Film Indir Google Drive
Yvone Wernett
Drive is a 2011 American action drama film directed by Nicolas Winding Refn. The screenplay, written by Hossein Amini, is based on James Sallis's 2005 novel of the same name. The film stars Ryan Gosling as an unnamed Hollywood stunt driver who moonlights as a getaway driver. He quickly grows fond of his neighbor, Irene (Carey Mulligan), and her young son, Benicio. When her debt-ridden husband, Standard (Oscar Isaac), is released from prison, the two men take part in what turns out to be a botched million-dollar heist that endangers the lives of everyone involved. The film co-stars Bryan Cranston, Christina Hendricks, Ron Perlman, and Albert Brooks.
Producers Marc Platt and Adam Siegel optioned the source novel after Siegel read a review from Publishers Weekly. Adapting the book proved to be challenging for Amini, as it had a nonlinear narrative. Gosling, one of Platt's top casting choices, eventually signed on for the lead, as he wanted to star in an action-oriented project. Gosling played a pivotal role in the film's production, which included hiring Refn as director and Beth Mickle as production designer. Newton Thomas Sigel oversaw the principal photography, which started on September 25, 2010, was shot on location in Los Angeles, and ended on November 12.
Before its September 2011 release, Drive had been shown at a number of film festivals, including the 2011 Cannes Film Festival, where it received a standing ovation. Refn won the festival's Best Director Award. The film was praised for its direction, cinematography, performances (particularly Gosling and Brooks'), visuals, action sequences, and musical score; however, some critics were appalled by its graphic violence and found that potentially detrimental to the film's box office success. Nonetheless, the film was still a commercial success, grossing $81 million against a production budget of $15 million. Several critics listed Drive as one of the best films of 2011, including the National Board of Review. Its honors include a nomination for Best Sound Editing at the 84th Academy Awards and garnered a cult following.
A man (billed as "The Driver"), works as a mechanic, a stunt double, a stunt driver, and a criminal-for-hire getaway driver in Los Angeles, California. His jobs are all managed by auto shop owner Shannon, who persuades Jewish-American mobster Bernie Rose and his half-Italian partner Nino "Izzy" Paolozzi to purchase a car for the Driver to race. The Driver meets his new neighbor, Irene, and grows close to her and her young son, Benicio. Their relationship is interrupted when Irene's husband, Standard Gabriel, arrives after his release from prison. Standard owes protection money from his time in prison and is assaulted by Albanian gangster Chris Cook, who demands that Standard rob a pawn shop for $40,000 to pay off the debt, threatening that otherwise he will hurt Benicio and Irene. Learning this, the Driver offers to act as the getaway driver for the pawn shop robbery.
Enraged and agonized at finding Shannon's corpse at the auto shop, the Driver disguises himself with a rubber stuntman's mask, follows Nino from the pizzeria to the Pacific Coast Highway and rams his car onto a beach. The Driver chases Nino towards the ocean and drowns him. He calls Irene and tells her that he will not return, also letting her know that she and Benicio were the best part of his life. The Driver meets Bernie, who promises that Irene will be safe in exchange for the money. Upon receiving the money, Bernie stabs him in the stomach before the Driver pulls out his own knife and stabs Bernie to death. The Driver manages to escape, while Bernie's corpse lies in the parking lot next to the cash. Irene knocks on the Driver's apartment door and walks away when no one answers. Although severely wounded, the Driver drives into the night.
I was very taken with this little crime story that James Sallis wrote. I felt that the way the world was presented in the book demanded that its true grit be retained in the script. The grit comes from seeing the world from the point of view of the driver in the car. It's those elements that I felt were critical to retain to make this film a very unique cinematic experience.
Hossein Amini adapted the novel for the screen. He felt it was a rare book to receive from a studio because it was short, gloomy, and like a poem. Since the novel does not present a linear story, but has many flashbacks and jumps around in time, Amini found the adaptation challenging. He felt the non-linear structure made it "a very tricky structure" for a feature film.[5]
A film adaptation of Drive was first announced in early 2008, with Neil Marshall set to direct what was being described as "an L.A.-set action mystery", planned as a starring vehicle for Hugh Jackman. Universal Studios, which had tried to make a film version for some time, was also on board.[8][9] By February 2010, Marshall and Jackman were no longer attached to the project.
