you into the world of his films.
• 1:27:01
  Or Tree Life, definitely the New World as well.
• 1:27:04
  Yeah. What about you, Wesley?
• 1:27:05
  I would say I've. Always.
• 1:27:07
  We're always up on. This art with the soundtracks
• 1:27:09
  like it's top five for this, top five always top five this
• 1:27:12
  there's and I just had to think of something that was unique and
• 1:27:15
  it was all brother we are though, it's very unique.
• 1:27:20
  But I think Joker was really good and that really stood out
• 1:27:22
  for me as one of the very original soundtrack.
• 1:27:24
  Yeah, that very nice, beautiful thing.
• 1:27:26
  But the the one that I'm going to say is Dead Man by Neil Young
• 1:27:30
  from the Jim Jones film. Great.
• 1:27:32
  So it's basically just played the film in front of him and he
• 1:27:34
  just played the soundtrack as he watched the film.
• 1:27:36
  So for me, you can't get more unique than that.
• 1:27:39
  I was struggling with this the way I.
• 1:27:41
  Approach Stevens. Question is that the music has
• 1:27:43
  to be thematically the same. OK.
• 1:27:46
  There's not different genres thrown into the.
• 1:27:48
  Mix they all. Work as an album on their own
• 1:27:50
  merits, but also additionally submerge you into what you're
• 1:27:53
  watching? Yeah, like you would buy it
• 1:27:55
  separately, Yeah. Exactly, Yeah.
• 1:27:58
  Yeah, that's right. So the first one I'm.
• 1:27:59
  Going. For Is the soundtrack for The
• 1:28:01
  Harder They Come, the Jimmy Cliff film.
• 1:28:03
  All right. OK.
• 1:28:04
  Which is right up there for me. The music leaps.
• 1:28:07
  From the screen and it completely roots you in that CD
• 1:28:10
  Criminal World in Jamaica and it's a great accompaniment to
• 1:28:13
  the film and the location and Jimmy Cliff.
• 1:28:16
  Acts as good as you can sing quite honestly, right?
• 1:28:18
  Beautiful stuff. It's a it's such a magnificent
• 1:28:21
  soundtrack. And if you're not a massive fan
• 1:28:22
  of reggae, then that's yeah, that's your gateway road.
• 1:28:25
  Oh fair one, And you get into that.
• 1:28:26
  Now I'm a tiny fan of reggae. It makes you feel seasick, but I
• 1:28:29
  just feel a bit. Off.
• 1:28:32
  Kilter. Just the tempo of it, But I'll
• 1:28:34
  get into the reggae band. That's the police, obviously.
• 1:28:41
  Well, you be 40. Same guys for 20 years.
• 1:28:47
  Classic West. Yeah, sorry guys.
• 1:28:53
  One that I thought of. The second one that I thought
• 1:28:56
  of. Is Curtis Muirfield soundtrack
• 1:28:57
  for Superfly the 1972? I know that.
• 1:29:00
  Yeah, yeah, yeah, the films. As you would.
• 1:29:03
  Expect. Gritty crime.
• 1:29:04
  Drama set in the grime of 70s New York, but the muse,
• 1:29:08
  obviously amazing take. But the music is almost too good
• 1:29:12
  for the film, right? It's an amazing soundtrack.
• 1:29:16
  There's danger. Around every corner of that
• 1:29:18
  soundtrack, just like the film. It is one of those examples
• 1:29:21
  where the soundtrack is better than the film itself, but it
• 1:29:24
  completely puts you in the shoes of the character and the danger
• 1:29:28
  that surrounds them. Amazing soundtrack.
• 1:29:29
  Oh nice. That's actually reminding me
• 1:29:31
  about Dirty Harry. Oh yeah, which I think is very
• 1:29:34
  nice. Well, Sheffrin.
• 1:29:35
  Yeah. Wonderful.
• 1:29:37
  So great choices on the soundtracks.
• 1:29:39
  And a great question from Stephen to root them out of us.
• 1:29:41
  Yes. Thank you, Stephen.
• 1:29:45
  And finally we have Newton Thomas Siegel.
• 1:29:48
  Cinematographer extraordinaire? Yes, From one to the other.
• 1:29:51
  Westie. What do you think of
• 1:29:52
  cinematography? Fuck me.
• 1:29:54
  Don't put me up there. Jesus Christ.
• 1:29:56
  Pressure. Here's a fun little game for me
• 1:29:59
  to play. Only in the world.
• 1:30:01
  Was this shot on film or was this shot on Digital Matt film
• 1:30:06
  Luke? Why No Shot Digitally?
• 1:30:15
  On what? Yeah, yeah.
• 1:30:19
  This was short digit on the Alexa which.
• 1:30:21
  Is very similar to what Dickens used for a lot of his stuff and
• 1:30:24
  it's just it just looks beautiful.
• 1:30:25
  It looks like it should be shot on film.
• 1:30:27
  As the reason I asked the question, it's got a very old
• 1:30:30
  school look and the reason it's got an old school look is
• 1:30:33
  because it's such a small camera, but he doesn't move it a
• 1:30:35
  lot. There's no handheld or it's very
• 1:30:38
  cinematic. Very much it's everything's.
• 1:30:40
  Locked off, everything's got a frame.
• 1:30:41
  Everything's got a purpose. Everything's got.
• 1:30:43
  You know, what you see is what? Yeah, exactly.
• 1:30:45
  Need to see, I think. The visuals to this are exactly
• 1:30:48
  the same as the writing, the dialogue stripped back, and so
• 1:30:51
  is the attention to the frame. You see exactly what you need to
• 1:30:55
  do. There's nothing in that for him
• 1:30:56
  that you don't need to see and do.
• 1:30:57
  I think the only tracking shot is is the end.
• 1:30:59
  When he walks into the restaurant to meet Bernie,
• 1:31:01
  that's the only time it's handheld.
• 1:31:03
  Because he finds he's really destroyed it with what's going
• 1:31:06
  on. He's not in control.
• 1:31:07
  Out of control. Yeah, it's the use the mirror
• 1:31:09
  shots in this, I think. Munich's probably the only.
• 1:31:11
  Other film where the mirror shots are as good as this one
• 1:31:14
  because you've got like that one I said, where he's reflected and
• 1:31:16
  you've got the family portrait and you've got, you've got Irene
• 1:31:19
  stand the next whip, you've got them driving down and he says,
• 1:31:21
  do you want to see something you got beneath, reflected in the
• 1:31:23
  rear view mirror? You've got all of these frames
• 1:31:26
  within frames within. Painting within paint and it's
• 1:31:29
  just the lighting of this is just incredible and how he's not
• 1:31:32
  scared to change it halfway through.
• 1:31:33
  Like you talked about with the Olivia Seamas.
• 1:31:36
  It just goes, it's cinematic. It shouldn't make sense to take
• 1:31:39
  you out the film, but it's still in such a beautiful way where
• 1:31:42
  you buy it and that's kind of maybe how that feels.
• 1:31:45
  And he makes it look like it should feel.
• 1:31:47
  But incredibly versatile and incredibly good cinematographer
• 1:31:52
  and someone who just said, look, Nicholas Martin ref what do you
• 1:31:54
  want? I'll give it to you.
• 1:31:56
  And he absolutely does. And he hasn't did anything like
• 1:31:59
  this afterwards reference. But yeah, Segal just went,
• 1:32:02
  that's it for me. I'm going to nail it and he
• 1:32:04
  nails it on and it's it's a beautiful thing.
• 1:32:06
  Yeah. On the on the lighting in the
• 1:32:08
  the car sequences. The nighttime car sequences,
• 1:32:11
  Siegel said. We rigged the car with a rack
• 1:32:13
  overhead with all kinds of different lights and.
• 1:32:15
  And we wired them into the dimmers in the trunk so that
• 1:32:18
  could be wirelessly controlled, so we could turn lights on and
• 1:32:20
  off and dim them up and down. Yeah, So Ryan could just drive
• 1:32:23
  around while we played the roof rack like a musical instrument.
• 1:32:26
  It's really intricate stuff. Like if you watch it how?
• 1:32:29
  How we let most of it. It's really, really intricate to
• 1:32:31
  make it look so simple. Yeah, fantastic work.
• 1:32:35
  So a very talented crew on drive, all pulling.
• 1:32:37
  Together to create something greater than the sum of its
• 1:32:40
  parts absolutely. The end.
• 1:32:48
  We're into. The final act, and it's not
• 1:32:49
  going to end well. For anyone, we're starting off
• 1:32:52
  with people being OFT all over the place at the hands of
• 1:32:55
  Bernie. Yeah, and I'm starting off with
• 1:32:57
  the interaction at Nino's. Oh, nice.
• 1:32:59
  Yeah, great. This is where we get to.
• 1:33:01
  Know what the hell is actually happening?
• 1:33:03
  Yeah, Nino's store from the East Coast mob who were trying to
• 1:33:06
  muscle in on his patch. And we find out Nino's
• 1:33:08
  motivations as well. He's he's not accepted from the
• 1:33:11
  family because he's Jewish. What's really telling is that
• 1:33:14
  Bernie calls Nino Izzy, presumably his real name.
• 1:33:17
  Nino is an aspirational title he's given himself inside this
• 1:33:21
  pizza shop that is a front. Yes, and Ron Pearlman.
• 1:33:25
  Did not have to be persuaded to join the.
• 1:33:27
  Cast of drive. The fact that Nino was Jewish.
• 1:33:30
  Who wanted to be Italian, spoke to him because he felt the same
• 1:33:33
  when he was growing up in New York.
• 1:33:34
  That's exactly what he was like. Grace.
• 1:33:36
  Yeah, perfectly. He doesn't need to act, no.
• 1:33:38
  He just needs to play it. Yeah, it's what he says.
• 1:33:40
  They call me a cake to my. Face it's it's really powerful
• 1:33:44
  stuff something. It is.
• 1:33:45
  It really is. And in this scene we find.
• 1:33:48
  Out. How much of A bastard Bernie is
• 1:33:50
  Bernie the bastard? Yeah, slinging all the insults
• 1:33:54
  that cook. Before stick and fork in his
• 1:33:56
  eye. Which that's unnecessary.
• 1:33:58
  It is unnecessary. That part is.
• 1:34:01
  Unnecessary. If you want to kill him because
• 1:34:03
  you're. Still going to have to slice his
• 1:34:04
  neck, yeah, regardless of whether the fox in his eye or
• 1:34:07
  not. But when he uses the knife.
• 1:34:10
  In the throat it's not a. Clean in and out.
• 1:34:13
  He squeezes that knife in the neck, forcing it through
• 1:34:16
  arteries and vein and muscle in his windpipe.
• 1:34:19
  And a knife usually goes in and out without too much force in
• 1:34:21
  movies, but not here, and it makes it all the more hard to
• 1:34:24
  watch. And like many other scenes from
• 1:34:26
  earlier, it shows the menace that Bernie packs, which we
• 1:34:30
  hadn't really seen up until this point.
• 1:34:32
  No, not to this degree. I think he wanted to make a
• 1:34:34
  mess. Yeah, it's more of a message to
• 1:34:37
  Nino than it is to anybody else. Yeah, like now you have to clean
• 1:34:39
  up after me. And he has been a likeable man,
• 1:34:42
  really. Yeah, and he's been on Shannon's
• 1:34:44
  side. He's been helping him out.
• 1:34:45
  But this scene, I think, makes the next scene believable and
• 1:34:49
  there's a clear difference between this one and that one.
• 1:34:51
  Yes, Matt, I believe you. You're going to pick up the
• 1:34:54
  baton on. That one I absolutely AM.
• 1:34:56
  Yes. Yeah.
• 1:34:56
  Because then you get Bernie killing Shannon because
• 1:34:59
  Shannon's loose end that needs to be tied up.
• 1:35:01
  And it's a devastating moment because their relationship has
• 1:35:04
  played up so interestingly. You know Bernie has genuine
• 1:35:06
  affection for Shannon. You've seen it in the way that
• 1:35:09
  he, he tells Drive, he let Shannon get away with
• 1:35:11
  overcharging them in a way that Nino didn't.
• 1:35:13
  And when Nino says Shannon has to go in our previous scene
• 1:35:17
  because he knows about the money, you see Bernie literally
• 1:35:19
  flinch. He can see the look on his face
• 1:35:21
  like he does not, didn't want to be put in this position.
• 1:35:25
  And he knows Nino's right, but he hates the fact that he's
• 1:35:27
  right. And I think it's notable that he
• 1:35:29
  decides to take responsibility because I think if he tells Nino
• 1:35:32
  to do it, it's going to be much worse for Shannon.
• 1:35:35
  Yes, it's going to be nasty. And so then you get to that
• 1:35:38
  scene in the garage and Shannon finds him just broken in and
• 1:35:41
  he's just land up against the car.
• 1:35:43
  And Shannon knows instantly what's coming.
• 1:35:44
  So this scene has this real finality to it, you know, trying
• 1:35:48
  to cover for the driver saying he's going to Mexico or maybe
• 1:35:52
  Belize, and he knows that Bernie knows he's lying.
• 1:35:55
  So this is just for sure he's accepted his fate.
• 1:35:58
  But I think he also knows that because it's Bernie, Bernie's
• 1:36:01
  not going to torture him for the information.
• 1:36:03
  Unlike Nino, Nino would have absolutely put him over the
• 1:36:06
  racks to get the infrared, of course.
• 1:36:08
  Where the driveways and yeah. As you've kind of started to
• 1:36:12
  hang out, Luke, it's just the complete contrast to how he's
• 1:36:15
  dispatched Cook in the previous scene, which was so savage.
• 1:36:19
  It's just that one cut with a straight razor.
• 1:36:21
  Don't worry, that's it. It's done.
• 1:36:22
  It's done. It's done.
• 1:36:24
  It's no pain, no pain. It's.
• 1:36:26
  On time. If you ever, like, take your kid
• 1:36:28
  to the doctor because they need a job and they're scared about
• 1:36:30
  getting the thing, it's what you say to them.
• 1:36:32
  It's OK. It's done now.
• 1:36:33
  No more pain. It was just that little pain.
• 1:36:35
  It's done now. Yeah.
• 1:36:36
  Yeah. And there's a real comfort how
• 1:36:38
  he's talking to him. And the fact, like, he doesn't
• 1:36:40
  lunge at him, he doesn't try to trick him and get him to turn
• 1:36:43
  around so he can reach by and then like slit his thought, He
• 1:36:45
  shakes his hand to do it. It's not a trick.
• 1:36:48
  It is all about because he doesn't have that much regard
• 1:36:50
  for the driver. Later when he, you know, tries
• 1:36:52
  to kill the driver, he does lunch at him, gives him a belly
• 1:36:55
  wound. So there is this whole regret to
• 1:36:58
  the sequence, the fact that Bernie won't get his name on the
• 1:37:00
  car. You know, I think we would have
• 1:37:02
  made a go at this business. He genuinely wanted to.
• 1:37:05
  He's devastated. He's devastated.
• 1:37:06
  My name on that thing. It is.
• 1:37:08
  It's all. Breaking the last thing that
• 1:37:09
  strikes me about the same. And again, it can't rust the
• 1:37:12
  previous one with Cook. He doesn't just take a carved
• 1:37:15
  knife and a fork like you did to Cook, who means nothing to him.
• 1:37:18
  This straight raise. He doesn't Chuck it in the bin,
• 1:37:20
  he doesn't Chuck it in a drawer. He's got like a special box for
• 1:37:22
  it. It means something and I think
• 1:37:25
  that. Speaks to the respect he has for
• 1:37:27
  Shannon. You know, if I'm going to have
• 1:37:28
  to take him out, it's going to be, for whatever reason, this
• 1:37:31
  particular razor that I keep here and keep it pristine and
• 1:37:35
  keep it pristine. Yeah, yeah, Devastating scene as
• 1:37:37
  well it is, and I think. Everything from Bernie is a
• 1:37:39
  handshake. He shakes the driver's hand and
• 1:37:42
  knows that he's doomed. He refuses to shake Shannon's
• 1:37:44
  hand throughout the whole film until the end.
• 1:37:46
  Yeah, I love that scene right at the start and the driver
• 1:37:49
  doesn't. Shake my hand's a little dirty
• 1:37:51
  so my brilliant. I love that and afterwards when
• 1:37:56
  the driver comes back and. Finds Shannon, and he's just
• 1:37:59
  slumped and he's done for. And there is that regret and
• 1:38:02
  there is that tinge. But reference doesn't make it
• 1:38:04
  overly sentimental or emotional. There's no big score in here
• 1:38:08
  where you're like, Oh my God. And try and save him.
• 1:38:11
  He knows he's done for. He hated him for for rat out
• 1:38:14
  Irene and tell him, Bernie about Irene in the first years.
• 1:38:17
  So he kind of wanted that done with.
• 1:38:19
  But it always Hawks backwards how clever this film is and how
• 1:38:21
  clever it is with the writing and what the left in not what
• 1:38:24
  they took out. Because he's sitting there and
• 1:38:27
  he says, have you still got the money?
• 1:38:28
  I'll look after it for you if you want.
• 1:38:30
  And he said can you stop? And that was well early in the
• 1:38:33
  film, and now you know, he's been looking after it the whole
• 1:38:35
  time. Yeah, it's been in the back of
• 1:38:37
  that car. Yeah, in the booth.
• 1:38:39
  And he just brings it out. It's the car that he dies next
• 1:38:41
  to. He actually died protecting the
• 1:38:43
  money, unbeknownst to him. So Shannon actually wins by
• 1:38:47
  turning Bernie's attention away from what he thought wasn't
• 1:38:50
  anything. And he takes the attention out
• 1:38:52
  on him. Driver comes back and kind of
• 1:38:54
  looks down at Shannon, goes right.
• 1:38:55
  OK, Well, yeah, I forgive you now then because you've you've
• 1:38:58
  paid your last debt to what we need to pay the debt to.
• 1:39:01
  And I think that's just a beautiful thing to to look back
• 1:39:03
  on the way it's done. And narratively, I think it's
• 1:39:05
  just brilliant. Yeah, it is.
• 1:39:07
  It's fantastic stuff. Well.
• 1:39:11
  Now for the final sequence, the driver has Nino.
• 1:39:14
  Marked for death before trying to come to a truce with Bernie.
• 1:39:17
  All right. And I'm starting off with the
• 1:39:19
  scene where Nino. Gets what's coming from.
• 1:39:21
  Here, OK, it's given such drama. By.
• 1:39:24
  That song, All my love, yeah. It feels like a scene right out
• 1:39:27
  of The Godfather or something like that because of the pizza
• 1:39:30
  set and the drama and the vocal, the slow more of everyone in the
• 1:39:33
  party having a great time. But like I mentioned in the last
• 1:39:35
  segment, this song. It does pull me out of the film
• 1:39:38
  a little bit. I knew you'd say that.
• 1:39:40
  It's really Scorsese for me though, I.
• 1:39:42
  Just don't feel it's thematically consistent.
• 1:39:44
  With everything that we've heard and everything that we've seen
• 1:39:47
  since, it's just a little bit out of whack with the theme of
• 1:39:50
  of everything that we've seen. I actually, when I came to
• 1:39:53
  revisit it for the first time and the play is just as that
• 1:39:56
  scene where the driver finds Shannon, I thought he started
• 1:40:00
  singing. I thought it wasn't in the.
• 1:40:03
  Soundtrack. I thought it was the driver
• 1:40:05
  singing. Like a baby?
• 1:40:06
  Yeah. It would be amazing.
• 1:40:08
  Auditioning for La La Land. Put that aside when the driver
• 1:40:13
  has that mask. On It's such an odd image at the
• 1:40:16
  door. He looks really weird.
• 1:40:18
  I really like kind of what you were saying about the light, and
• 1:40:20
  it's so obvious, but it's it's effective, It works for the
• 1:40:23
  film. He kind of gets a light on his
• 1:40:26
  face as he's at that door looking into the party.
• 1:40:30
  Almost as if he's kind of like an Angel of vengeance or
• 1:40:33
  something like that, yeah. And the mask, It could be
• 1:40:35
  interpreted as him needing to become a different person to be
• 1:40:38
  able to achieve what he needs to achieve.
• 1:40:40
  He's not the :) feather around Benicio.
• 1:40:43
  He has no expression reference. Said the driver wearing a mask
• 1:40:46
  was our way to show that he has completed his own transformation
• 1:40:49
  into becoming his own superhero. He said The movie, if you think
• 1:40:53
  about it, is. About a man who's transforming
• 1:40:56
  himself into a superhero and fights.
• 1:40:57
  The bad guys and superheroes need their own costume and the
• 1:41:00
  mask is his right. Superheroes brothers.
• 1:41:04
  Graham. Penetration, what's going on?
• 1:41:08
  Genius. That's what's going on like.
• 1:41:11
  It's great when there was. Headlights appear from.
• 1:41:13
  Norway after he smashed Nino off the road.
• 1:41:15
  Nino's face is almost complete darkness.
• 1:41:17
  But then he he soon sees the light from the car, and it put
• 1:41:21
  me in mind of something like Jewel or Christine.
• 1:41:25
  Really menacing image. Yeah.
• 1:41:26
  And there's just something so purely cinematic about that
• 1:41:29
  moment on the beach, the Malibu setting, the sporadic light from
• 1:41:33
  the lighthouse, the threat of the shoreline, and the increased
• 1:41:36
  din from the score. I mean, I don't know what Nino
• 1:41:38
  thinks he's doing weird and into that sea that's going to end
• 1:41:41
  band. Get away for him, Yeah.
• 1:41:44
  And we don't see how Nino buys it, leaving it up to our
• 1:41:46
  imagination, which, I mean, I can only imagine, but I mean
• 1:41:50
  Nino, he gets absolutely. He's just desserts.
• 1:41:53
  Yeah, yeah, it is the scorpion and the frog.
• 1:41:55
  Story. Yes, of course, your friend
• 1:41:58
  Nino. Didn't make it across.
• 1:41:59
  The river. Exactly.
• 1:42:00
  Yeah. Yeah.
• 1:42:00
  So he stings, and however he stings and that's.
• 1:42:02
  Up to your. Imagination.
• 1:42:03
  Yeah. Yeah, Great.
• 1:42:04
  Yeah. Wesley.
• 1:42:06
  Yeah. What?
• 1:42:06
  Do you think about this end sequence?
• 1:42:08
  I mean, we've seen the end of Nino.
• 1:42:10
  Now like. I've said we've got a tracking
• 1:42:11
  shot, which always unnerves me, but it's beautifully done.
• 1:42:14
  It's just long enough and he goes in and it's the subtle
• 1:42:19
  soundtrack here and the dialogue here is great.
• 1:42:22
  Where's the money now? It's in the car.
• 1:42:24
  Yeah, where he's always been, because he's the safest, it's.
• 1:42:26
  In the car, it's just so beautifully.
• 1:42:28
  Played out the way this is edited, so I can imagine this is
• 1:42:31
  how the books written, and imagine this is how much of the
• 1:42:33
  screenplay was written. You just see the driver knows
• 1:42:36
  what's coming. And you see a play out and then
• 1:42:39
  he knows what's coming. You see a play out and then he
• 1:42:41
  knows what's coming. It's just it's the same as the
• 1:42:43
  opening sequence except it's just edited completely
• 1:42:45
  differently. You could edit the opening
• 1:42:47
  sequence like this. You could have them just say and
• 1:42:50
  you know I'll be with you in 5 minutes and then anything
• 1:42:52
  outside that window or the bang and it could cut him just
• 1:42:54
  speeding away and then cut back to his speech and cut back
• 1:42:57
  again. Yeah, but it doesn't.
• 1:42:58
  It's just so beautiful played out here.
• 1:43:00
  And I think to shoot it in silhouette is such confidence.
• 1:43:04
  It's so beautiful. It's so wonderfully played out.
• 1:43:07
  And the way the camera just works on them, you know, for a
• 1:43:09
  fact they've not been directed in what they're doing.
• 1:43:11
  And the camera follows it. Yeah.
• 1:43:13
  And it feels you definitely get that sense.
• 1:43:15
  Yeah. And it's not.
• 1:43:16
  Like it's not staged, it's just. Very natural.
• 1:43:19
  And it's it's approach, that beautiful shot, when he first
• 1:43:22
  gets stabbed and he leans back and there's a huge lens flare as
• 1:43:26
  if he's seen, you know, the Light of Heaven or whatever
• 1:43:29
  else. It plays into all of these
• 1:43:31
  really big supernatural tropes. And it's just so beautifully
• 1:43:35
  realized and so wonderfully done.
• 1:43:37
  And the last thing that I'll touch on is that when he's
• 1:43:39
  talking to Benicio, he always plays the game.
• 1:43:41
  Where are you going to blink first?
• 1:43:43
  Plays this blinking game all the way through.
• 1:43:45
  It and he plays. It with the audience at the very
• 1:43:49
  end. You're scared to blink when you
• 1:43:52
  see him sat there. It comes from his shoe all the
• 1:43:55
  way up. And you set the length of time
• 1:43:57
  it's only holds for so long, you're scared to blink.
• 1:44:00
  You're. Scared to blink?
• 1:44:01
  You're scared to, right? And he's playing that with the
• 1:44:03
  audience. He blinks and then he drives
• 1:44:05
  off. And I think that's just a
• 1:44:07
  wonderful thing. The violence was specifically
• 1:44:10
  staged. In the film, which is why we
• 1:44:11
  don't see anything of the altercation between Bernie and
• 1:44:14
  the driver. It's just in shadow, yeah.
• 1:44:16
  And reference also said you have to know when.
• 1:44:18
  It's right to show the violence when it's better to use shadows.
• 1:44:21
  The shadow allows the view to use their imagination more,
• 1:44:24
  which then allows them to generate deeper emotions than
• 1:44:26
  just revulsion. Yeah, agree with that.
• 1:44:29
  Yeah, like we've talked. About like we've said on many
• 1:44:31
  episodes, you generate your own conclusions and the own images
• 1:44:36
  in your head. It's balls.
• 1:44:38
  You do that at this point in 2000 and. 11.
• 1:44:40
  It's balls. You do that, considering what
• 1:44:42
  we've already seen in the film, yeah.
• 1:44:44
  Exactly. Going to wrap it up for me with
• 1:44:45
  it, just with his. Ambiguity at the.
• 1:44:47
  End Is he going to live? Is he going to die?
• 1:44:50
  And this kind of music just fading in as this representative
• 1:44:53
  of his final thoughts and his final wish, which is to be he's
• 1:44:56
  tripped to heaven district to heaven.
• 1:44:58
  I just want to drive away. And I did mention Shane earlier,
• 1:45:01
  so I'm going to come back to that because that is such a huge
• 1:45:03
  influence on this film, particularly this because if you
• 1:45:06
  haven't seen it, to Weston from the 50s about this mysterious
• 1:45:09
  drifter who rides in the town and he comes the head of a
• 1:45:12
  farmer and his wife and they've got a young son, but they've
• 1:45:15
  been threatened by Cattle Baron. It is.
• 1:45:16
  It's really good film. Who wants the land?
• 1:45:18
  And in the final gunfight, he kills the bad guys.
• 1:45:21
  They've got the kind of relationship that Driver and
• 1:45:23
  Standard do, where Standard can't really stand up for
• 1:45:26
  himself that much. It's very similar to that.
• 1:45:29
  But Shane, he does get interested in the process, and
• 1:45:31
  the film ends with him riding off into the valley and the
• 1:45:33
  young son is just crying after him.
• 1:45:35
  You know, come back, Shane, come back.
• 1:45:37
  And the whole ambiguity is, well, is he alive and just,
• 1:45:40
  wounded? Or is he dying in the saddle as
• 1:45:42
  he rides off? As he has he actually died and
• 1:45:44
  the horse is just. It's going on its way.
• 1:45:46
  You know, it never addresses that, which is obviously what
• 1:45:48
  they're doing here, you know, because you think, well, it's a
• 1:45:51
  belly room. He's, he's unlikely to survive
• 1:45:53
  that. Yeah, but it's going to bleed
• 1:45:54
  out. Yeah, surely.
• 1:45:55
  But the ambiguity. Just stops at being.
• 1:45:57
  Completely depressing. And there's there's two great
• 1:46:00
  touches here. I love the fact that he just
• 1:46:02
  leaves that bag full of money in the parking lot next to his
• 1:46:05
  body. Just tainted, isn't it?
