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  1. I realized I needed to show in one situation that driver is the hopelessly romantic knight, but he's also completely psychotic and is willing to use any kind of violence to protect innocence. Refn chose to give The Driver very little dialogue and instead have him drive around listening to synth-pop music, taking control when it counts. Using the Arri Alexa camera, the film was shot digitally. This was her most expensive film to date, and Mickle felt freer since "there was another zero added to the budget," compared to that of Half Nelson. Jewel thought the music should be in the upper register and relaxing for the "dreamlike" scene.

  2. When Perlman said, 'I always wanted to play a Jewish man who wants to be an Italian gangster', and I asked why, and he said, 'because that's what I am — a Jewish boy from New York', well, that automatically cemented it for me. During Drive's climax, " A Real Hero "'s keynote melody, about becoming "a real human being, and a real hero", refrains because that is when the Driver displays both those characteristics. Editor Mat Newman suggested Drive's opening credits song:

  3. Refn chose to give The Driver very little dialogue and instead have him drive around listening to synth-pop music, taking control when it counts. Subsequently, Irene sees the Driver in a new light.

  4. He said of the role: The parts of the city seen in the Valley and by downtown Los Angeles are cheap stucco and mirrored glass, often leaving out more contemporary buildings. I liked that this mobster had real style. When Refn suggested him, Gosling agreed, but thought the actor would not be up for playing a character who is violent and sullen, or for appearing in a film that he did not work on himself. He found the role to be a bit unappealing and chose to turn the archetypal character into something more.

  5. For me, it was an opportunity to act outside the box. Prior to filming, Mickle supervised a crew of 40, routinely working to hour days. Knowing Cranston had other opportunities, Refn tried to interest him by asking how he would like to develop the role. Quentin Tarantino 's Pulp Fiction , and [with] angst-laden love scenes that would not be out of place in a Scandinavian drama".

  6. When Refn suggested him, Gosling agreed, but thought the actor would not be up for playing a character who is violent and sullen, or for appearing in a film that he did not work on himself. Subsequently, Irene sees the Driver in a new light. The parts of the city seen in the Valley and by downtown Los Angeles are cheap stucco and mirrored glass, often leaving out more contemporary buildings. It's more about the questionable choices that drive people — and, ultimately, the ones that drive them away.

  7. Prior to filming, Mickle supervised a crew of 40, routinely working to hour days. Painting the walls an electric blue color, she brought in a showroom full of vintage cars. Mickle also built a strip club set and Bernie Rose's apartment in an abandoned building. Regarding the casting of Perlman, Refn said, "The character of Nino was originally not particularly interesting, so I asked Ron why he wanted to be in my movie when he's done so many great films.

  8. 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. They would work on the script and film all day, then watch films, edit or drive at night.

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