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Bernie Rose When casting roles in his films, Refn does not watch casting tapes or have his actors audition for him. He instead meets with them and casts them on the spot if he feels they are right. Scherfig is a good friend of Refn and used to babysit him when he was a child. Refn and Amini made significant changes to the original script during this time. Knowing Cranston had other opportunities, Refn tried to interest him by asking how he would like to develop the role. After not hearing back, Refn called him, at the very same time that Cranston was writing on a piece of paper the pros and cons of doing Drive. Moved by Refn's interest, he accepted the part. He was unable to find anyone with the necessary acting talent. After meeting with Hendricks, he decided to cast the actress, feeling her "powerhouse" persona would click with the character. 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. 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. It's a case of, 'Look what you made me do. 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. 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. He found the role to be a bit unappealing and chose to turn the archetypal character into something more. He said of the role: 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. In an interview, he revealed the idea for this scene was to emulate the feeling of a "diver in an ocean of sharks," never leaving the vehicle during a 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, which was helped by the scene being shot at low-angles with minimal light. 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,  as he then becomes a "werewolf,"  violently stomping the hit man's head in. Subsequently, 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. The issue highlights Refn's use of constricted space and his way of creating a balance between romance and violence. Using the Arri Alexa camera, the film was shot digitally. Budget restrictions were also a factor in this decision. 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 brought in a showroom full of vintage cars. 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. 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. It's more about the questionable choices that drive people — and, ultimately, the ones that drive them away. 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. 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. 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. 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. 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. Editor Mat Newman suggested Drive's opening credits song:
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