The overall atmosphere of any film is largely dictated by it’s soundtrack. Strike the wrong tone and passionate sex scenes become a gross mess, brutal murders turn into slapstick and car chases start to resemble the opening credits to Wacky Races. If Lost In Translation has taught us anything, it’s that a film’s soundtrack can become just as beloved as the film itself – a lesson that Nicolas Winding Refn’s Drive reiterated in 2011. Featuring loads of sexy French electro from College, Kavinsky and Lovefoxxx as well as a dreamy bass-heavy score by Cliff Martinez, the soundtrack to Drive is absolutely integral to the narrative. It tells us what Ryan Gosling is feeling when he’s staring intently at something in silence and sucking toothpick, which constitutes 80% of the scenes, and creates the tangible contrast between tenderness and ultra-violence that makes Drive so distinct. Similarly, the absence of music intentionally clears a space for some of the more intense moments to flourish (because the sound someone’s head caving in is much more effective when it’s the only noise you can hear).
On October 30 at 10pm, BBC Three will broadcast Drive with one major twist: a new score as curated by BBC Radio 1’s Zane Lowe, which will feature contributions from the likes of The 1975, Baauer, BANKS, Bring Me The Horizon, CHVRCHES, Eric Prydz, Foals, Jon Hopkins, The Neighbourhood and SBTRKT. It sounds like a pretty cool idea, so I decided to stay up until 2am watching the original and trying to figure out how it could possibly be improved. With the help of Vine and all your favourite radio hits, I think I found some of the answers. Allow me to guide you through: the Drive that could have been…
Videos by VICE
Very Atmospheric Opening Credits
The Protagonist’s Entrance
Ryan Gosling’s Personal Anthem, Obviously
BRB Just Gotta Follow This Woman Around The Shop
Gosling On The Chirpse With Some Other Guy’s Bird Like
And Having A Sick Time TBH
But, Naturally, Everything Starts To Go Wrong
Clearly Some Shit’s About To Go Down
OH YEAH THE FUCKING KISS
FOLLOWED BY THE FUCKING EXTREME ELEVATOR MURK
Then The Stormy Emotional Climax
Whilst Ron Pearlman Goes HAM In The Diner
Fuck You Ron Pearlman
Ryan Gosling’s Other Personal Anthem
Whatever, No Time For Emotions. SEE YA LATER BITCHES.
THE END.
To have more of your favourite things improved, follow Emma on Twitter: @emmaggarland
