I Drive

I Drive

Film Facts:

‘You give me a time and a place, I give you a five-minute window. Anything happens in that five-minute window and I’m yours. No matter what. Anything happens a minute either side of that and you’re on your own. Do you understand?’ (Driver, 2011). Drive was written and directed by filmmaker Nicolas Winding Refn, based on James Sallis’ novel ‘Drive’. The screenplay was written by Hossein Amini and released in 2011. Drive was nominated for an Academy Award followed up by many other nominations. The film follows the protagonist Driver (Ryan Gosling) and into his life of crime and stunt driving in this visually outstanding film lead by cinematographer Newton Thomas Sigel. The OST was written by Cliff Martinez and was nominated for a number of awards outside of the Grammy and Academy Award tier.

Track Facts:

Composer: Cliff Martinez

Label: Lakeside Records

Award Nominations:

• ACCA Awards – Best Original Score
• BSFC Awards – Best Use of Music in a Film (Won)
• Critics Choice Award – Best Score
• CFCA Awards – Best Original Score (Won)
• BAFTA Awards – Anthony Asquith Award For Film Music (Won)
• Gold Derby Award – Original Score
• ICS Awards – Best Original Score (Won)
• IFMCA Awards – Best Original Score for an Action/Adventure/Thriller Film (Won)
• INOCA Awards – Best Original Score
• IOMA Awards – Best Original Score (Won)
• ALFS Awards – Technical Achievement of the Year (Won)
• LAFCA Awards – Best Music (Won)
• Satellite Awards – Best Original Score
• SLFCA Awards – Best Music
• WAFCA Awards – Best Score
• World Soundtrack Awards
  • Best Soundtrack Of The Year (Won)
  • Soundtrack Composer of the Year (Won)

Release: August 16, 2011

The Jam

‘Drive’ is a film that takes the audience into the mysterious life of “Driver’, the name we know the protagonist by for the entire film, true to James Sallis’ novel which the film was based on and the journey he undertakes in his life of crime in L.A. The writing, directing, cinematography and score all work together to create a film with picturesque scenery capturing late-night L.A which oozes authentic 80’s synth-pop sounds and experiences. The film opens with an extended version of ‘Tick Of The Clock’ by the Chromatics which is extended into a blend of the original tune and Martinez’s electronic and synthesised development. This tune continues to play throughout the entire opening sequence which keeps the tension heightened until the opening credits begin.

The opening credit scene begins with the skyline of Los Angeles city appearing in time with Kavinsky’s ‘Nightcall’, which for me personally enters into one of the best opening credit scenes I have ever experienced. ‘Nightcall’ introduces the 80’s style electro-synth at this point and provides Martinez with the perfect emotive direction for the remainder of the film. Martinez provides a score which comes off the back of these two tunes discussed above and seamlessly moves from one track to the next with the same level of tension, focus and emotion.

The soundtrack includes the existing recordings of the tunes recorded by their respective artists and is then followed by Martinez’s scores, which begins with Track #6 in ‘Rubber Head’ remaining consistent with the electronic tone set by the pieces played earlier and begins with a patient electronic swell. The bass acts as a drone or the backbone of this piece as he inserts and develops various layers around this idea, a technique commonly used by Martinez.

There are many tracks which emulate this reflective and calm synth-pop identity similar to ‘Rubber Head’ such as; ‘I Drive’, ‘He Had A Good Time’, ‘They Broke His Pelvis’ as the movie moves forward and builds the story around ‘Driver’. When we reach Track #10 ‘Kick Your Teeth’, Martinez takes us into a darker more daring emotion as the plot thickens and the criminal activity increases around ‘Driver’. This track brings in the familiar bass line with small melodic phrases which are panned selectively from left to right bringing about a change in pace.

Through the progression of the soundtrack, Martinez remains eerie in his approach with carefully composed synthetic sounds and mastered accordingly to create distance between these elements within the soundscape, which is really what this soundtrack presents to us an entire product. Moving through the soundtrack we hear tracks which play similar to this as ‘Driver’ begins to form a relationship with Irene (Casey Mulligan) and by extension her son Benicio leading up to his Father’s return from prison.

Track #14 in ‘After The Chase’ plays after a robbery in the film goes wrong in Standard’s (Oscar Isaac) death and compliments the particular scene perfectly. The beginning of the track releases a distinct metallic sound which pans from left to right before entering into a deep bass-driven sequence which carefully introduces similar layers. The track develops with intense synth bass notes in conjunction with a metallic call and response, creating a deep emotional atmosphere in what is truly a masterpiece in film music writing not to mention how well filmed this particular scene is.

The ending sequence of this film is highly intense in watching ‘Driver’ execute his plan of attack to save his adopted family Irene (Casey Mulligan) and her son Benicio. Track #14 ‘Hammer’ really brings out the raw ability ‘Driver’ has to inflict pain and act as a figure of authority which drives the scene with enormous energy. The nightmarish synth-horn emulating sound resonates so true to Drivers character, again supported by a deep underlying drone on the bass which remains constant throughout the soundtrack. If we listen to the soundtrack as an entity on its own, it would be fair to assume that this was the height of the film. What viewers will agree with is that the film is still yet to reach its peak, however musically I think the soundtrack moves down in emotion as the film reaches its end. In tracks like ‘My Name On A Car’, ‘On The Beach’ and ‘Bride Of Deluxe’ we are presented with a consistency similar to that from the beginning of the soundtrack, taking the edge of the intensity in ‘Hammer’

Soundtrack Send-Off:

The soundtrack really moves the emotion in each scene which authentically generates anxiety and focus, immersing the viewers in what is occurring on-screen. The ‘Drive’ OST provides us with a highly sophisticated and authentically dark, 80’s synthetic composition which brings out the character of ‘Driver’ in a subliminal sense, transcending what we visualise. The soundtrack seamlessly moves from one track to the next representing its consistency throughout the entire film yet bringing out many different sounds and emotions while the themes develop.

Cliff Martinez has constructed a superb soundtrack for this film which aids the visually brilliant style of the film. Martinez carefully utilises electronic sounds which are edited and mastered in a way which makes this a deeply emotional and immersive soundtrack for listeners and viewers.

TFMJ Pick Of The Lot: Track #13 – ‘After The Chase’ (Drive OST)

TFMJ Rating: ★★★★★