• 1:46:07
  It's tainted. And that's his message.
• 1:46:08
  The mob. There you go this.
• 1:46:10
  Is what you wanted. I wanted nothing to do with it.
• 1:46:13
  And then the last thing for me, it's just that shot of Irene
• 1:46:15
  knocking on his door and then just turn in and walking back
• 1:46:18
  when she realizes he's not there and they're looking like
• 1:46:21
  devastation on her face. But he gives her the phone call
• 1:46:23
  as well, which I always forget about.
• 1:46:25
  Yeah. Yeah.
• 1:46:26
  So can I just talk to you like I've got to go somewhere?
• 1:46:28
  I'm. Not sure I can.
• 1:46:28
  Come back from it, Yeah. This is beautifully done.
• 1:46:31
  Yeah, it is. I mean, it's a really, really
• 1:46:33
  satisfying. Ending to a really incredible
• 1:46:36
  film. Yeah, reception under Ward
• 1:46:44
  critical. Prayers started, Pride and
• 1:46:45
  nationwide release in. September 2011 At the Cannes
• 1:46:48
  Film Festival in May of 2011, lips were flapping furiously
• 1:46:52
  enough to create a word of mouth buzz about drive, helped in no
• 1:46:55
  small part by the 15 minute standing ovation it Got and Ref
• 1:46:59
  and also went on to win best direct the prize at the Cannes
• 1:47:01
  Film Festival. They always do these massive
• 1:47:05
  ovations, now don't they? Love it to do no matter what the
• 1:47:07
  film is. I've never stood up and
• 1:47:09
  applauded a film in my life. I think there's a balance,
• 1:47:13
  though, because I think there were booze.
• 1:47:15
  After Only God Forgives finish you will.
• 1:47:17
  I'm not surprised by that, I. Love that film, actually.
• 1:47:21
  Refin had visited. Cannes the year before?
• 1:47:23
  In 2010, to seek funding for this film, Film District snapped
• 1:47:27
  up the distribution rights without seeing any footage.
• 1:47:29
  They love the concept. Nice.
• 1:47:31
  I think Goslin being on board would have helped that as.
• 1:47:33
  Well, Oh yeah. Possibly.
• 1:47:34
  Definitely. When it finally opened in the
• 1:47:36
  States, the reviews were awash with superlatives for reference
• 1:47:39
  work. Peter Travers of Roland Stone
• 1:47:41
  named it his favorite film of 2011.
• 1:47:43
  Seeing that reference is a virtue, also blending tough and
• 1:47:46
  tender with such uncanny skill and that it was a brilliant
• 1:47:49
  piece of nasty business. Nasty business like risky.
• 1:47:54
  Business. But nasty business?
• 1:47:55
  Yeah, if that bit was just in pink, yeah, exactly.
• 1:47:59
  Just the nasty and pig. Yeah.
• 1:48:02
  Empire also listed it as the best film of the.
• 1:48:05
  Year saying about as much shamelessly disreputable,
• 1:48:08
  stylish, ultraviolent fun you're going to have at the movies.
• 1:48:11
  This year they are. Why not boom right at my street?
• 1:48:15
  And Roger Ebert out of four, what do you reckon?
• 1:48:17
  Fellas, I'm going to go 3.5. Maybe went against the grain 2.
• 1:48:23
  .50 Wester, you've got it on the money, he said.
• 1:48:27
  Drive looks like one kind of movie in the ads, and it is that
• 1:48:31
  kind of movie. It also is a rebuke to most of
• 1:48:34
  the movies that it looks like unpick that sentence.
• 1:48:37
  Wow. OK, OK Yeah.
• 1:48:40
  And on that note. In October 2011, a lawsuit.
• 1:48:43
  Was filed against distributors of Drive by a woman from
• 1:48:46
  Michigan. Her claim was that she was
• 1:48:47
  misled by the trailer and thinking that Drive would be a
• 1:48:50
  high octane action. Instead of a cerebral slow
• 1:48:53
  burner that we get. I love that.
• 1:48:56
  I love that so much. Who in their right mind that?
• 1:49:00
  Is not the film that I anticipated from the trailer
• 1:49:03
  lawsuit. Who does that?
• 1:49:05
  I would have done that about 700.
• 1:49:08
  Times easily. That's what Trailers is supposed
• 1:49:12
  to do. Fucking.
• 1:49:13
  Of course. Entice you in?
• 1:49:15
  Did you like it? No, it wasn't.
• 1:49:16
  What? I thought.
• 1:49:17
  Yeah, that's exactly we've got your money.
• 1:49:18
  So yeah, fuck. Off jokes on you, I'm going to
• 1:49:22
  sue you. Yeah, crazy.
• 1:49:24
  The world's got mad. But.
• 1:49:26
  Despite the lawsuit, which? Didn't go anywhere drive.
• 1:49:28
  Was successful at the box office.
• 1:49:29
  Not up there with the big hitters, but on a $15 million
• 1:49:32
  budget it returned $81.4 million worldwide.
• 1:49:36
  It's a beautiful thing for 15,000,000, mind it, is it.
• 1:49:38
  Is this film. Yeah, it.
• 1:49:40
  Still stands up. On IMDb.
• 1:49:43
  Now it has a score of 7.8. Out of 10 and on Rotten
• 1:49:45
  Tomatoes? A rating of 93% from critics, 79
• 1:49:48
  from audiences. I thought it'd be lower than
• 1:49:50
  that, if I'm honest, From audiences.
• 1:49:53
  Oh really? Just because it's polarizing.
• 1:49:55
  Drive's success. At Cannes was not replicated
• 1:49:57
  domestically. It picked up a solitary Golden
• 1:50:00
  Globe nomination for Albert Brooks and a solitary Oscar nom
• 1:50:03
  for Best Sound. Eddin Albert Brooks posted on
• 1:50:05
  Twitter. I got robbed in capitals.
• 1:50:08
  I don't mean the Oscars. I mean literally.
• 1:50:10
  My pants and shoes have been stolen.
• 1:50:11
  It's fucking hilarious. I'm sorry.
• 1:50:18
  Great. Wonderful.
• 1:50:20
  Sense of. Humour.
• 1:50:21
  And if we're being honest, there's no surprise that it
• 1:50:23
  didn't get much during award season.
• 1:50:25
  It's not everyone's tastes. No, it's not an awards film.
• 1:50:28
  No, it's not with more violence. Than dialogue.
• 1:50:30
  I mean, you're not. Going to get Best Picture, are
• 1:50:32
  you? Yeah, but still, it's power to
• 1:50:33
  shock and inspire. Or still remains 12 years on?
• 1:50:36
  Yeah, definitely. All the right movies ranking.
• 1:50:44
  We're sitting down for. Our final face to face at the.
• 1:50:46
  Great Wall to unpack our summary of driving giving marks out of
• 1:50:50
  10. Matt, would you like to go
• 1:50:52
  first? Great.
• 1:50:53
  Great film. Gosling elevating this character
• 1:50:57
  with minimal dialogue and without ever explaining either
• 1:51:00
  who he is or why he is. You know, why is he that way?
• 1:51:03
  Doesn't matter. Brooks.
• 1:51:05
  Fantastic bit of casting and brilliant support from the likes
• 1:51:08
  of Mulligan, Parliament, Isaac Cranston.
• 1:51:09
  I love the soundtrack. I love the general vibe and how
• 1:51:12
  it ties everything up in a very neat and tidy about 100 minutes
• 1:51:16
  even. Or just have this ambiguity to
• 1:51:18
  the end, you know, and referen, bringing everything together
• 1:51:21
  with this real panache. So Tuano Silva, I can't really
• 1:51:24
  fault any of it, but I think for absolute top team marks it lacks
• 1:51:29
  one of two things. Or maybe would get it there.
• 1:51:31
  It isn't a film I could describe as being important in a general
• 1:51:35
  kind of cinematic sense. Didn't really, you know,
• 1:51:38
  completely. Reinvent a genre.
• 1:51:40
  Or really, truly announce a new way of filmmaking.
• 1:51:43
  A new person. OK.
• 1:51:44
  And the other thing, and this isn't the fault of the film at
• 1:51:47
  all. It just lacks the personal
• 1:51:49
  connection that, for me, would bump it up a bit.
• 1:51:52
  I got you. You know what?
• 1:51:53
  That's an entirely subjective and personal thing.
• 1:51:55
  Because this is no way of knowing which films are going to
• 1:51:57
  get you like that. Yeah, Yeah.
• 1:51:59
  Ultimately, it's a great film. But it's not a favorite.
• 1:52:03
  And honestly, that's all I can say against it.
• 1:52:06
  Everything else is so good. So it's a 9.50.
• 1:52:10
  It's still massive though. It's still.
• 1:52:11
  Massive It's. Great film, yeah.
• 1:52:14
  I say it's just not an all time favorite.
• 1:52:17
  That's fair enough. Well, this film makes.
• 1:52:19
  Me feel. Something it's more of an
• 1:52:22
  emotional film than anything because it there's not that much
• 1:52:25
  dialogue to hang on to, so it invokes emotions through images.
• 1:52:28
  It's exhilarating. Kind of puts you on the edge of
• 1:52:31
  your seat. I started to feel like I was in
• 1:52:34
  a dream. It's almost hypnotic.
• 1:52:36
  Yeah, there's just kind of grabs.
• 1:52:38
  You and and. Keeps your keeps your gaze.
• 1:52:41
  You can't look away from it because you're desperate to be
• 1:52:44
  in that world or understand what's happening.
• 1:52:46
  I was really blown away by it. Coming back to for this show.
• 1:52:49
  I really was. Oh nice.
• 1:52:51
  There are two moments that started.
• 1:52:52
  Getting full marks. And I know I'm being harsh.
• 1:52:55
  I've mentioned them already. But thematically, I feel as
• 1:52:58
  though the driver should die at the end.
• 1:53:00
  That's his fate. He's been wearing it as a badge
• 1:53:02
  on on his back. Then you've got that song
• 1:53:05
  outside Nino's by Catina Ranieri.
• 1:53:07
  It's a great song, but I feel like it.
• 1:53:09
  It doesn't have a life inside this film, right?
• 1:53:12
  Personal choices, I know. Yeah, that's what it's about,
• 1:53:15
  isn't it? So a couple.
• 1:53:16
  Of slight issues, but it's a magical magnetic.
• 1:53:18
  Film and it also gets a 9.5 out of 10 from me, OK.
• 1:53:23
  I mean that should have been. A positive.
• 1:53:25
  But westies, you've seen this taken in the negative, of
• 1:53:29
  course, me taking anything into the negative.
• 1:53:31
  No. Come on, check your sources.
• 1:53:36
  You've got. Hundreds of hours of material?
• 1:53:41
  Yeah, they're my sources. Absolutely.
• 1:53:45
  OK, Westies. So you're.
• 1:53:46
  Summary in score for drive. My summary in score for drive
• 1:53:49
  It's everything I. Love about a film.
• 1:53:52
  And the time that it came out was everything I needed from a
• 1:53:54
  film. This delivers on every single
• 1:53:57
  level. And for what you guys don't like
• 1:53:59
  it for, I think I'll like it for because it goes there and it
• 1:54:03
  does them things. And I I don't have to like
• 1:54:05
  everything about it. I appreciate everything about
• 1:54:08
  it. So it's 10 for me.
• 1:54:09
  Yeah, I mean that. That was nailed on the wall from
• 1:54:11
  the get go. Of course it was.
• 1:54:12
  Yeah. Our 4th and final score.
• 1:54:14
  Our faithful followers on X, formerly Twitter, have been
• 1:54:18
  voting in their droves. Before we get to the score,
• 1:54:21
  we've picked out some pearls of wisdom from those who voted, and
• 1:54:24
  it would be interesting, as you would expect, polarizing.
• 1:54:27
  So I've got 2. Sides of the fence here with the
• 1:54:30
  comments. Wonderful.
• 1:54:30
  OK. First side of the fence, Carl.
• 1:54:33
  Sargeant at Carl. Sargeant said.
• 1:54:35
  Stunningly original with top drawer acne performances.
• 1:54:38
  A beautifully directed film with the perfect ending.
• 1:54:40
  One of my favorite films, 10 out of 10.
• 1:54:42
  My side of the fence. I.
• 1:54:45
  Think both mine and. Matt's yeah.
• 1:54:48
  We can't quibble for half a point.
• 1:54:51
  No, sorry, Nicola Dodds at Nick Dodds, she said.
• 1:54:57
  It's a nine from me. 8 for the film, 10 for the soundtrack.
• 1:55:01
  So an average of nine. One of my favorite films.
• 1:55:03
  OK, nice. Cool.
• 1:55:04
  Yeah, very. Nice.
• 1:55:06
  And then we'll just. Slip under the other side of the
• 1:55:09
  fence and we've got Dave Power at Traumova.
• 1:55:12
  Who? Said one?
• 1:55:14
  It was like watching a long advert For what?
• 1:55:17
  Cars not justifying that with the response and hamsters.
• 1:55:22
  Dot screenplay at Hamsters. Screenplay, said Vacuous shite.
• 1:55:27
  Perfect for the audience that claims it as a cinematic
• 1:55:30
  masterpiece. That's fair enough.
• 1:55:32
  You're mellowing in your old age ham.
• 1:55:34
  Hamsters of. Courses and to balance it all.
• 1:55:40
  Out we've got a. Comment from MJ at MJ Van City
• 1:55:44
  who simply said Albert Brooks End of review.
• 1:55:53
  Good. Yeah, that works.
• 1:55:55
  Fair enough. Fantastic.
• 1:55:58
  Yeah. So out of 10, what do you think?
• 1:55:59
  Drive scored on Ex. Formally Twitter Fellas 88.5 oh
• 1:56:05
  Matt. It's middle of time.
• 1:56:07
  You ended up with a respectable 8 out of 10, right?
• 1:56:10
  Yeah. OK, there we go.
• 1:56:12
  Not surprising. As it isn't to.
• 1:56:13
  Everyone's taste, and I can completely understand that it
• 1:56:16
  isn't. I can understand this shouldn't
• 1:56:18
  appeal to me to be quite. Honest.
• 1:56:20
  Yeah, but. It does.
• 1:56:22
  It does. Today which?
• 1:56:24
  Means that. Overall drive.
• 1:56:26
  Scored. 37 out of 40, which is a very high score.
• 1:56:29
  That is very high score. Yeah, it's good, very good.
• 1:56:31
  You can. See where Dr. ranks among.
• 1:56:33
  The other films that we've talked.
• 1:56:34
  About on our classic podcasts. And go to
• 1:56:37
  alltherightmovies.com/leaderboard. For that, join us again on all
• 1:56:40
  the right movies In two weeks, John Westie and myself will be
• 1:56:44
  giving you suspense, excitement and adventure on every level as
• 1:56:47
  we go all the way to the top of the Nakatomi Tower behind the
• 1:56:50
  scenes on Die Hard. Your loss is my gain on that
• 1:56:53
  one. Man should be a blinder.
• 1:56:56
  It's fine, just when you're recording, I'm just going to be
• 1:56:58
  flying. Back earning 20%?
• 1:57:03
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• 1:57:08
  Our most recent Patreon exclusive.
• 1:57:10
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• 1:57:15
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• 1:57:17
  about Planes, Trains and Automobiles and dirty Rotten
• 1:57:19
  Scandals. Another one sided affair so
• 1:57:21
  signed up quick to find out which one was our favorite.
• 1:57:24
  I'll bet you can't get. I have no idea.
• 1:57:28
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• 1:57:32
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• 1:57:35
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• 1:57:41
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• 1:57:43
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• 1:57:47
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• 1:58:01
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• 1:58:03
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• 1:58:13
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  to lighten up our day. If you wouldn't mind, yeah, that
• 1:59:02
  would be great. That would be great.
• 1:59:03
  Some wonderful chops we talked. About this on the. 28 Days Later
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  podcast and we had a bit of a laugh about just say they were
• 1:59:11
  great or great guys or what a bunch of great guys or something
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  So whoever you were, thank you. For that, yeah.
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  All the right movies.com lot of bits, a lot of atrm bits to get
• 1:59:31
  your teeth into. Definitely.
• 1:59:33
  Well, I think this thing has gone on long enough.
• 1:59:35
  Do you see any reason for it to continue?
• 1:59:37
  Not really. I mean, I would have chalked
• 1:59:38
  about 20 pages out of this. Yeah, yeah, me too.
• 1:59:41
  Well, I probably will in the edit.
• 1:59:42
  Yeah, of course. You will mostly my shit, but
• 1:59:44
  I'll see you later. So that is a wrap on drive.
• 1:59:47
  We're off to Rob A. Pawn shop in the valley for
• 1:59:50
  toothpicks? Yeah, yeah.
• 1:59:52
  Give them to children, come back for Die hard in two weeks.
• 1:59:58
  Thank you. Very much for listening
• 1:59:59
  everyone. Yes, thank you guys.
• 2:00:01
  Much appreciated. Adios.
• 2:00:24
  Kind of like action films. Sexy stuff.