Drive (2011 film)

Drive is a 2011 American neo-noir arthouse action crime thriller film[4]  directed by Nicolas Winding Refn, starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Oscar Isaac, and Albert Brooks. It is adapted from the 2005 James Sallis novel of the same name, with a screenplay by Hossein Amini.

Like the book, the film is about an unnamed Hollywood stunt performer (played by Gosling) who moonlights as a getaway driver. Prior to its September 2011 release, it had been shown at a number of film festivals. At the 2011 Cannes Film Festival, Drive was praised and received a standing ovation. Winding Refn won the festival's Best Director Award for the film. Reviews from critics have been positive, with many drawing comparisons to work from previous eras. The film was nominated for Best Film and Best Director at the 2012 British Academy Film Awards (BAFTA).[5]



Contents
[hide]  *1 Plot  ==Plot[ edit] == The unnamed driver (Ryan Gosling), who lives in an Echo Park, Los Angeles apartment, works repairing cars and as a part-time movie double. Managed in both jobs by auto shop owner Shannon (Bryan Cranston), the duo also provide a getaway driver service. With Shannon organizing the events, the driver gives criminals only five minutes to perpetrate robberies and reach his car.
 * 2 Cast
 * 3 Production
 * 3.1 Development
 * 3.2 Casting
 * 3.3 Filming and cinematography
 * 3.4 Style and inspiration
 * 3.5 Music
 * 4 Release
 * 4.1 Home media
 * 5 Reception
 * 5.1 Critical response
 * 5.2 Box office
 * 5.3 Accolades
 * 6 Soundtrack
 * 6.1 Track listing
 * 6.2 Charts
 * 7 See also
 * 8 Further reading
 * 9 References
 * 10 External links

Meeting his new neighbor, Irene (Carey Mulligan), the driver soon becomes close to her and befriends her young son, Benicio (Kaden Leos), while Irene's husband, Standard Gabriel (Oscar Isaac), is in prison. After her husband is freed, Irene still asks the driver to visit them.

Shannon persuades Jewish mobsters Bernie Rose (Albert Brooks) and Nino (Ron Perlman) to purchase a stock carchassis and to build it for the driver to race. Irene's husband, owing protection money from his time in prison, is beaten up by Albanian gangster Cook (James Biberi). Cook demands that Standard rob a pawnshop for $40,000 to pay the debt off. The driver, concerned for the safety of Irene and Benicio, steals a Ford Mustang and offers to act as the getaway driver for the pawnshop job.

While waiting for Standard and Cook's accomplice Blanche (Christina Hendricks) to complete the heist, the driver sees a custom Chrysler 300 pull into the parking lot. Blanche returns with a large bag, but Standard is shot in the back several times and killed by the pawnshop owner. The driver flees with Blanche and the money. They are pursued by the Chrysler, which bumps them but skids in the fast turns and eventually spins out.

Eluding the other vehicle, the driver hides with Blanche in a motel. Learning the bag contains a million dollars yet the TV news reports the robbery as no money stolen, the driver threatens to beat Blanche, forcing her to admit she and Cook planned to re-steal the mysterious money with the Chrysler. Minutes later, two of Cook's men shoot them in the motel room, killing Blanche and injuring the driver before he manages to kill them both.

At the auto shop, the driver's arm is bandaged from the shotgun pellets; Shannon offers to hide the money, but the driver refuses. He finds Cook in a strip club, smashes his fingers with a hammer and threatens to kill him, so Cook reveals that Nino was behind the robbery. The driver decides to return the million, but Nino dismisses the offer and instead sends a hitman (Jeff Wolfe) to the driver's apartment building. Entering the elevator with Irene, the driver encounters the hitman and spots his pistol. The driver kisses Irene before beating the hitman to death. Irene exits stunned.

In his pizzeria, Nino reveals to Bernie that the money was stashed at the pawn shop by a low level wise guy from the "East Coast mob" and since anyone tied to the robbery could lead the Mafia to them, they need to kill everyone involved. Bernie proceeds to murder Cook with cutlery from the restaurant. At the auto shop, he kills Shannon when he refuses to divulge the whereabouts of the driver.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The driver, disguising himself with a rubber mask from his stuntman job, follows Nino from the pizzeria to the Pacific Coast Highway and T-bones Nino's car onto a beach, then chases him from the wreck to the ocean and drowns him. The driver goes to meet Bernie at a Chinese restaurant. He makes a phone call to Irene to tell her he is leaving, saying that meeting her and Benicio was the best thing that ever happened to him.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">At the restaurant, Bernie promises that Irene will be safe in exchange for the million, but warns the driver must always be on the run. At his car, the driver gives Bernie the money, but Bernie attempts to kill him, stabbing him in the stomach in broad daylight. The driver, however, survives and retaliates by fatally stabbing Bernie in the neck, then drives away, leaving the money bag at Bernie's dead body. Irene knocks at the driver's apartment, to no response. He is shown still driving away at night, for the last time. ==Cast<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ==Production<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Development<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">"I was very taken with this little crime story that James Sallis wrote. I felt that the way the world was presented in the book demanded that its true grit be retained in the script. The grit comes from seeing the world from the point of view of the driver in the car. It's those elements that I felt were critical to retain to make this film a very unique cinematic experience."
 * Ryan Gosling as the driver
 * Carey Mulligan as Irene
 * Bryan Cranston as Shannon
 * Albert Brooks as Bernie Rose
 * Oscar Isaac as Standard Gabriel
 * Ron Perlman as Nino "Izzy" Paolozzi
 * Christina Hendricks as Blanche
 * Kaden Leos as Benicio
 * James Biberi as Cook
 * Jeff Wolfe as the assassin in the tan suit
 * Russ Tamblyn as Doc
 * Andy San Dimas as dancer

—Marc Platt on staying true to the novel in the movie adaption<sup class="reference" id="cite_ref-DrivePresstKit8_6-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:9.60000038146973px;">[6] <p style="margin-top:0.5em;line-height:inherit;">The novel Drive by James Sallis was published in 2005.<sup class="reference" id="cite_ref-Noir_Outlook_7-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[7]  Producers Marc E. Platt and Adam Siegel of Marc Platt Productions optioned the novel after Siegel read a review of it in Publishers Weekly.<sup class="reference" id="cite_ref-DrivePressKit7_8-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[8]  The driver intrigued Siegel because he was "the kind of character you rarely see anymore – he was a man with a purpose; he was very good at one thing and made no apologies for it." The character interested Platt because he reminded him of movie heroes he looked up to as a child, characters typically portrayed by Steve McQueen or Clint Eastwood.<sup class="reference" id="cite_ref-DrivePressKit7_8-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[8]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Academy Award-nominated screenwriter Hossein Amini adapted the novel for the screen. He felt it was a rare book to receive from a studio because it was short, gloomy and like a poem. Because the novel does not present a linear story but has many flashbacks and jumps around in time, Amini found the adaptation challenging. He felt the non-linear structure made it "a very tricky structure" for a feature film.<sup class="reference" id="cite_ref-DrivePresstKit8_6-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[6]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">A film adaptation of Drive was first announced in early 2008, with Neil Marshall set to direct what was then being described as "an L.A.-set action mystery" that would be a starring vehicle for Hugh Jackman. Universal Studios, who had been trying to make a film version for some time, was also on board.<sup class="reference" id="cite_ref-NYInfo_9-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9] <sup class="reference" id="cite_ref-.2FFilm_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[10]  By February 2010, Marshall and Jackman were no longer attached to the project. When Ryan Gosling signed on as the leading role, he was allowed to choose the director. A fan of his work, the actor chose the Danish filmmaker Nicolas Winding Refn.<sup class="reference" id="cite_ref-11" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[11]  When Refn read the first screenplay for Drive, he was more intrigued by the concept of a man having a split personality, being a stuntman by day and a getaway driver at night, than the story itself.<sup class="reference" id="cite_ref-DrivePresstKit2_12-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[12] ===Casting<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">Producer Marc E. Platt contacted actor Ryan Gosling regarding Drive early on. Platt explained: “I have this list that I’ve created of very talented individuals whose work inspire me – writers, directors, actors whom I have to work with before I go onto another career or do something else with my life." Near the top of Platt's list was Gosling, who, despite having starred in several films of diverse genres, had never starred in anything like Drive. He had always been interested in doing an action-oriented project; Gosling claimed that he was simply put off from the genre, believing that the action films of today put more focus on stunts instead of characters. Despite this, Platt heard back from the actor around 48 hours later. Gosling has stated that his strong attraction to the plot led him to take on the leading role of the unnamed driver, saying that he was drawn to the "very strong character" at its core, as well as the "powerful" romance.<sup class="reference" id="cite_ref-DrivePresstKit_13-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[13] <sup class="reference" id="cite_ref-DrivePresstKit_13-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[13]  In an interview with Rotten Tomatoes, Gosling was asked, "What was it about the film? Had you read the script when Hugh Jackman and director Neil Marshall were attached to make it?" He replied: <p style="margin-top:0.5em;line-height:inherit;">"I think that might be the original one I read. I read a few drafts. I read one as well where he wasn't a stunt driver at all, which was a newer draft – maybe that's the one Hugh Jackman had; I'm not sure exactly. Basically when I read it, in trying to figure out who would do something like this, the only way to make sense of this is that this is a guy that's seen too many movies, and he's started to confuse his life for a film. He's lost in the mythology of Hollywood and he's become an amalgamation of all the characters that he admires."<sup class="reference" id="cite_ref-14" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[14] <p style="margin-top:0.5em;line-height:inherit;">Gosling was given the opportunity to choose the film's director, a first in his career: "And I thought, 'It had to be Nicolas [Winding Refn].' There was no other choice."<sup class="reference" id="cite_ref-indieWire1_15-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[15] Believing that the director might be intimidated by the script as it was unlike anything he had done before, Gosling had concerns about Refn's desire to participate. Refn took on the project without hesitation.<sup class="reference" id="cite_ref-DrivePresstKit2_12-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[12]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">When casting roles in his movies, Refn doesn't watch casting tapes or have his actors audition for him. He meets with them and casts them on the spot if he feels they're right.<sup class="reference" id="cite_ref-RefNav_16-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]  Drive was the first film Carey Mulligan signed on to after being nominated for an Academy Award for her role in An Education, which was directed by another Danish filmmaker Lone Scherfig. Scherfig is a good friend of Refn and she used to babysit him when he was a child.<sup class="reference" id="cite_ref-Lon_Call_17-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[17]  At the time of Mulligan’s casting, Refn hadn’t seen An Education, but his wife was big fan of the film and Mulligan’s performance, and she urged him to cast her.<sup class="reference" id="cite_ref-little_18-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[18] <sup class="reference" id="cite_ref-19" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[19]  In the original script, the character was a Hispanic woman name Irina. The character was changed to Irene after Mulligan was cast. While working on the film, Mulligan moved in with Refn, his wife and two daughters in their home in Los Angeles.<sup class="reference" id="cite_ref-Digital_20-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[20]  Hossein Amini, the film’s screenwriter, also lived with Refn’s family during the duration of the film’s shoot. Refn and Ameni made significant changes to the original script during this time.<sup class="reference" id="cite_ref-Cinema_21-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[21]

Having seen photos of her and finding her very beautiful, Refn's wife recommended Hendricks to him for Blanche.<sup class="reference" id="cite_ref-RefNav_16-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:9.60000038146973px;">[16] <p style="margin-top:0.5em;line-height:inherit;">Bryan Cranston plays the role of Shannon.<sup class="reference" id="cite_ref-DrivePressKit4_22-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[22]  Cranston was one of the first actors Winding Refn looked to cast, as he was a fan ofBreaking Bad. Knowing Cranston had other opportunities, Winding Refn tried to interest him by asking how he would like to develop the role. After not hearing back, Winding Refn called him, at the very same time that Cranston was writing on a piece of paper the pros and cons of doing Drive. Moved by Winding Refn's interest, he accepted the part.<sup class="reference" id="cite_ref-RefNav_16-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]  Christina Hendricks plays the small role of Blanche.<sup class="reference" id="cite_ref-DrivePressKit4_22-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[22]  "Trying to work in a more reality arena for a character like that," Winding Refn originally auditioned porn stars for Blanche. He was unable to find anyone with the necessary acting talent. After meeting with Hendricks, he decided to cast her, feeling her "powerhouse" persona would click with the character.<sup class="reference" id="cite_ref-RefNav_16-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Albert Brooks plays the foul-mouthed, morose Bernie Rose. When Winding Refn suggested him, Gosling agreed but thought the actor would not be up for playing a character who is violent and sullen, or for appearing in a film that he did not work on himself.<sup class="reference" id="cite_ref-DrivePressKit4_22-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[22]  Brooks accepted the role to go against typecasting and because he loved that Bernie was not a cliché. "There are six people you could always get to play this kind of part, and I like that the director was thinking outside of the box. For me, it was an opportunity to act outside the box. I liked that this mobster had real style. Also, he doesn’t get up in the morning thinking about killing people. He’s sad about it. Upset about it. It’s a case of, 'Look what you made me do.'"<sup class="reference" id="cite_ref-23" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[23]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Nino, a key villain, is portrayed by Ron Perlman, one of the last actors to join the cast. Regarding the casting of Perlman, Winding Refn said, "The character of Nino was originally not particularly interesting, so I asked Ron why he wanted to be in my movie when he’s done so many great films. When Ron said, ‘I always wanted to play a Jewish man who wants to be an Italian gangster’, and I asked why, and he said, ‘because that’s what I am – a Jewish boy from New York’, well, that automatically cemented it for me."<sup class="reference" id="cite_ref-DrivePressKit4_22-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[22]  Oscar Isaac portrays a Latino convict named Standard who is married to Irene and is just released from prison a week after Irene meets The driver. He found the role to be a bit unappealing and chose to turn the archetypal character into something more. He said of the role, <p style="margin-top:0.5em;line-height:inherit;">"As soon as I sat down with Nicolas, he explained this universe and world of the story, so we made the character into someone interested in owning a restaurant, someone who made some wrong decisions in his life, ending up in a bad place. By making ‘Standard’ more specific and more interesting, we found that it made the story that more compelling."<sup class="reference" id="cite_ref-DrivePressKit4_22-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[22] ===Filming and cinematography<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">The film was made on a production budget of about $15 million and shot in various parts of Los Angeles, California, beginning on September 25, 2010.<sup class="reference" id="cite_ref-NYInfo_9-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9] <sup class="reference" id="cite_ref-Deadline1_24-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[24]  Locations were picked by Winding Refn while Gosling drove him around the city at night. Under the director's request, Los Angeles was picked as the shooting site due to budget concerns.<sup class="reference" id="cite_ref-25" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[25]  Winding Refn moved into a Los Angeles home and insisted that the cast members and screenwriter Amini move in with him. They would work on the script and film all day, then watch films, edit or drive at night.<sup class="reference" id="cite_ref-VS_26-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[26]  Refn requested that the editing suite be placed in his home as well.<sup class="reference" id="cite_ref-NYInfo_9-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]  With a shooting script of 81 pages, Winding Refn and Gosling continued to trim down dialog during filming.<sup class="reference" id="cite_ref-RefNav_16-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Its opening chase scene involving Gosling's character was primarily filmed by Winding Refn within the car's interior. In an interview, Winding Refn revealed the idea for this scene was to emulate the feeling of a "diver in an ocean of sharks", never leaving the vehicle during a car chase so that the audience can see what's happening from the character's point of view.<sup class="reference" id="cite_ref-CarSceneFilmed_27-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[27]  Tight on money and time, he shot the scene in two days. With two different set-ups prepared in the car, the director found it difficult to have mobility with the camera, so he would then switch the camera to two additional set-ups nearby. As downtown Los Angeles had changed for the better, Refn avoided certain areas to preserve the gloomy atmosphere. Additionally, the scene was shot at low-angles with minimal light.