DID YOU READ

Nicolas Winding Refn on “Drive,” Ryan Gosling’s jacket, and his “Logan’s Run” remake

Nicolas Winding Refn on “Drive,” Ryan Gosling’s jacket, and his “Logan’s Run” remake (photo)

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I’ve interviewed a lot of directors. Nicolas Winding Refn is the first I’ve ever spoken to who actively solicited negative feedback about his movie. As we were wrapping up our conversation about his new film “Drive,” he pressed me to tell him something I didn’t like about it. You’ll see what I said, along with his great response, at the end of our interview. I just appreciated talking to a director who takes criticism, even negative criticism, seriously.

Or maybe Refn knew he’s got a really good movie on his hands and there wasn’t much to complain about. He would be right, too. “Drive” is a superb film, a successful blend of action and romance, violence and beauty, high and low art. Ryan Gosling stars as Driver, a part-time mechanic and stuntman who moonlights as a wheelman. He takes a shine to his neighbor Irene (Carey Mulligan), but she has a secret she’s not telling him, and he’s getting in over his head with his boss Shannon (Bryan Cranston) and some of his unsavory underworld associates (Ron Perlman and Albert Brooks, wonderfully surprising as a pragmatic mobster).

The film draws on all sorts of older inspirations — John Hughes movies, Japanese samurai films, 70s crime fiction — and combines them in a refreshingly new way. As Refn famously described in front of a packed house at this year’s San Diego Comic-Con, the whole project began with an awkward meeting between the director and his star. Refn was sick and high on flu medication. He doesn’t have a driver’s license — more on that in a bit — so Gosling drove him back to his hotel. When REO Speedwagon’s “Can’t Fight This Feeling” came on the car stereo, Refn burst into tears and song simultaneously. Somehow, Gosling understood: this was what their movie was about. A partnership was born.

So I started with the somehow: how did the Danish-born director of foreign indies like the “Pusher” trilogy, “Bronson,” and “Valhalla Rising” know this was the right project to make as his first Hollywood movie? After that, we tackled all sorts of topics about “Drive,” including Refn’s chronological shooting method, his vision for Gosling’s costume, even his unusual choice of opening credits fonts, before we wrapped things up by briefly discussing his upcoming project with Gosling, a remake of “Logan’s Run.”

Remaking beloved science-fiction classics? Good thing the guy’s cool with negative criticism.

So I’ve read the story of your first meeting with Ryan Gosling when you were high on flu meds, crying, and singing REO Speedwagon. But what was it about this project that made it the one for you guys to collaborate on?

It wasn’t this project. It was basically that during the course of that drive home, when I was singing REO Speedwagon and crying [laughs], I saw an emotion that I could make a movie out about.

What emotion was that?

I told Ryan, “We’re going to do a movie about a man who drives around in a car at night listening to pop music because that’s his emotional relief.” He was like “Cool, let’s do it.” And that’s how the film got started. After that, I looked at the material, and I wanted to change a whole lot. Then I read the book, and I wanted to infuse much more from the book.

Can you give me some specific examples of things you changed?

Everything about it. Eliminating Driver’s past, casting Carey Mulligan instead of a Latino actress because that’s what the character is in the book, condensing the script by 25 pages, the elevator scene, the ending. So many things. It’s hard; every detail added up to a complete transformation.

I also read that you’ve failed your driving test eight times.

[laughs] Yeah.

First of all, how is it possible to fail eight times? Did you screw up a specific thing, like parallel parking?

I don’t even know what that is.

You don’t even know what that is? Maybe that’s part of the problem.

I just failed, failed, failed.

When you can’t drive, does that have any impact on the way you make a movie called “Drive” about a guy who drives a lot?

No, because I wasn’t making a movie about cars. I was making a movie about a man who owns a car.

There are some really cool driving sequences in the movie, though. How much control do you have over those? Do you design them or do you leave that to the stunt people?

Well, a good director is not an expert in anything in particular. A good director just knows a little bit about everything. And then he utilizes the various experts around him to help him realize what he wants to do.

So in the case of the driving, you have your experts, but how much direction do you give them? Does the script just say “Chase Sequence” or is it detailed?

It said “Chase Sequence” when I was done with it, because I would constantly
change things. I was shooting in chronological order, and that changed things constantly.

Why chronological order?

It makes it more interesting, seeing what will happen. It makes it more dangerous to perform, and it makes [shooting] more of a discovery process.

The silver jacket with the scorpion on the back that Ryan Gosling wears gets a lot of screen time. How did that become his signature look?

I wanted [Gosling] to wear a white satin jacket that would illuminate him at night. Good actors find their own costumes, so Ryan found a type of jacket that he really liked. And then we had that type of jacket made in satin. And then on top of that we incorporated the scorpion logo on the back.

Who has the jacket now?

I have a jacket, Ryan has a few, and my wife has more. Only the three of us.

Have you ever worn it?

My wife wears it sometimes.

Ryan is playing this figure we’ve seen before, the tough, brooding wheelman. But he does something that very few of these characters do, which is smile. He has this very warm smile that he shows Carey Mulligan’s character.

Absolutely. He is a combination of violence and romance. That was based on Grimms’ fairy tale structure. By day, he was a human being, by night he was a hero. And the movie is about his transformation into this superhero, by bringing his human morals into the hero role, so that he does what he does for the right reasons.

So the scorpion jacket is almost super-heroic.

It’s part of his costume.

Right. For months, I’ve been really intrigued by the posters for this movie with the title written in hot pink script letters. Then I saw the film and realized that’s the font of the opening titles. It’s such an unusual, striking choice. How did you come up with that?

I wanted that kind of font because it’s timeless, in a way. It’s like a hand drawn logo, which is also like old fairy tales. If you look at old fairy tales, they’re always beautifully choreographed and designed.

The violence in the movie reminded me a little of the violence in “Bronson,” where it appears in the sudden explosions after moments of stillness. Both seem to be about the anticipation of violence as much as the violence itself. Is that fair to say?

It sounds fair. I’m a fetish filmmaker; I just make films based on what I want to see.

So you don’t intellectualize it at all?

On the contrary. I fear it.

So are the feelings primarily on the set or in the editing room?

It depends on what you do. Car chases are all about editing. And more physical violence, emotional violence, is more about the performances.

Ryan’s character has these rules that he follows as a wheelman. Do you have have any rules that you follow as a filmmaker? It sounds like following your instincts would be one.

Also: making sure you’re always a little bit out of your depth. That forces you to be more creative. Art thrives on obstacles. The bigger the obstacle, the better the drama.

All right so you have two more movies you’re working on now with Ryan Gosling including a remake of “Logan’s Run.” Why did you want to remake that film?

I’ve always been obsessed with the original. I remember seeing it when I was really little on television. There was something about it that was so hypnotic. This whole disco world that they walk around in was like “Wow!”

Do you plan on making a faithful remake?

No.

A total reimagining?

Well, it would only do it justice. What I have to do is reinvent it. Otherwise, why make it?

Looks like our time’s up. Thanks very much.

Thanks. Did you like the movie?

I did.


What was your favorite part?

Well, I see a lot of action movies. Most are pretty derivative. I appreciated the fact that this looked nothing like the other action movies out there.

What was your least favorite part?

If I’m being totally honest, I was disappointed that there wasn’t more with Carey Mulligan’s character. Maybe that was by design, but after you build up her relationship with Ryan, she doesn’t have much to do in the last third of the film. I really liked her performance and I wanted to see more.

That’s good. Wanting to see more is good. You don’t want someone to say they’ve seen enough.

“Drive” opens this Friday. If you see it, tell us what you think in the comments below, or on Facebook and Twitter.

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Ghost World Thora Birch Scarlett Johansson

Graphic Fiction

10 Offbeat Comic Book Movies You Need To See

Catch The League of Extraordinary Gentlemen this month on IFC.

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Photo Credit: Everett Collection

When we think of movies based on comic books, our minds tend to drift towards tights, spectacular powers and origin stories about how those extraordinary powers come with great responsibilities. But not all comic books star superheroes, and not all movies adapted from them do either. In fact, there are a diverse array of films based on graphic novels and comic book titles, telling stories about everything from sexual awakening to cold blooded revenge. Here are a few comic book flix that are worth checking out while you wait for Captain America and Spider-Man to return to the big screen.

10. Persepolis

Persepolis
Sony Pictures Classic

Marjane Satrapi codirected and cowrote the screenplay for this acclaimed animated film, based on her autobiographical graphic novel of the same name. Through vivid animation and moving voiceover, the film tells the tale of Satrapi coming of age as a punk rock-loving kid during the Iranian revolution. A revolution itself, Persepolis scored the 2007 Grand Jury Prize at the Cannes Film Festival and further pushed the boundaries of what a comic book movie can accomplish.


9. Mystery Men

Mystery Men
Universal Pictures

Despite a fun script and an amazing cast (everyone from Ben Stiller to Eddie Izzard to Dane Cook is in this thing), Mystery Men never got much credit for spoofing the superhero genre way before the comic book movie glut. Based on Bob Burden’s Flaming Carrot comics, Mystery Men came and went when it was released back in 1999. It’s worth a second look, if for no other reason than to see Paul Reubens as a superhero with the power of explosive flatulence.


8. The Rocketeer

The Rocketeer
Disney

Released in 1991 on the heels of Batman and Dick Tracy, The Rocketeer was poised to be the next big comic book blockbuster. But the movie fizzled at the box office, eventually finding a much-deserved cult following on home video. Directed by Joe Johnston with the same mix of heart, humor and action-packed thrills that he brought to Captain America: The First Avenger, The Rocketeer is a throwback to classic pulp adventures presented with zero camp. A faithful adaptation of the late Dave Stevens’ graphic novel, it’s a franchise that Disney should consider rebooting. Maybe a Rocketeer/Captain America crossover?


7. Snowpiercer

Weinstein Company
Weinstein Company

Yes, that insanely awesome movie where Chris Evans fights his way through a futuristic train is based on a series of French graphic novels. Directed with visceral style by Bong Joon-ho, Snowpiercer developed buzz when it was released in 2014 thanks to its twisty plot and intense action sequences. The graphic novels are worth checking out, though you’ll have to supply your own bizarre Tilda Swinton accent.


6. Ghost World

United Artists
United Artist

Indie filmmaker Terry Zwigoff adapted this film with the help of Daniel Clowes, the writer and artist of the anthology comic Eightball, where the “Ghost World” story first appeared. The film, like the comic, tells the story of two oddball teenage girls making their way towards adulthood. For the film, Zwigoff and Clowes expanded the role of the middle-aged loner (Steve Buscemi) that Enid (Thora Birch) pranks before eventually befriending. The graphic novel helped put Clowes on the map, and the film went on to receive an Oscar nomination for Best Adapted Screenplay in 2002.


5. A History of Violence

New Line Cinema
New Line Cinema

This paired down thriller was a perfect example of respecting the form and brevity of the source material and translating it to the screen. Genre icon David Cronenberg helped steer this adaptation of John Wagner and Vince Locke’s graphic novel to an Oscar win for William Hurt, and a triumphant screening at the Cannes Film Festival.


4. Road to Perdition

Dreamworks
Dreamworks

Sam Mendes followed up his Oscar-adored film debut, American Beauty, by helming this adaptation of the 2002 comic by Max Allan Collins and Richard Piers Rayner. The story of a mob enforcer who seeks revenge on the men who killed his family, it was notable for casting Tom Hanks, aka America’s nicest movie star, as the heavy for once.


3. Art School Confidential

Sony Pictures
Sony Pictures

Terry Zwigoff and Daniel Clowes reunited for this largely autobiographical story of Clowes’ early days in art school. The original comic was just four pages long, meaning much of the material covered in the movie was original. Still, you should watch it for John Malkovich’s trademark bizzaro performance as a pompous professor, and then stick around for the serial killer subplot that feels like it’s from a different movie. This isn’t a classic like Ghost World, but it’s worth seeing just for the singular talents behind it.


2. American Splendor

HBO Films
HBO Films

American Splendor is an autobiographical film, based on an autobiographical series of comics about the life of cartoonist Harvey Pekar, who also appears in the film as himself, talking to his fictional counterpart, played by Paul Giamatti in a career defining performance. It is idiosyncratic, bizarre and something that has to be seen to truly grasp, but with a Grand Jury Prize for Dramatic Film at the 2003 Sundance Film Festival under its belt, it certainly did its source material proud.


1. The Diary of a Teenage Girl

Sony Pictures Classic
Sony Pictures Classic

Based on the semi-autobiographical graphic novel The Diary of a Teenage Girl: An Account in Words and Pictures, this recent indie favorite is about one teenage girl’s sexual awakening by way of an affair with her mother’s boyfriend. The movie, like the comics before it, mixes the moody angst of teendom with a certain magical realism to create an immersive world of sexual delights and snarky comebacks. Frank and funny, the film was an awards season favorite, and took home Best First Feature at the 2016 Spirit Awards.

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Kylo Ren

Use the Farce

Kylo Ren Outtakes, Maron’s Advice for Millennials And More of This Week’s Funniest Videos

This week we're laughing at Beyonce covers, Ab Fab: The Movie trailer and more.

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As another week ends, it’s important to blow off some steam with some hilarious videos. An entertainment appetizer, if you will, that’ll make the transition from work to play a little easier.

From a bumbling Kylo Ren to a perfect take on every white guy who covers Beyonce, here are five funny things from this week you need to watch.

1. Kylo Ren Outtakes


Exceeding fans’ expectations and being better than it had any right to be, Star Wars: The Force Awakens revitalized an ailing franchise from its abominable sequels. And a large part of the recent film’s appeal is its captivating villain, Kylo Ren. But as Auralnauts present in their YouTube video, the antagonist had a little trouble with negotiating his mask. Check out Kylo’s “outtakes” from the film and hope that director J.J. Abrams de-tints the visor for the next installment.


2. Marc Maron’s Advice for Millennials

The prospect of entering a tough job market with a soaring cost of living and a college degree of diminishing quality is enough to discourage any young millennial. Thankfully, IFC’s designated curmudgeon Marc Maron has some helpful advice for the young men and women to find some solace in an increasingly unfeeling word. Sure, it mostly involves swallowing your pride and accepting misery, but the intention is pure. (Find out how Marc digs himself out of his own personal hole when Maron returns on May 4th at 9P.)


3. Pixies’ “Where Is My Mind?” Covered By Animals


If you got somebody’s answering machine in the early-to-mid ’80s, you might’ve been greeted by a chorus of pups barking “Jingle Bells”, “Grand Old Flag”, or another royalty-free tune. In that vein, YouTuber Insane Cherry assembled the bleats, grunts, and meows from a veritable barnyard of animals into a rendition of “Where Is My Mind?” by the Pixies. Yes, the cats sound like they’re stressed, but to their credit, they’re really nailing Frank Black’s voice.


4. Absolutely Fabulous: The Movie trailer

If you’re like us, you probably have fond memories of watching Patsy and Edina’s drunken adventures back when Comedy Central aired AB Fab reruns in the ’90s. Thankfully the gals are back in a new movie, still sloshed and living a fabulous life. (And this time out, they might have killed Kate Moss.) Considering all the hard living they’ve done, we have to echo Jon Hamm (playing himself in the film) and say we’re surprised they’re still alive and kicking. (For more on the film, visit our pals over on BBC America.)


5. White Guy Covers Beyonce’s Lemonade

Beyonce broke the Internet with her Lemonade album and companion music videos, inspiring a slew of covers and tributes from fans. Funny or Die offered up a perfect spoof of earnest white guy YouTubers who cover Beyonce’s #relatable songs.

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TREMORS [US 1990]  FRED WARD, FINN CARTER     Date: 1990

Better Off Fred

5 Roles That Prove Fred Ward Should Be In Every Movie

Catch a Tremors movie marathon Saturday, April 30th on IFC.

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Photo Credit: Universal/Everett Collection

Fred Ward has always exuded a tough but likeable on-screen “bad-assitude” that has enabled him to enjoy a career spanning five decades. Before he had a recognizable “that guy” face to movie fans, he was cast alongside Clint Eastwood in Escape from Alcatraz. Not many actors can play both Henry Miller and David Spade’s dad in Joe Dirt with equal aplomb. Before you catch IFC’s Tremors marathon, check out some roles that prove Fred Ward can hold his own with the Van Dammes and Stallones of the world.

5. Wilkes, Uncommon Valor

Due to his rugged, determined look, Ward was often cast as cops, crooks and military men. It’s no surprise that he appeared in Uncommon Valor, the 1983 film where Gene Hackman puts together a ragtag squad of ex-Vietnam vets to rescue his son who was left behind in Laos. Sure, the movie pretty much set out to make a Vietnam version of The Dirty Dozen, but that doesn’t mean it wasn’t entertaining in its own right. Ward fits right in with a cast of ’80s era tough guys, including Patrick Swayze, Randall “Tex” Cobb, and Tim Tomerson. Ward’s character Wilkes was a tough-as-nails Vietnam Vet who was a “tunnel rat” during the war. There’s a funny training session scene that provides a comic relief moment where Wilkes captures every one of the guys in the unit, including Gene Hackman’s Colonel Rhodes, by hiding under water. Eat your heart out, Rambo.


4. Earl Bass, Tremors

Not many actors can pull off lasso-tossing an explosive in order to lure a huge worm creature with snake tongues out of the desert sand, but Ward pulls off the moment with zero camp. His Earl Bass, the tough but average Joe ranch hand turned hero, didn’t need Kevin Bacon’s long hair and exaggerated Southern drawl either. Ward and Kevin Bacon made a great team trying to save their town from the Graboids, elevating the humor in this out-of-this-world (or under-this-world) horror comedy.


3. Sgt. Hoke Moseley, Miami Blues

In a movie where Alec Baldwin completely shines as a psychotic (and highly entertaining) criminal using Miami as his own personal joy ride, Fred Ward gives an equally great performance as the grizzled Miami cop who’s seen one too many cases. After being attacked by Baldwin’s character in his own home, Ward’s Sgt. Hank Moseley loses his badge, his gun and his dentures, which really pisses him off. (And nobody plays pissed off better than Ward.) Baldwin’s Junior goes on a crime spree while using Moseley’s identification. Moseley’s wily veteran slowly begins to figure out what Junior is up to through sly conversations with Baldwin and his overly trusting hooker girlfriend, memorably played by Jennifer Jason Leigh. An underrated action comedy that is all the better for giving us a pure shot of uncut Ward awesomeness.


4. Gus Grissom, The Right Stuff

“An astronaut named Gus?” That was the question asked of Virgil Grissom in The Right Stuff by the executive from Life magazine. Who better to play a fearless, rough-around-the-edges astronaut who refused to be called Virgil than Fred Ward? The Mercury Astronauts were the best of the best, and in the film they were played by a group of great actors who were all perfectly cast to portray the brash group of American heroes. In the film, Gus was blunt and to the point and far from loquacious (his character would never use that word) but when he did speak up, it had meaning. In another pivotal scene, in which Deke Slayton was relaying to the other astronauts what Gus was trying to say about beating a monkey into space, it’s Gus’ response that summed up his character perfectly: “F***in’ A, bubba.” Nobody could have delivered that bad-ass line better than Fred Ward. In fact, “F***in’ A bubba” should have been added into the dialogue of every character he played.


5. Remo Williams, Remo Williams: The Adventure Begins

Remo Williams: The Adventure Begins might have gotten ahead of itself with that title as we never got to see the adventure continue, but it had everything you want in an action movie, starting with Fred Ward. Of course, it also had Joel Grey in heavy makeup portraying Korean martial arts master Chiun, but the less said about that unfortunate bit of dated cultural stereotyping the better. Based on a series of pulp novels, Remo Williams was supposed to be an American alternative to James Bond. In an alternate, much cooler universe, it would have propelled Ward to action movie superstardom. In the film, Ward starts out as a NYC street cop recruited to be a government assassin. His face was altered through plastic surgery (to look less like a generic actor and more like Fred Ward with a clean shave) and then he is given the name Remo Williams. There is a lot of humor in this film, which mostly comes through the interaction between Ward and Grey. Chiun teaches Remo the ways of Sinanju, the ancient Korean marital art which enables you to not only dodge punches but point blank range bullets as well. (Let’s see Mr. Miyagi do that.) Anyone who caught this movie during one of its many TV airings during the ’80s remembers the thrilling fight scenes that takes place on the Statue of Liberty. Only Ward could pull off a turtle neck sweater/leather jacket combo and still look badass.

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