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ou g|ve me a t|me and a p|ace, I g|ve you a f|ve m|nute w|ndow. Anyth|ng happens |n that f|ve m|nutes and I'm yours. No matter what.
Anyth|ng happens a m|nute e|ther s|de of that and you're on your own. Do you understand?
When watching this recently with my girlfriend I realised upon
her reactions just how violent this movie is. The drama is
something I wasn't blind to, it is just done in such a simple
and subtle manner. In scenes that depict the banality that
occurs amongst ragging humans, the kind in which blood is
involved, the film is wonderfully poetic in that they are the
quietest scenes in the whole film. In a particular favorite
shot of mine there is a distinct quietness to it. All we are
given as viewers is visual. The visuals depict two shadows on
black pavement, shadows attempting to take one anothers life.
Like many aspects of this film, this scene shows a reality of
time and space. It is not through our watch that we understand
time but through an emergence of emotion from the heart,
wrought with inflicting and debilitating action.
Drive follows a dramatic unfolding of events circled around what might be the most wonderfully
uninteresting main character in film. Culminating around the beginning of a very intimate
relationship, the viewer is put in the front seat of a classic storytelling device of things going from
good to bad. We follow gosling's unnamed character like we would Clint Eastwood in an early
western. The film rewards the viewer through crucial moments of tension and release.
The drawing for this one it feels very stable in comparison to the others.
n my experience of making these do not understand yet how the nature
of the film might impact the involuntary movement of my hand on the
page but i know its in there. Like a road map for the senses...
"Dammit Ryan Gosling, you beautiful idiot" "Dammit Ryan Gosling, you beautiful idiot"
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