Drive Ryan Gosling Der etwas andere Autofilm
Der Stuntman `The Driver' gilt aufgrund seiner herausragenden Kenntnisse am Steuer als der perfekte Fluchtwagenfahrer. Der Einzelgänger legt keinen Wert auf soziale Kontakte oder zwischenmenschliche Bindungen. Doch das ändert sich, als er seine. Der Produzent Marc Platt kontaktierte Ryan Gosling, indem er ihm erklärte, dass er eine Liste talentierter Menschen erstellt hätte, deren Arbeit ihn inspiriere und. Tagsüber arbeitet Driver (Ryan Gosling) als Stuntman für Hollywood. Reine Routine. Erst nachts erwacht der wortkarge Einzelgänger zu Leben, als Fahrer von. iamnotchinese.co - Kaufen Sie Drive günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer vielseitigen. Ryan Gosling in der Rolle seines Lebens: In dem melancholischen Actionfilm "Drive" spielt er einen Stuntman, der in ein Verbrechen.
Filmvorschau: "Drive" mit Ryan Gosling. — Der etwas andere Autofilm. Musclecars, Action und ein bombastischer Soundtrack: Der Film "Drive" hat. Drive: Der neue Kino-Film mit Ryan Gosling und Carey Mulligan verspricht Auto-Action pur. Hier geht es zur Bilderstrecke. Drive. Der Driver (Ryan Gosling) plant seine Einsätze stets minutiös durch. Der Driver plant seine Einsätze stets minutiös durch. | Bild: ARD.
Drive Ryan Gosling - Drive: Action-Film mit Ryan Gosling und Carey MulliganAuf Twitter teilen. Diese lassen den Zuschauer nicht mehr los, nehmen ihn von Anfang an gefangenen, erzeugen eine beklemmende Spannung von der ersten Minute an. Januar in den Kinos. Durch einen Buchungsfehler müssen zwei Familien ihren Urlaub im selben Ferienhaus verbringen. Ihr Stimme konnte aus technischen Gründen leider nicht entgegen genommen werden. Wer stattdessen den coolsten Driver der letzten Jahre sehen möchte, ist bei Ryan Gosling an der richtigen Stelle. Originaltitel: Drive (USA, ) Regie: Nicolas Winding Refn Darsteller: Ryan Gosling, Bryan Cranston, Carey Mulligan, Ron Perlman, Oscar. Drive: Der neue Kino-Film mit Ryan Gosling und Carey Mulligan verspricht Auto-Action pur. Hier geht es zur Bilderstrecke. Drive. Der Driver (Ryan Gosling) plant seine Einsätze stets minutiös durch. Der Driver plant seine Einsätze stets minutiös durch. | Bild: ARD. Filmvorschau: "Drive" mit Ryan Gosling. — Der etwas andere Autofilm. Musclecars, Action und ein bombastischer Soundtrack: Der Film "Drive" hat. Als namenloser Fluchtwagenfahrer beweist Ryan Gosling auch in dem Neo-Noir-Actionfilm "Drive" seine Vielseitigkeit.
Rate This. A mysterious Hollywood stuntman and mechanic moonlights as a getaway driver and finds himself in trouble when he helps out his neighbor in this action drama.
Director: Nicolas Winding Refn. Writers: Hossein Amini screenplay , James Sallis book. Available on Amazon. Added to Watchlist. From metacritic.
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User Polls Going Up? Goriest non-horror film? Nominated for 1 Oscar. Edit Cast Cast overview, first billed only: Ryan Gosling Driver Carey Mulligan Irene Bryan Cranston Shannon Albert Brooks Bernie Rose Oscar Isaac Standard Christina Hendricks Blanche Ron Perlman Nino Kaden Leos Benicio Jeff Wolfe Tan Suit James Biberi Cook Russ Tamblyn Chauffeur as Joey Bucaro Tiara Parker Young Woman Tim Trella Hitman 1 Jimmy Hart Learn more More Like This.
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Only God Forgives He is, moreover, joining a legit business, a speed-racing show Shannon is setting up with his mobster buddies Bernie and Nino — terrific performances from Albert Brooks a rare bad-guy part and Ron Perlman.
But then Irene's man gets out of the joint, still mixed up in rough stuff, and just for Irene's sake, Gosling does one last driving job on his behalf, which of course goes horribly wrong.
Here is where is this tense, taut drama takes a lurching left-turn into ultra-violence and chaos.
Gosling's driver had until this moment seemed like a basically sympathetic, romantic guy — involved in crime of course, but who made a point of not carrying a gun.
Now the catastrophe of this last job seems to unlock a psychopathic capacity for extreme brutality. Is this a facet of his personality?
Or just a style accessory for the film in general? So many people in this film seem to have the same capacity, and often the violence rips holes in the plot, as well as the bodies.
At one stage, somebody kills someone else while chillingly cooing reassurance, yet what he's after is more or less under his is nose, and it doesn't occur to him to look for it.
At another stage, someone gets horrifyingly stomped to death in an incautious location, with the body airily undisposed of.
Then there is Gosling's rule, supposedly a mark of his hyper-strict professionalism. He will drive the robbers as brilliantly as they could ever wish.
But only for five minutes. When the five minutes is up, no matter where they are, he parks and leaves them there. But he responded to Platt about two days later, as he was strongly attracted to the plot and the leading role of the unnamed driver.
He thought the story had a "very strong character" at its core, and a "powerful" romance. 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:. I think that might be the original one I read. I read a few drafts. I read one as well where he wasn't a stunt driver at all, which was a newer draft — maybe that's the one Hugh Jackman had; I'm not sure exactly.
Basically when I read it, in trying to figure out who would do something like this, the only way to make sense of this is that this is a guy that's seen too many movies, and he's started to confuse his life for a film.
He's lost in the mythology of Hollywood and he's become an amalgamation of all the characters that he admires.
When Gosling signed on for the leading role, he was allowed to choose the director, a first in his career. He said, "It had to be [him].
There was no other choice. 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.
Refn took on the project without hesitation. 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. Scherfig used to babysit Refn when he was a child, and they have become good friends.
But his wife was a big fan of the film and Mulligan's performance, and she urged him to cast her. 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".
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  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. Bryan Cranston plays the role of Shannon.
Knowing Cranston had other opportunities, Refn asked the actor how he would like to develop the role.
After not hearing back, Refn called him; Cranston was just then writing the pros and cons of doing Drive for himself.
Moved by Refn's interest, Cranston accepted the part. He was unable to find anyone with the necessary acting talent.
After meeting with Hendricks, he decided to cast her as he felt her persona would click with the character. 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.
There are six people you could always get to play this kind of part, and I like that the director was thinking outside of the box.
For me, it was an opportunity to act outside the box. I liked that this mobster had real style. Also, he doesn't get up in the morning thinking about killing people.
He's sad about it. Upset about it. It's a case of, 'Look what you made me do. Nino, a key villain, is portrayed by Ron Perlman , one of the last actors to join the cast.
Refn said, "The character of Nino was originally not particularly interesting, so I asked Ron why he wanted to be in my movie when he's done so many great films.
When 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.
Finding the role somewhat unappealing, he developed the archetypal character into something more.
As soon as I sat down with Nicolas, he explained this universe and world of the story, so we made the character into someone interested in owning a restaurant, someone who made some wrong decisions in his life, ending up in a bad place.
By making 'Standard' more specific and more interesting, we found that it made the story that more compelling. At the director's request, Los Angeles was picked as the shooting location due to budget constraints.
They would work on the script and film all day, then watch films, edit, or drive at night. 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.
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.
The elevator sequence was shot without dialogue. A scene like the elevator sequence in Drive , for instance, has no dialogue, just a series of stunning visuals and graphic imagery — that's a prime example of how the film conveys so many ideas and emotions through images rather than words.
What they share is really a goodbye kiss. Irene sees the Driver in a new light. Every movie has to have a heart — a place where it defines itself — and in every movie I've made there's always a scene that does that.
On Drive , it was hard for me to wrap my head around it. I realized I needed to show in one situation that driver is the hopelessly romantic knight, but he's also completely psychotic and is willing to use any kind of violence to protect innocence.
But that scene was never written. As I was going along, it just kind of popped up. In March , 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. Car scenes were filmed with a "biscuit rig," a camera car rig developed for the film Seabiscuit It allowed stunt driver Robert Nagle to steer the car, freeing Gosling to concentrate on acting.
Budget restrictions were also a factor in this decision. Although many stunt drivers are credited, Gosling did some stunts himself,  after completing a stunt driving car crash course.
Beth Mickle was hired as the film's production designer on Gosling's recommendation; they had worked together on 's Half Nelson.
Prior to filming, Mickle supervised a crew of 40, routinely working to hour days. 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.
Mickle also built a strip club set and Bernie Rose's apartment in an abandoned building. Turning a "run-of-the-mill" Los Angeles auto body shop into a grandiose dealership was one of the most challenging tasks.
Painting the walls an electric blue color, she filled the showroom with vintage cars. While Drive is set in the present day, it has a s atmosphere, underlined by the vehicles, music, and clothes, and by the architecture.
The parts of the city seen in the Valley and near downtown Los Angeles are cheap stucco and mirrored glass; the film excludes buildings constructed more recently.
As the Los Angeles Times pointed out, whenever gleaming buildings are shown, it is because they are being seen from a distance.
Refn shot those scenes from a helicopter at night in Bunker Hill, Los Angeles. Refn chose Johnny Jewel of Desire and the Chromatics to score the film.
He wanted electronic music and to have it be abstract, on occasion, so viewers can see things from the Driver's perspective. 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.
He definitely got the nuance of the song, and understood what it was supposed to mean, and he wanted to give that emotion to the viewer, that same feeling.
Thinking of music in terms of basic elements, Jewel would tell the director that for certain scenes, it should not have bass since, as an earth tone, it is usually used for a more emotional or ominous part.
Jewel thought the music should be in the upper register and relaxing for the "dreamlike" scene. To help himself with the music composition process, and to conjure up melodies, the producer would highlight many phrases from the novel, then print those words in large font, and hung them on his walls or draw pictures during viewings of Drive.
Although Jewel's music was used in the score, at the last minute the studio hired composer Cliff Martinez to imitate the style and feel of Jewel's bands Chromatics and Glass Candy.
Jewel reworked his unused soundtrack for the film into Themes for an Imaginary Film , the debut album by his side-project Symmetry.
A re-scored soundtrack for the film was produced for the BBC by Zane Lowe for its television broadcast in October Prior to beginning principal photography , Refn went to the Cannes Film Festival to sell the rights to Drive and released promotional posters for the film.
The film premiered on May 20, in competition at the Cannes Film Festival. He said,. Over the past 10 days we've witnessed great art and potent social commentary; the birth of the cosmos and the end of the world.
Turns out what we really wanted all along was a scene in which a man gets his head stomped in a lift. They welcome it in like a long-lost relation.
The film was greeted with hoots and howls of joy from the media, with viewers cheering on some of the scenes featuring extreme violence.
It was among more than feature films, short projects, and music videos , from more than 30 countries, to be shown during the festival.
The site's critical consensus states, "With its hyper-stylized blend of violence, music, and striking imagery, Drive represents a fully realized vision of arthouse action.
It was one of the highest-ranked, and most-featured, films on critics' year-end top 10 lists.
It ranked as fourth-best film of the year, behind The Tree of Life , The Artist , and Melancholia on Metacritic's tally of top 10 lists.
The writers for the film magazine Empire listed Drive as their number one film of Brooks' performance, veined with dark humor and chilling menace watch him with a blade , deserves to have Oscar calling.
Movieline ' s Stephanie Zacharek complimented the film's action and wrote that it "defies all the current trends in mainstream action filmmaking.
The driving sequences are shot and edited with a surgeon's clarity and precision. Refn doesn't chop up the action to fool us into thinking it's more exciting than it is.
Her score for the film is 9. In praising the film, he wrote, "Here is a movie with respect for writing, acting, and craft. It has respect for knowledgeable moviegoers.
Anthony Lane wrote in The New Yorker that Drive ' s violence was far too graphic, and this ultimately was a detriment to the film.
Referring to the violence, he said, "In grabbing our attention, he diverts it from what matters. The horror lingers and seeps; the feelings are sponged away.
Phillips thought the film relied too much on "stylistic preening" and did not have enough substance. Andrew O'Hehir of Salon described Drive as a "classic Los Angeles heist-gone-wrong story," that "isn't trying to outdo Bullitt or get the next assignment in The Fast and the Furious franchise ".
Quentin Tarantino 's Pulp Fiction , and [with] angst-laden love scenes that would not be out of place in a Scandinavian drama".
Ballard , and Mike Davis. Drive has been described as a tough, hard-edged, neo-noir , art house feature,  extremely violent and very stylish, with European art and grindhouse influences.
Refn's inspiration for Drive came partly from reading Grimms' Fairy Tales , and his goal was to make "a fairy tale that takes Los Angeles as the background,"  with The Driver as the hero.
To play with the common theme of fairy tales, The Driver protects what is good while at the same time killing degenerate people in violent ways.
Jean-Pierre Melville 's crime productions influenced the cinematography. The Driver has been compared to the Man With No Name , a character Clint Eastwood portrayed in the Sergio Leone western , because he almost never speaks, communicating mostly non-verbally.
Refn chose to give The Driver very little dialogue and have him drive around listening to synth-pop music, taking control when it counts.
It was one of the most-nominated films by critics' groups in James Verniere of the Boston Herald graded it an A , stating, "The cool crowd isn't just watching Drive ; they're listening to it, too The Drive soundtrack is such an integral part of the experience of the film, once you see it, you can't imagine the film without it.
She stated the album, beginning with non-Martinez songs instead of mixing it up for a more enjoyable listening experience, cost it a star.
That same month, Johnny Jewel, College, Electric Youth, and Cliff Martinez discussed the impact of the soundtrack and film on their lives and contemporary music culture.
Jewel told Vehlinggo that Drive ' s "blend of sonic and visual nostalgia with a contemporary spin is always deadly.
From Wikipedia, the free encyclopedia. Theatrical release poster. 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.
It's more about the questionable choices that drive people — and, ultimately, the ones that drive them away. Main article: List of accolades received by Drive film.
American Film Institute Catalog. Retrieved December 7, British Board of Film Classification.
Archived from the original on March 5, Retrieved January 17, Box Office Mojo. Archived from the original on December 8, Retrieved November 13, The Numbers.