I was making songs not really understanding the back and forth aspect of it and notes from a bunch of different people that aren’t necessarily the director. I didn’t really understand how it was supposed to work in a formal Hollywood type of way. “Before that, my only experience with film or commercials or fashion runways was them taking songs I had already made. “’Drive’ was my first feature,” says Jewel. During this time, Jewel stayed in touch with Refn via Skype and kept working on the score. Jewel returned to Montréal, Canada, where he was living at the time, read the James Sallis novel from which “Drive” was adapted, and started writing and recording. They brainstormed about the vibe and sonic references such as Brian Eno and Tangerine Dream. Gosling and Refn came to one of Jewel’s shows in Los Angeles and asked him to do the score for “Drive.” Jewel said yes. “Digital Versicolor,” Jewel’s song with his band Glass Candy, had been featured three times in Refn’s 2008 film, “Bronson,” and and his 2007 album with the Chromatics, “Night Drive,” had a strong influence on the color of “Drive.” The song plays like score, and for quite a while Jewel was under the impression that he was commissioned to score “Drive.”Īccording to Jewel, when Ryan Gosling was attached to the picture, the actor had his choice of director and composer. ![]() The opening sequence is soundtracked by “Tick of the Clock,” which, at almost 10 minutes, is also the longest cue. ![]() It’s these five, specifically the two from Jewel, that set the sonic tone for the film. Only five of the 20 or so pieces of music collected on the “Drive” soundtrack are needle drops. The level of discovery from people seeing the movie and then wanting to hear more stuff like that put what we were doing in the underground in the focus of the mainstream.” “’Drive’ is a niche film,” Jewel continues, “but it’s very popular and very groundbreaking and in a musical sense, very impactful.
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