# Drive (2011) | Ep. 31 - Part 1

An episode of [All The Right Movies](https://invisiblenetwork.ai/podcast/1471502633), 24 Nov 2023, 1 h 14 min.

Audio: https://traffic.megaphone.fm/APO9824622785.mp3

A stuntman moonlights as a getaway driver, says almost nothing, and becomes one of the coolest characters of the decade. Luke, Westy, and Matt begin the story of Nicolas Winding Refn's neon-soaked thriller. In Part 1 we cover the film's opening, director Nicolas Winding Refn, the cast, and the second act — including Ryan Gosling's near-silent Driver, the dreamy LA atmosphere, and the sudden, shocking violence that breaks the spell. Keep the engine running. Part 2 picks up the pace: crew, finale, reception, and that instant cult status. Out now. Connect with ATRM: To join our fantastic community of film fans, support what we do, access our archive, listen to exclusive episodes, and a whole lot more, become an ATRM patron: Join the ATRM Community We're available on any podcast platform: Listen on Apple Podcasts Listen on Spotify YouTube: Subscribe to our channelWe're across all major social channels too: Twitter: @ATRightMovies Instagram: @allthe_rightmovies Facebook: Join our movie group Bluesky: @alltherightmovies.com TikTok: @alltherightmovies Website: alltherightmovies.com

## Transcript

[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.
[0:28] 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
[2:39] Patreon over the years. So with the Classic Archive, the
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[2:48] Yes, I do that every month. That's more money you'll see in
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[3:03] 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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[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
[4:00] rare films that are very rarely watch because I don't want to
[4:03] overdo it. Have you got them?
[4:05] Like, I don't want to get sick of it.
[4:07] I just, I want to be surprised every year.
[4:09] I've ought to be surprised every time I watch it.
[4:10] And this is definitely one of them.
[4:12] 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
[4:20] genre as it goes from a romance to this incredibly violent crime
[4:23] thriller. It's got some really good
[4:25] performances and soundtracks, Fucking amazing, the directions
[4:27] really self assured. The cinematography is unreal,
[4:30] the action signatures are great. It's it's really, really
[4:33] surprising film that subverts expectations left, right and
[4:36] center and it's right up there for me At this time around 2011,
[4:40] I needed a film like this to come out which had this kind of
[4:42] sensibility. Constantly surprised by it?
[4:45] Yeah, constantly, constantly love it.
[4:47] 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.
[4:56] I remember that. And I remember the hype that it
[4:58] got, which generally tends to put me off a film.
[5:01] I don't know why, but my brain pushes against that.
[5:03] I think I. Mentioned I'm exactly the same.
[5:05] 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.
[5:16] 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.
[5:27] It was, yeah. And on the surface, this film
[5:29] seemed a little too arty. Farty really For my tears.
[5:33] Yeah, for your tears. Yeah, absolutely.
[5:35] But I did get around to watching it pretty soon after it came out
[5:37] and I really enjoyed it. But I hadn't seen it since until
[5:40] revisited for this episode, and I was pleasantly surprised how
[5:43] well it's held up and how well it's endured.
[5:46] I was really captivated by the mood and the feel of the film.
[5:50] The long silences should really be a put off for me, but I was
[5:53] hanging on every word, of which there are few and every scene.
[5:57] And I think it's, it's a magnificent film.
[5:59] It's one of those films that we talk about on the show that I
[6:01] wasn't too familiar coming into it.
[6:03] And then I go away with something that I absolutely have
[6:06] fallen in love with. Yeah.
[6:08] And of course, Gosselin, you can't go wrong.
[6:09] No. No.
[6:11] And Matt, what about drive for you?
[6:13] It's just really cool, that's. Why?
[6:17] It's. Sure is.
[6:18] 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.
[6:38] And I just think you take an edgy European director trying to
[6:42] make a crossover American Philly, you're guaranteed to get
[6:45] 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.
[6:55] 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.
[7:01] 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
[7:13] Films, and distributed by Film District.
[7:16] Shot on location in LA and released on the 16th of
[7:18] September 2011, it stars Ryan Gosling as the driver.
[7:22] 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
[7:32] 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.
[7:57] 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.
[8:07] Yeah, it's so slow. It's so, so confident, isn't it?
[8:12] Oh, it's just delicious. I love it.
[8:15] Absolutely. No.
[8:16] But I could just watch this this scene I think over and over
[8:18] again. But it's the user miss on San
[8:21] here and the use of that's how good it is.
[8:23] Visual storytelling. Yeah.
[8:24] Doesn't explain anything on the phone.
[8:26] He just basically got a 5 minute window.
[8:27] You don't know where he's going. You don't know what he's doing.
[8:29] But he's got a map of downtown LA.
[8:31] He's got the game on the TV. He knows exactly how long he's
[8:34] left. Yes.
[8:35] So meticulous and so measured. Throws the burner on the bed.
[8:37] Doesn't need that anymore. You're not going to hear from me
[8:39] on this phone. Yeah.
[8:40] Don't bag out of there. It's just great.
[8:44] The way that it's all set up and that skyline is, he's looking
[8:46] out over it. It's really mysterious.
[8:50] It just really pulls you in and nothing is really happening.
[8:53] It's just great. It's great use of just a track,
[8:57] a great use of just moving around the room in an
[8:59] introduction to a character that absolutely sucks you in.
[9:02] 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
[9:06] from here? Who is this guy?
[9:07] 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.
[9:16] I just absolutely just wanted to stand up in the cinema and
[9:18] applaud when I first saw it. And I still do, to be honest.
[9:21] Like, it's just a wonderful introduction to the character.
[9:23] It is, yeah. I mean, we know this guy's in
[9:25] complete control. He ain't in no rush at all.
[9:28] We sauntering through that garage to get to his Chevy
[9:31] Impala. That's slow tracking shot that
[9:34] matches that as well. I just love that I.
[9:36] Would, Yeah. I'll be bumbling all over the
[9:39] place. I would have like, me phone
[9:41] 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
[9:52] about this film. It should be really pretentious.
[9:55] And it's not. It's super cool and super
[9:57] 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
[10:11] opening sequence? It's the getaway for me because
[10:13] that getaway, it's like a chess game, yeah, because you've
[10:17] 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.
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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] Wonderful. Very good.
[1:57:08] Our most recent Patreon exclusive.
[1:57:10] Podcast is on to Steve Martin Classics and that came out last
[1:57:15] week. The three of us here talked
[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] And you can listen to that, right?
[1:57:29] Away by becoming the directors. Chair to your patron, Yes.
[1:57:32] So please sign up if you can. Yes, we would much appreciate
[1:57:35] it. We would indeed definitely, as
[1:57:37] mentioned at the top of the. Show you can also get.
[1:57:39] Access to all of. Those podcasts mentioned and
[1:57:41] more have a say in the films that we cover and the scores
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[1:57:58] please choose one of them. Yes.
[1:57:59] Almost too many. Yeah.
[1:58:01] And please keep up to date. With us on all social.
[1:58:03] Media on X Slash Twitter we are at AT right Movies we post all
[1:58:08] day, every day. Great interviews, behind the
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[1:58:16] comes directly from the cast and crew, straight from the horses
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[1:58:22] So please keep checking back regularly for more.
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[1:58:30] the right movies. Join our Facebook group.
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[1:58:38] We are on YouTube. Our videos are fantastic.
[1:58:41] They go up every week and include the three of us here and
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[1:58:44] So check it out if you haven't already, subscribe to the
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[1:58:48] That always helps. Yes, please do guys.
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[1:58:52] Spare a. Bit of time and give us a
[1:58:54] written on Apple Podcasts and Spotify.
[1:58:57] Five stars is our favorite. A few moments out of your time
[1:58:59] 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
[1:59:08] 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
[1:59:14] like that. And somebody actually did put a
[1:59:15] five star review and just used our words for the review.
[1:59:19] Yeah, that's amazing. Fantastic.
[1:59:21] So whoever you were, thank you. For that, yeah.
[1:59:24] Thanks and our website with loads of great.
[1:59:26] Movie features. Features is.
[1:59:27] 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.

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