<sup class="reference" id="cite_ref-CarSceneFilmed_27-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[27]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">One scene in the film that has no dialog is the elevator sequence, "a series of stunning visuals and graphic imagery that’s a prime example of how the film conveys so many ideas and emotions through images rather than words."<sup class="reference" id="cite_ref-DriveLATRefn_28-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]  For this, he spoke to Gaspar Noé and asked him how he did the head-smashing scene in Noé'sIrréversible (2002).<sup class="reference" id="cite_ref-NYInfo_9-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]  Crossing the line from romance to violence, the scene starts off with the driver and Irene tenderly kissing. What they share is really a goodbye kiss,<sup class="reference" id="cite_ref-29" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[29]  as he then becomes a "werewolf,"<sup class="reference" id="cite_ref-Werewolf_30-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[30]  violently stomping the hit-man's head in. Subsequently, Irene sees the driver in a new light.<sup class="reference" id="cite_ref-DriveLATRefn_28-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]  "Every movie has to have a heart—a place where it defines itself—and in every movie I've made there's always a scene that does that. On Drive, it was hard for me to wrap my head around it. I realized I needed to show in one situation that driver is the hopelessly romantic knight, but he's also completely psychotic and is willing to use any kind of violence to protect innocence. But that scene was never written. As I was going along, it just kind of popped up," Refn said.<sup class="reference" id="cite_ref-Foundas_31-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]  In March 2012, Interiors, an online journal that is concerned with the relationship between architecture and film, released an issue that discussed how space is used in this scene. The issue highlights Nicolas Winding Refn's use of constricted space and his way of creating a balance between romance and violence.<sup class="reference" id="cite_ref-32" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[32]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Car scenes were filmed with a "biscuit rig", a camera car rig developed for the film Seabiscuit (2003), which allowed stunt driver Robert Nagle to steer the car, freeing Gosling to concentrate on acting.<sup class="reference" id="cite_ref-33" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[33] <sup class="reference" id="cite_ref-34" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[34]  Consistent with Winding Refn's usual visual style, wide-angle lenses were heavily used by cinematographer Newton Thomas Sigel. Handheld camerawork was avoided.<sup class="reference" id="cite_ref-DrivePressKit9_35-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[35]  Preferring to keep the film more "grounded" and authentic, he also avoided use of computer-generated imagery (CGI). Inability to afford CGI due to budgeting restrictions also played a factor in this decision.<sup class="reference" id="cite_ref-36" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[36]  Although many stunt drivers are credited, Gosling did a number of stunts himself,<sup class="reference" id="cite_ref-VarietyCannes_37-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]  after completing a stunt driving car crash course.<sup class="reference" id="cite_ref-TWSJCannes_38-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[38]  During production, Gosling re-built the 1973 Chevrolet Malibu used in the film, taking it apart and putting it back together.<sup class="reference" id="cite_ref-11indieWIRE_39-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]  Filming concluded on November 12, 2010.<sup class="reference" id="cite_ref-Deadline1_24-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[24] <sup class="reference" id="cite_ref-40" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[40]

Refn recorded Drivedigitally with an Arri Alexacamera.<p style="margin-top:0.5em;line-height:inherit;">Beth Mickle was hired as Drive '​s production designer on Gosling's recommendation; they had worked together on 2006's Half Nelson. Prior to filming, Mickle supervised a crew of 40, routinely working 16-to-18-hour days. This was her most expensive film to date, and Mickle felt freer since, compared to Half Nelson, "there was another zero added to the budget."<sup class="reference" id="cite_ref-Sets_41-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[41]  The crew built the driver's apartment building, which included a hallway and elevator that linked his unit to Irene's. Mickle also built a strip club set and Bernie Rose's apartment in an abandoned building. Turning a "run-of-the-mill" Los Angeles auto body shop into a grandiose dealership was one of the most challenging. Painting the walls an electric blue color, she brought in a showroom full of vintage cars.<sup class="reference" id="cite_ref-Sets_41-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[41]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Using an Arri Alexa camera, the film was shot digitally.<sup class="reference" id="cite_ref-42" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[42]  According to Drive '​s executive producer Lancaster, the film contains abundant, evocative, intense images of Los Angeles that are not often seen. "From the little seen back streets of downtown LA to the dry arid outposts on the peaks of the desert landscape surrounding it, Siegel has re-imagined an LA all the way down to the rocky cliffs by the sea."<sup class="reference" id="cite_ref-DrivePressKit9_35-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[35]  Drab background settings include the Southern California commercial strip. As the Los Angeles Times pointed out, whenever gleaming buildings are shown, it is because they are being seen from a far distance. Refn shot those scenes from a helicopter at night inBunker Hill, Los Angeles.<sup class="reference" id="cite_ref-Locust_43-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[43]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">While Drive is set in the present day, it carries a heavy 1980s atmosphere that is cautiously set from beginning to end and is underlined not only by the vehicles or music and clothes, but also by its architecture. The parts of the city seen in the Valley and by downtown Los Angeles are actually cheap stucco and mirrored glass, which has been carefully edited to largely leave out more contemporary buildings.<sup class="reference" id="cite_ref-Locust_43-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[43] ===Style and inspiration<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">"Thinking back, there isn't really all that much driving inDrive – a couple of chase scenes here and there, staged efficiently, thrillingly. It's more about the questionable choices that drive people – and, ultimately, the ones that drive them away."

