October 20, 2021


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‘Drive’ At the age of 10, the original musicians remembered its innovative soundtrack

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In the 10 years since the release of Nicholas Winding Refan’s “Drive”, the lives of two important personalities behind its original soundtrack, Johnny Jewel and Cliff Martinez, have changed, thanks to the film.

“Before the drive came out, I was standing on the freeway with a cardboard sign that read, ‘Scores for food will be’ Soderberg’s composer.” , But for the most part, I’m much more popular than before 2011.

“The drive was huge for those of us who were underground,” said Jewel, whose soundtrack has two original songs – “Tick of the Clock”, his former band The Chromatics and his other band, “Under Your Spell”, Desire.

Jewel said ‘Drive’ is a niche film, but it is very popular and highly groundbreaking and very influential in terms of music. The level of discovery from people watching movies and then wanting to hear more like that puts what we were doing underground in the mainstream focus. ”

Needle drops are 20 or more pieces collected on the “drive” soundtrack. These five, especially Jewel’s two, set the golden tone for the film.

The opening sequence is soundtracked by “Tick of the Clock”, which is about 10 minutes, which is also the longest signal. The song plays like a score, and for quite some time Jewel had the idea in his mind that he was hired to score “Drive”.

According to Jewel, when Ryan Gosling was attached to the film, the actor liked his director and composer. He chose Refon and Jewel, respectively. “Digital Versicolor,” Jewel’s song with his band Glass Candy, was featured three times on Raffon’s 2008 2008 film, “Bronson”, and his 2007 album “Night Drive” from Chromatics, “Run.”

Gosling and Rafan came to a show at Jewel in Los Angeles and asked him to score for a “drive”. Jewel said yes. They thought about vibe and sonic references like Brian Eno and Tangerine Dream. Jewel returned to Montreal, Canada, where he lived at the time, reading the novel James Salis from which “Drive” was adapted and began writing and recording. During this time Jewel kept in touch with Refan via Skype and continued to work on the score.

“Drive was my first feature,” Jewel said. “Previously, my only experience with movies or commercials or fashion runways was to accept songs I had already made. I didn’t really understand how it was supposed to work in a formal Hollywood way. I was making songs that didn’t really make sense behind it and notes from a bunch of different people that weren’t necessarily directors. I was concentrating on the creative side of things. I didn’t have the right deal. I didn’t know they had hired someone else. I only realized when we were mixing and using my needle drops, but the score was a new thing.

Meanwhile, Martinez was brought in by Adam Siegel, one of the film’s producers, and Brian McNeilis of Lakeshore Entertainment, who was releasing the soundtrack. Martinez played Raffon the Crystal Buschet, an experimental instrument in his living room, and he said Raffon was “transfixed.”

The iconic score of the Martinez film was quickly composed in five weeks (just in time for the Cannes Film Festival, where Refon won the Best Director award) with a needle drop as his sonic guide.

“At the time, the song choices were controversial, a little too insane,” Martinez said. “Often, a compilation score of a song is very compelling for a composer to follow in his footsteps. But four of those songs may have been the same band, and two of them were [Jewel], So it seemed to be stylistically integrated. I can admit that with that score, and [Refn], In many words, told me to do it. Insightfully, it’s hard to imagine anything else in this film. [Refn] Was ahead of everyone else. ”

Since “Drive”, Martinez has been referring to Rafen’s “Forgive God Only” and “The Neon Demon” as well as the Amazon limited series “Too Old to Die Young” and “My Life Directed by Nicholas Winding Raffon,” directed by his wife. Documentary on. He has also been tapped for television series, video games and commercials. Apple even wanted to create a ringtone based on what it did for the “drive” score. “It had a huge impact,” Martinez said. “My whole career has changed.”

Gosling was finally able to place Jewel in the seat of composer of his 2015 directed debut, “Lost River.” Jewel has since starred in numerous films, including “Zeroville” (2019), “Inter the Mirror” (2018), “Don’t Come Back from the Moon” (2017) and “A Beautiful Now” (2014). He signed on to score “Holy” with Fian Troch, for which he scored “Home” (2016).

Chromatics has recently broken down, but Jewel continues to release music under his own name and with various projects called Italians Do It Better.

He did not disclose the score he wrote for “Drive” – ​​although it was widely speculated that his symmetrical album, “Themes of a Fantasy Movie”, was the score. Jewel can record directly on it: “‘Theme for a fantasy film’ was an album I was working on three years before ‘Drive’. I released it a few months after ‘Drive’. The album is 30 minutes longer than the movie.” , So it’s not a score. It’s a concept album of instruments that won’t be used for my pop band. It’s a 37-track album দুটি two pieces for ‘Drive’, “he explained,” but that’s it. “

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