In an interview with Rotten Tomatoes, Gosling was asked what had attracted him to the film, and whether he had read the earlier script when Jackman and director Neil Marshall were attached to it. He said:
When Gosling signed on for the leading role, he was allowed to choose the director, a first in his career.[12] The actor chose Danish filmmaker Nicolas Winding Refn, whose work he admired. He said, "It had to be [him]. There was no other choice."[12][13]
When Refn read the first screenplay for Drive, he was more intrigued by the concept of a man having a split personality, being a stuntman by day and a getaway driver at night, than the plot of the story.[14] Believing that the director might be intimidated by the script, as it was unlike anything he had done before, Gosling had concerns about whether Refn wanted to participate. Refn took on the project without hesitation.[14]
When casting roles in his films, Refn does not watch casting tapes or have his actors audition for him. Instead, he meets with them, and casts them on the spot if he feels they are right.[15] Drive was the first film that British actress Carey Mulligan signed on to do after being nominated for an Academy Award for her role in An Education (2009), which was directed by Lone Scherfig, also a Danish filmmaker. (Scherfig used to babysit Refn when he was a child, and they have become good friends).[16] At the time of Mulligan's casting, Refn had not seen An Education. But his wife was a big fan of the film and Mulligan's performance, and she urged him to cast her.[17] In the original script, the character was a Hispanic woman named Irina. The character was changed to Irene after Mulligan was cast; Refn said that he "couldn't find any actress that would click with [him] personally".[18]
While working on the film, Refn had some cast and production members move in temporarily with him, his wife and two daughters in their home in Los Angeles. This included Carey Mulligan[19] and Hossein Amini, the screenwriter. This enabled them to be immersed in the film. Refn and Amini made significant changes to the original script during this time.[20]
Albert Brooks plays the foul-mouthed, morose Bernie Rose. When Refn suggested him, Gosling agreed, but thought the actor might not want to play a character who is violent and sullen, or appear in a film that he did not work on himself.[21] Brooks accepted the role to go against type, and because he loved that Bernie was not a cliché.
The film was made on a production budget of about $15 million and shot in various parts of Los Angeles, beginning on September 25, 2010.[8][23] Locations were picked by Refn while Gosling drove him around the city at night. At the director's request, Los Angeles was picked as the shooting location due to budget constraints.[24] Refn moved into a plush Los Angeles home and insisted that the cast members and screenwriter Amini move in with him. They would work on the script and film all day, then watch films, edit, or drive at night.[25] Refn asked that the editing suite be placed in his home as well.[8] With a shooting script of 81 pages, Refn and Gosling continued to trim down dialogue during filming.[15]
The opening chase scene, involving Gosling's character, was filmed primarily by Refn within the car's interior. In an interview, he said he intended for this scene to emulate the feeling of a "diver in an ocean of sharks," and never left the vehicle during the car chase so that the audience can see what's happening from the character's point of view.[26] Tight on money and time, he shot the scene in two days. With two different set-ups prepared in the car, the director found it difficult to have mobility with the camera, so he would switch the camera to two additional set-ups nearby. As downtown Los Angeles had been rejuvenated, Refn avoided certain areas to maintain the novel's gloomy atmosphere. The scene was shot at low angles with minimal light.[26]
Before shooting the head-smashing scene, Refn spoke to Gaspar Noé and asked him how he had done a similar scene in his film Irréversible (2002).[8] Crossing the line from romance to violence, the scene begins with the Driver and Irene kissing tenderly. What they share is really a goodbye kiss.[29] The Driver becomes a kind of "werewolf,"[30] violently stomping the hit man's head in. Irene sees the Driver in a new light.[27]
In March 2012, Interiors, an online journal concerned with the relationship between architecture and film, published an issue that discussed how space is used in this scene. The issue highlights Refn's use of constricted space and his way of creating a balance between romance and violence.[32]
Using the Arri Alexa camera, cinematographer Newton Thomas Sigel shot the film digitally.[33] According to executive producer David Lancaster, the film has abundant, evocative, intense images of Los Angeles that are not often seen. "From the little seen back streets of downtown LA to the dry arid outposts on the peaks of the desert landscape surrounding it, Siegel has re-imagined an LA all the way down to the rocky cliffs by the sea."[34]
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