By MCN Editor editor@moviecitynews.com

Drive Returns to ArcLight Hollywood for Exclusive Engagement

Posted Tuesday, January 3rd, 2012 - Comments Off on Drive Returns to ArcLight Hollywood for Exclusive Engagement
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Albert Brooks in Attendance for Q&A on Friday Jan. 6, 7:20PM

NEW YORK—Jan. 3 2012 — FilmDistrict is very excited to announce that Drive, directed by Nicolas Winding Refn and starring Ryan Gosling and Albert Brooks, will be returning to the ArcLight Hollywood for an exclusive one-week engagement, beginning this Friday, January 6th. Brooks will be in attendance for a Q&A on Friday night. Don’t miss one of the best reviewed movies of the year in LA’s premiere destination theater!

The ArcLight is the perfect place to present Drive. The film is an electrifying piece of blazing neon color, elegant Los Angeles locations, and swooning electropop sounds. The ArcLight is devoted to presenting films as their makers intended, with the most spectacular sight and sound presentation of any theater in the world. Few films deserve such a treatment more than Drive. This will be a one-of-a-kind theatrical experience that leaves Blu-ray and online streaming in the dust!

Drive has been listed on 68 critics’ Top 10 lists. Albert Brooks has currently won 18 Best Supporting Actor awards from various critics and awards groups, including the prestigious New York Film Critics Circle. Nicolas Winding Refn has currently won seven Best Director awards, including the Cannes Film Festival. The film has currently accumulated 83 awards nominations, including the Best Supporting Actor Golden Globe® for Albert Brooks, eight Broadcast Film Critics nominations, and four Spirit Award nominations.
Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can’t help falling in love with his beautiful neighbor Irene (Carey Mulligan), a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac).
After a heist intended to pay off Standard’s protection money spins unpredictably out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). But when he realizes that the gangsters are after more than the bag of cash in his trunk—that they’re coming straight for Irene and her son—Driver is forced to shift gears and go on offense.

Directed by Nicolas Winding Refn
Screenplay by Hossein Amini
Based on the book by James Sallis
Produced by Marc Platt, Adam Siegel, Gigi Pritzker, Michael Litvak, John Palermo.
Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman with Oscar Isaac and Albert Brooks.
Costume Designer Erin Benach
Music by Cliff Martinez
Production Designer Beth Mickle
Edited by Mat Newman
Director of Photography Newton Thomas Sigel, A.S.C.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon