Drive is probably the best film I have seen in the cinema all year. This isn’t a very original statement and even people saying “I know you’ve probably heard this a thousand times before, but go see Drive.” is somewhat cliched. Recommendations for the film are ubiquitous, which I’m actually a little surprised by – films that I rate highly often go unnoticed, produce a love-it-or-hate-it response, or have a slew of negative reviews.
The cinematography and the soundtrack are so important to Drive, they are almost characters. They are intertwined and tonally aligned and it makes for a really absorbing experience.
The street lights hitting Gosling’s face as he drives and the dimming of the light in the now-famous elevator kiss scene are particularly exciting – all mixed with a great, dark electro-synth soundtrack.
The film was DP’d by Newton Thomas Sigel and shot on ARRI Alexa – one of 2 or 3 cameras that I would love to kick the tyres on.
Find out more about the cinematography of the film in the following interviews with Sigel: