Accounts differ over how they came to collaborate on Drive, but Refn and Gosling both describe their close relationship as “telekinetic.” Their greatest difference is that Refn can’t drive. Most of the film is shot with wide-angle lenses. “I want you to see what’s behind the actor, what’s going on behind the character action,” says Refn, “it’s almost like a tale within a tale. If you look at the way Driver is photographed, it’s almost like there’s another image around him.”

At the same time, adds Gosling, “we both connected to the idea that driving can be an existential experience and you can put your persona and identity aside, because you’re not really being watched. We were both interested in using the car as a vehicle to take you into the driver’s subconscious.”

Supported by Gosling, Refn cut the screenplay’s dialogue by more than a quarter. “Silence is the loudest sound in the world. Without silence, there is no noise. It’s a bit like photography; the light reminds you of where the shadows are, and vice versa. I’ve always worked a lot with silence in my films. It forces the audience to concentrate on what they’re seeing, because silence is pure emotions, it has no logic, it goes straight to the heart.”

Driver is the mythical man without a name, the mysterious loner who stumbles into the role of accidental knight. Gosling plays him in understated anti-hero tradition, with a trademark toothpick in place of a cigar. Monosyllabic, seemingly emotionless, he entices the audience to approach him, to care about who he is, what he wants, and whether he lives or dies.

“Just like a midnight ride with a crazy friend who just happens to be great behind the wheel. You’ll either scream to get out, or you’ll strap yourself in, and get one of the rides of your life.” Cinema Siren

“The enigma of the driver is surrounded by a rich gallery of supporting actors who are clear about their hopes and fears, and who have either reached an accommodation with the Driver, or not. Here is still another illustration of the old Hollywood noir principle that a movie lives its life not through its hero, but within its shadows.” Roger Ebert, rogerebert.com