—Associated Press reporter Christy Lemire<sup class="reference" id="cite_ref-APReview_44-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:9.60000038146973px;">[44] <p style="margin-top:0.5em;line-height:inherit;">Journalists and reviewers have called Drive a "classic Los Angeles heist-gone-wrong story" that is a "tribute to the genre of car films" in the vein of movies like Bullitt (1968). A character study,<sup class="reference" id="cite_ref-45" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[45]  themes Drive examines consist of "loyalty, loneliness and the dark impulses that rise up even when we try our hardest to suppress them."<sup class="reference" id="cite_ref-DriveLATRefn_28-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]  It combines comic gore, film noir and B-movie style, and Hollywood spectacle, resulting in "a bizarre concoction...reminiscent of David Lynch's Mulholland Drive...Quentin Tarantino's Pulp Fiction, and [with] angst-laden love scenes that would not be out of place in a Scandinavian drama".<sup class="reference" id="cite_ref-VS_26-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[26] <sup class="reference" id="cite_ref-Style_46-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[46] <sup class="reference" id="cite_ref-Salon_47-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[47] <sup class="reference" id="cite_ref-TGCannes_48-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[48]  Other comparisons have been to the works of Walter Hill, John Carpenter, Michael Mann, Nathanael West, J.G. Ballard and Mike Davis.<sup class="reference" id="cite_ref-Locust_43-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[43]  According to Refn, Drive is dedicated to filmmaker Alejandro Jodorowsky and includes some of Jodorowsky's existentialism.<sup class="reference" id="cite_ref-NYInfo_9-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Drive has been called a tough, hard-edged neo-noir art house feature,<sup class="reference" id="cite_ref-NYInfo_9-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]  extremely violent and very stylish, with European art and grindhouse influences.<sup class="reference" id="cite_ref-VS_26-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[26] <sup class="reference" id="cite_ref-Style_46-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[46] According to Refn, Drive turns into a superhero film during the elevator scene when The Driver kills the villain.<sup class="reference" id="cite_ref-11indieWIRE_39-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]  Drive also references 1970s and 1980s cult hits such as The Day of the Locust (1975)<sup class="reference" id="cite_ref-Locust_43-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[43]  and To Live and Die in L.A. (1985). Other influences can be seen in the neon-bright opening credits and the retro song picks – "a mix of tension-ratcheting synthesizer tones and catchy club anthems that collectively give the film its consistent tone."<sup class="reference" id="cite_ref-VarietyCannes_37-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]  Drive '​s title sequence is hot-pink,<sup class="reference" id="cite_ref-NYInfo_9-6" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]  which was inspired by 1983's Risky Business '​ editing table.<sup class="reference" id="cite_ref-RefNav_16-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]  Refn has also indicated that the film's romance was partially inspired by the films of John Hughes.<sup class="reference" id="cite_ref-49" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[49]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Winding Refn's inspiration for Drive came partly from reading Grimm's Fairy Tales, and his goal was to make "a fairy tale that takes Los Angeles as the background,"<sup class="reference" id="cite_ref-NYInfo_9-7" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9] with The Driver as the hero. To play with the common theme of fairy tales, The Driver protects what is good while at the same time killing degenerate people in violent ways.<sup class="reference" id="cite_ref-DriveLATRefn_28-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]  Refn was also inspired by films such as Point Blank (1967), Two-Lane Blacktop (1971), The Driver (1978) and Thief (1981). Jean-Pierre Melville’s crime productions influenced the cinematography.<sup class="reference" id="cite_ref-11indieWIRE_39-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]  Amini's script propensity imposes "a kind of sideways moral code," where even those who comply with it are almost never rewarded for their efforts, as seen when The Driver helps Standard with Irene and her son's best interests in mind.<sup class="reference" id="cite_ref-DriveLATRefn_28-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]  Within their vehicles, the characters not only make escapes or commit murder, but try to obtain peace and search for romance.<sup class="reference" id="cite_ref-DriveLATRefn_28-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The film's main character, The Driver, has been compared to the Man With No Name, a character Clint Eastwood portrayed in the Sergio Leone westerns, because he almost never speaks, communicating mostly non-verbally.<sup class="reference" id="cite_ref-Salon_47-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[47]  The Driver's meagre dialogue is not designed to present him as tough, but to soften him. Winding Refn chose to give the Driver very little dialogue and instead have him drive around listening to synthpop music, taking control when it counts.<sup class="reference" id="cite_ref-Style_46-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[46]  One reviewer noted that what The Driver lacks in psychology, he makes up through action and stylish costuming.<sup class="reference" id="cite_ref-VarietyCannes_37-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]  The Driver's wardrobe, in particular the satin jacket with the logo of a goldenscorpion on the back, was inspired by the band KISS and Kenneth Anger's 1964 experimental film Scorpio Rising.<sup class="reference" id="cite_ref-11indieWIRE_39-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]  Refn sees the former as the character's armor and the logo a sign of protection.<sup class="reference" id="cite_ref-Complex1_50-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[50]  According to reviewer Peter Canavese, the jacket is a reference to the fable of the scorpion and the frog, mentioned in the movie, which in turn evokes the use of the fable in the Orson Welles film Mr. Arkadin.<sup class="reference" id="cite_ref-Mountain_View_Voice_51-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[51] ===Music<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">Most of its ethereal electronic-pop score was composed by Cliff Martinez.<sup class="reference" id="cite_ref-52" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[52]  Refn was a particular fan of his ambient work on the Sex, Lies, and Videotapesoundtrack.<sup class="reference" id="cite_ref-DriveLATRefn_28-6" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]  The score contains tracks with vintage keyboards and bluntly descriptive titles.<sup class="reference" id="cite_ref-DS_53-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[53]  Refn wanted electronic music for the film and to have the music occasionally be abstract so viewers can see things from The driver's perspective.<sup class="reference" id="cite_ref-BOM_54-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[54]  He gave composer Martinez a sampling of songs he liked and asked Martinez to emulate the sound, resulting in "a kind of retro, 80ish, synthesizer europop". Editor Matt Newman suggested Drive's opening credits song – "Nightcall" by French electronic musician Kavinsky.<sup class="reference" id="cite_ref-NYInfo_9-8" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9] <sup class="reference" id="cite_ref-11indieWIRE_39-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Winding Refn wanted a score by Johnny Jewel of Desire and Chromatics, whose music was used in the film, but the studio had other plans. They instead hired Martinez at the last minute to imitate the style and feel of Jewel's bands Chromatics and Glass Candy.<sup class="reference" id="cite_ref-55" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[55]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">As Winding Refn was going through mixer Johnny Jewel's catalog, he picked out "Under Your Spell" and "Tick of the Clock" because he thought of Drive being a fairytale. During Drive '​s climax, "A Real Hero"'s keynote melody, about becoming "a real human being, and a real hero", refrains because that is when the driver changes into both those statuses'.<sup class="reference" id="cite_ref-56" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[56]  At first, Jewel worried that "Under Your Spell" might be too literal but soon realized it is used in Drive "in the exact same way that I was feeling it when I wrote it. He definitely got the nuance of the song, and understood what it was supposed to mean, and he wanted to give that emotion to the viewer, that same feeling."<sup class="reference" id="cite_ref-BOM_54-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[54]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Thinking of music in terms of basic elements, Jewel would tell the director that for certain scenes, it should not have bass since, as an earth tone, it usually is used for a more emotional or ominous part. Jewel thought the music should be upper register and relaxing for the "dreamlike" scene. To help himself with the writing process and conjure up melodies, the producer would perform a procedure where he highlighted many phrases from the novel, then printed those words in large font and hung them on his walls or drew pictures during viewings of Drive.<sup class="reference" id="cite_ref-BOM_54-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[54]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The movie soundtrack from Drive was listed on Spin Magazine's list of "40 Movie Soundtracks That Changed Alternative Music".<sup class="reference" id="cite_ref-57" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[57]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">A re-scored soundtrack for the film was produced for the BBC by Zane Lowe for its television broadcast in October 2014. The soundtrack included original music fromChvrches, Banks, Bastille, Eric Prydz, SBTRKT, Bring Me the Horizon, The 1975 and Laura Mvula.<sup class="reference" id="cite_ref-58" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[58] ==Release<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == Ryan Gosling at Drive '​sToronto International Film Festival premiere.<p style="margin-top:0.5em;line-height:inherit;">Originally planned as a blockbuster, Drive was eventually re-labeled as an independent film. Prior to principal photography, Refn went to the 2010 Cannes Film Festival in an effort to sell the rights to Drive and released promotional posters for the film.<sup class="reference" id="cite_ref-indieWire1_15-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[15] <sup class="reference" id="cite_ref-59" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[59] <sup class="reference" id="cite_ref-60" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[60]  In November 2010, FilmDistrict acquired North American distribution rights.<sup class="reference" id="cite_ref-Deadline1_24-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[24]  The owners were so eager to get their hands on Drive, they started negotiating to buy it before seeing any footage, believing it could appeal to people who enjoy a genre movie, as well as the arthouse crowd.<sup class="reference" id="cite_ref-WSJ_61-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[61]  The film had a release date of September 16, 2011, in the United States.<sup class="reference" id="cite_ref-Deadline1_24-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[24] <sup class="reference" id="cite_ref-62" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[62]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The film premiered on May 20, in competition at the 2011 Cannes Film Festival.<sup class="reference" id="cite_ref-Cannes_63-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[63]  At its first showing to the media, it received abundant praise<sup class="reference" id="cite_ref-64" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[64]  and received "some of the best responses of the festival",<sup class="reference" id="cite_ref-65" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[65]  but one positive review said it "can't win, won't win" Cannes's top prize.<sup class="reference" id="cite_ref-Style_46-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[46]  It was greeted with hoots and howls of joy from the media, with viewers cheering on some of the scenes featuring extreme violence.<sup class="reference" id="cite_ref-VS_26-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[26] <sup class="reference" id="cite_ref-Salon_47-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[47]  Drive also received a 15-minute standing ovation from the crowd.<sup class="reference" id="cite_ref-DLH_66-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[66]  Xan Brooks of The Guardiancalled the film his guilty pleasure of the 2011 competition, labeling it an enjoyable affair. "Over the past 10 days we've witnessed great art and potent social commentary; the birth of the cosmos and the end of the world. Turns out what we really wanted all along was a scene in which a man gets his head stomped in a lift. They welcome it in like a long-lost relation," he wrote.<sup class="reference" id="cite_ref-TGCannes_48-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[48]  The festival named Refn best director for Drive.<sup class="reference" id="cite_ref-CannesBestDirector_67-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[67]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Drive was also screened at the Los Angeles Time '​s Los Angeles Film Festival (LAFF) on June 20 at its gala screenings program. It was among more than 200 feature films, short projects, and music videos, from more than 30 countries, to be shown at the festival.<sup class="reference" id="cite_ref-68" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[68]  AfterRed Dog '​s release date was pushed up by several days, Drive replaced it as the Melbourne International Film Festival's closing night film.<sup class="reference" id="cite_ref-69" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[69]  Additionally, the movie was screened during FilmDistrict's studio panel presentation at the San Diego Comic-Con function.<sup class="reference" id="cite_ref-70" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[70]  A secret screening for Drive was held at London's Empire Big Screen during the middle of August.<sup class="reference" id="cite_ref-11indieWIRE_39-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]  In September, Drive screened as a special presentation during the 2011 Toronto International Film Festival, alongside another movie starring Gosling, The Ides of March.<sup class="reference" id="cite_ref-71" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[71] ===Home media<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">Drive was released on DVD and Blu-ray on January 30, 2012;<sup class="reference" id="cite_ref-72" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[72]  and it was released early on iTunes, the PlayStation Store, and Xbox Live on January 17, 2012. ==Reception<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Critical response<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === Director Nicolas Winding Refn at the film's presentation during the 2011Deauville American Film Festival.<p style="margin-top:0.5em;line-height:inherit;">Drive received critical acclaim upon its release in 2011. Critics lauded Refn's direction, the cast (especially Ryan Gosling and Albert Brooks), Martinez's score, the visual style and action sequences, though some critics thought the violence was off-putting. To date, the film has a 93% “fresh” rating and an 8.3 average rating on Rotten Tomatoes, based on 234 reviews. From the Rotten Tomatoes' consensus: "With its hyper-stylized blend of violence, music, and striking imagery, Drive represents a fully realized vision of arthouse action."<sup class="reference" id="cite_ref-73" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[73]  It has a 78 score on Metacritic, based on 43 reviews.<sup class="reference" id="cite_ref-74" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[74]  It was one of the highest-ranked and most-featured films on critics’ year-end top 10 lists. It ranked as fourth best film of the year, behind The Tree of Life, The Artist, and Melancholia on Metacritic's tally of top 10 lists. On Movie City News’ tally it ranked third, behind The Tree of Life andThe Descendants.<sup class="reference" id="cite_ref-75" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[75] <sup class="reference" id="cite_ref-76" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[76]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The writers for the film magazine Empire listed Drive as their number one film of 2011.<sup class="reference" id="cite_ref-77" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[77]  Peter Travers of Rolling Stone gave the film 4 out of 4 stars, declaring that Drive was “a brilliant piece of nasty business,” and that “Refn is a virtuoso, blending tough and tender with such uncanny skill that he deservedly won the Best Director prize at Cannes." It was his top film of 2011.<sup class="reference" id="cite_ref-rollingstone_78-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[78] <sup class="reference" id="cite_ref-79" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[79] Richard Roeper said that "Drive is an adrenalin shot to the senses. I love this movie and as soon as it was over, I wanted to see it again.” James Rocchi, writing for The Playlist, gave the film an A letter grade and said, "Drive works as a great demonstration of how, when there’s true talent behind the camera, entertainment and art are not enemies but allies.”<sup class="reference" id="cite_ref-80" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[80]  Both Roeper and Rocchi also placed Drive as their number one film of 2011.<sup class="reference" id="cite_ref-81" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[81] <sup class="reference" id="cite_ref-82" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[82]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Stephanie Zachereck of Movieline complimented the film's action and wrote that it “defies all the current trends in mainstream action filmmaking. The driving sequences are shot and edited with a surgeon’s clarity and precision. Refn doesn’t chop up the action to fool us into thinking it’s more exciting than it is.” She also admired Refn’s skill in handling the film’s violence and the understated romance between Gosling and Mulligan. Her score for the film was 9.5/10<sup class="reference" id="cite_ref-83" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[83]  Drive was Roger Ebert's seventh best film of 2011. In praising the film, he wrote, “Here is a movie with respect for writing, acting, and craft. It has respect for knowledgeable moviegoers.”<sup class="reference" id="cite_ref-84" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[84]  Like Zachereck, Ebert admired Drive's action sequences, which were practically made and didn’t rely on CGI.<sup class="reference" id="cite_ref-85" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[85] <sup class="reference" id="cite_ref-86" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[86]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The Wall Street Journal's Joe Morgenstern called Albert Brooks' villainous performance “sensational”.<sup class="reference" id="cite_ref-87" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[87]  “Prepare to be blown away by Albert Brooks,” said Peter Travers, “Brooks' performance, veined with dark humor and chilling menace (watch him with a blade), deserves to have Oscar calling.”<sup class="reference" id="cite_ref-rollingstone_78-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[78]  Albert Brooks won the New York Film Critics Circle Award  for Best Supporting Actor. He was also nominated for a Golden Globe.<sup class="reference" id="cite_ref-88" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[88] <sup class="reference" id="cite_ref-89" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[89]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Joshua Rothkoff, writing for Time Out New York, stated that “Danish director Nicolas Winding Refn (Bronson) has taken the opportunity to work in America and pushed it to delirious limits; his effort, a foreigner's impassioned take on '80s-synth-scored romance and highway mayhem, plays like the work of a student graduating with highest honors.” Drive was Rothkoff’s choice for film of the year.<sup class="reference" id="cite_ref-90" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[90] <sup class="reference" id="cite_ref-91" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[91]  Salon’s Andrew O’ Hehir  lauded Albert Brooks against-type performance as the film’s villain and called it “unforgettable.” On the elevator  sequence in the film, which juxtaposes romance with violence, O’Herir commended it and proclaimed that it’s a sequence that “film students will be deconstructing, shot by shot, for years to come.”<sup class="reference" id="cite_ref-92" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[92]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">The violence of the film was off-putting for some reviewers. In a negative review by Anthony Lane in The New Yorker, he complained that Drive’s violence was far too graphic, and it ultimately was a detriment to the film. Referring to the graphic nature of the violence he said, “In grabbing our attention, he diverts it from what matters. The horror lingers and seeps; the feelings are sponged away.”<sup class="reference" id="cite_ref-93" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[93]  The Chicago Tribune’s Michael Philips also felt similarly, and while he enjoyed the film early on, Drivebecame “one garishly sadistic set piece after another.” Additionally, Phillips thought the film relied too much on “stylistic preening” and didn’t have enough substance.<sup class="reference" id="cite_ref-94" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[94] On June 12, 2014, The Huffington Post included Drive as one of many films on its "8 Movies From The Last 15 Years That Are Super Overrated" list.<sup class="reference" id="cite_ref-95" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[95]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Audiences polled by CinemaScore gave the film a score of C-, this was attributed to audiences feeling tricked, having expected more driving and more action based on the marketing.<sup class="reference" id="cite_ref-96" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[96] ===Box office<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:inherit;">Drive grossed $76,175,166 worldwide, making more than five times its 15 million dollar budget.<sup class="reference" id="cite_ref-97" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[97]  In North America, Drive grossed a total of $35,060,689. Drive opened in North America to $11,340,461 on the weekend of 16 September 2011 and played at 2,866 theatres. It was one of four wide releases that opened that weekend, and came in second.<sup class="reference" id="cite_ref-98" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[98]  Drive closed its North American theatrical run on 9 February 2012.<sup class="reference" id="cite_ref-MOJO_99-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[99]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">In the international marketplace, Drive grossed $41,114,477. Drive had its highest-grossing box office in France, where it earned a total of €10,346,427.87 ($13,264,311).<sup class="reference" id="cite_ref-MOJOF_100-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[100]  It opened in France on the weekend of 5 October 2011 at 246 theatres, eventually expanding to 360. The film opened in second place and had the highest per-screen theatre gross for the weekend €10,722 ($13,746) .<sup class="reference" id="cite_ref-MOJOF2_101-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[101]  Its second-highest overseas gross came in the United Kingdom, where it earned a total of £3,089,790 ($4,693,696).<sup class="reference" id="cite_ref-BomoUK_102-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[102]  Drive opened in the U.K. on 27 September 2011 at 176 theatres, eventually expanding to 190.<sup class="reference" id="cite_ref-FilmCoun_103-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[103]  The film opened in Australia on October 27, 2011 and grossed a total of $2,286,388 in the country.<sup class="reference" id="cite_ref-BomoAus_104-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[104] ===Accolades<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === Main article: List of accolades received by Drive<p style="margin-top:0.5em;line-height:inherit;">Drive was nominated for four British Academy Film Awards, which included Best Film, Best Director, Best Supporting Actress, and Best Editing. It was one of the most-nominated films by critics’ groups in 2011.<sup class="reference" id="cite_ref-105" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[105] <sup class="reference" id="cite_ref-106" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[106]  Albert Brooks had the most critics’ groups nominations<sup class="reference" id="cite_ref-107" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[107] <sup class="reference" id="cite_ref-108" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[108]  Nicholas Winding Refn won the Best Director Award (Prix de la mise en scène)  at the Cannes Film Festival.<sup class="reference" id="cite_ref-109" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[109] ==Soundtrack<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:inherit;">Drive (Original Motion Picture Soundtrack) was released in CD format to stores on September 27, 2011 by Lakeshore Records,<sup class="reference" id="cite_ref-HRSoundtrack_110-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[110]  and owned by Cutting Edge Film Scores.<sup class="reference" id="cite_ref-Drive_111-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[111]  Prior to that, thanks to viral reviews, such as those found on social networking website Twitter, the soundtrack sold well on iTunes, climbing as high as number four on the sales charts.<sup class="reference" id="cite_ref-112" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[112]  The album was released on vinyl in June 2012, by Mondo.<sup class="reference" id="cite_ref-113" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[113]  The nineteen-track album has amassed positive reviews. James Verniere of the Boston Herald graded it an A, stating, "The cool crowd isn't just watching Drive; they're listening to it, too... The Drive soundtrack is such an integral part of the experience of the film, once you see it, you can't imagine the film without it."<sup class="reference" id="cite_ref-BostonHerald_114-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[114]  Allmusic reviewer James Christopher Monger selected opening track "Nightcall", "I Drive", "Hammer" and "Bride of Deluxe" as highlights on it.<sup class="reference" id="cite_ref-115" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[115]  Digital Spy's Mayer Nissim gave it a four out of five star rating, finding it to be as important as the film itself. She stated the album beginning with non-Martinez songs instead of mixing it up for a more enjoyable listening experience cost it a star.<sup class="reference" id="cite_ref-DS_53-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[53] ===Track listing<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ===Charts<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ===