iTunes Movie Trailers has released this second US trailer for ‘Shame,’ the stunning second collaboration between Michael Fassbender and writer/director Steve McQueen – the first being the unflinching and powerful biographical drama ‘Hunger.’ Written by Steven McQueen and Abi Morgan, the film also stars the likes of Carey Mulligan, Nicole Beharie and James Badge Dale. ‘Shame’ is scheduled to be released December 2nd in the US and January 13th in the UK.

Digital Spy has unveiled this UK poster for ‘Shame,’ the stunning second collaboration between Michael Fassbender and writer/director Steve McQueen – the first being the unflinching and powerful biographical drama ‘Hunger.’ Written by Steven McQueen and Abi Morgan, the film also stars the likes of Carey Mulligan, Nicole Beharie and James Badge Dale. ‘Shame’ is scheduled to be released December 2nd in the US, and January 13th in the UK.

‘Shame’ follows Brandon (Michael Fassbender), a thirty-something man, closed from emotional contact, lonely, unable to manage his sex life and moving towards self-destruction. When his wayward younger sister moves into his apartment stirring memories of their shared painful past, Brandon’s insular life spirals out of control. Check out my interview with Michael Fassbender for the film here.

The Guardian has unveiled the debut trailer for ‘Shame,’ the stunning second collaboration between Michael Fassbender and writer/director Steve McQueen – the first being the unflinching and powerful biographical drama ‘Hunger.’ Written by Steven McQueen and Abi Morgan, the film also stars the likes of Carey Mulligan, Nicole Beharie and James Badge Dale. ‘Shame’ is scheduled to be released December 2nd in the US, and January 13th in the UK.

‘Shame’ follows Brandon (Michael Fassbender), a thirty-something man, closed from emotional contact, lonely, unable to manage his sex life and moving towards self-destruction. When his wayward younger sister moves into his apartment stirring memories of their shared painful past, Brandon’s insular life spirals out of control. Check out my interview with Michael Fassbender for the film here.

The Hollywood Reporter has debuted this new teaser poster for ‘Shame,’ the stunning second collaboration between Michael Fassbender and writer/director Steve McQueen, the first being the unflinching and powerful biographical drama ‘Hunger.’ Written by Steven McQueen and Abi Morgan, the film also stars the likes of Carey Mulligan, Nicole Beharie and James Badge Dale. ‘Shame’ is scheduled to be released December 2nd in the US, and January 13th in the UK.

‘Shame’ follows Brandon (Michael Fassbender), a thirty-something man, closed from emotional contact, lonely, unable to manage his sex life and moving towards self-destruction. When his wayward younger sister moves into his apartment stirring memories of their shared painful past, Brandon’s insular life spirals out of control. Check out my interview with Michael Fassbender for the film here.

London-born English actress Carey Mulligan came to international prominence on the back of her Academy Award-nominated turn in Lone Scherfig’s ‘An Education,’ a role for which she earned Best Actress awards from the National Board of Review, the British Independent Film Awards and BAFTA. She recently starred in Mark Romanek’s adaptation of Kazuo Ishiguro’s ‘Never Let Me Go,’ with Keira Knightley and Andrew Garfield, and also in Oliver Stone’s ‘Wall Street 2: Money Never Sleeps,’ playing the daughter of Michael Douglas’s iconic character. She also starred as Kitty in Jane Austen’s ‘Price and Prejudice.’ Additional films include ‘Public Enemies,’ ‘The Greatest,’ ‘Brothers,’ and ‘When Did You Last See Your Father.’ In Drive, directed by Nicolas Winding Refn (Bronson, Valhalla Rising), she plays Irene, a woman whose life is coloured by two different relationships with two different men…

Why do Irene and Driver connect?

Carey Mulligan: The thing with Irene and Driver was a kind of a communion. They both have these very lonely existences, he especially, and she is just struggling along and they found each other kind of peaceful. There is something not real about it. I think maybe they both know that. It is a sort of fairytale what they had. Then it is over and she is back to real life. I think it was different in that sense. She is slightly taken out of herself and I don’t know that they could function like that forever. One of my favourite scenes is driving down the river basin; it is all a bit heightened and the reality is slightly different. It is two different worlds really. Oscar and Standard, his character, are from the real world, and Ryan/Driver seem like they’re from this slightly fairytale land.

And she doesn’t make the conventional Hollywood decision…

Carey Mulligan: I like that she doesn’t choose him. She chooses her husband. She doesn’t run off with him. She is not bent by his will and she does not want money. She just wants her family and wants to protect her family. So I liked her. So it was an easy choice but also the script with Oscar coming in playing that character made it a different question. Like you said with Ryan and Oscar’s characters being inherently good people with bad sides to them it is interesting. That is what Nick does. That’s what I loved about ‘Bronson.’ And then knowing that Ryan was attached and being able to act with him. I knew that being in a room with him was going to be exciting. And also in terms of the character I wanted to see if I could pull off playing a mother because I have always played younger. I am 26 now and playing my own age is always difficult. I have always been a couple of years below.

You’re a big fan on Nicolas Winding Refn, the director. Which of his movies first lured you in?

Carey Mulligan: I have since watched the ‘Pusher trilogy’ but it was mainly ‘Bronson.’ Then last summer I watched ‘Valhalla Rising,’ which I thought was amazing. I just loved ‘Bronson’ so much and I’d heard about Valhalla. I had missed it in England and I got a copy of it when I was living in America.

And it was after watching Valhalla that you told your agent you wanted to work with him?

Carey Mulligan: Yes. I hadn’t worked in about a year. There wasn’t anything significantly different from anything I had already done and then I emailed my agent, having watched Valhalla, that same night, and I was like, ‘I just want to work with Nicolas’ and he emailed me back two weeks later: ‘Well Nick has this script but you are not right for it. The character is a Latino woman, older. You could just try, go in see him and talk.’ Nic and I had met actually in Melbourne, the first time I ever did any kind of press. I went to Australia for ten days, through Melbourne, Sydney, Brisbane. I did three days in each promoting ‘An Education.’ So we had already met. He is just the most tender man. He is hilarious. He knows exactly what he wants and is brutally honest. He is also one of the kindest men, honestly, and I feel extremely lucky to become one of his friends as well as working with him.

Why didn’t you work for the year beforehand?

Carey Mulligan: As much I wanted to I just couldn’t find something that I felt justified in doing. There was just too much that was similar to the parts I’d played before and things I had already done. I felt that until I found something that I felt excited about in terms of something different, I was going to wait.

What sort of roles were you being offered on the back of ‘An Education‘; characters with quirks?

Carey Mulligan: Yeah. It was like ‘The Girl Who Wore Black Eye Make up and was into The Ramones.’ It was just lots of stuff like that. And as brilliant as they were, there wasn’t a good enough reason for me to do them. And then costume drama, British things — I have by no means done enough work at all in that area but I felt I had just come out of a really long two years of doing lots of British TV, and lots of costume drama, Austen and Dickens, and I just didn’t feel like going back into that territory. I just thought that I should wait. Then ‘Drive’ came along and then I did ‘Shame’ with Steve McQueen and then I just suddenly found all these exciting things, but there was definitely a time when I thought there wasn’t much for me.

Much like Ryan Gosling, rather than chasing big-money blockbusting parts, you’ve found really interesting pictures…

Carey Mulligan: I have always been interested in human stories and I probably lean towards drama really and those character parts are more interesting, generally. The part that I did in this and in ‘Shame,’ they just weren’t there. I haven’t been strategic about picking the size of the project but I have found that a lot of the most interesting stuff has been in the independent films so that’s what ‘Drive’ was and ‘Shame’ but then Gatsby is an amazingly interesting role and an amazing cast but a massively different budget and scale. It has just been where the parts have been.

The part in ‘The Great Gatsby,’ Daisy, was much coveted; were you a big F. Scott Fitzgerald fan?

Carey Mulligan: I’d tried to read ‘The Beautiful and The Damned’ at school, but I only read ‘The Great Gatsby’ before I auditioned. It’s a great role. With Daisy I think her biggest problem is that she feels very two dimensional, she feels in herself that she doesn’t have very much to offer to the world but she is continuing this guise of being fascinating and interesting and it pains her that she doesn’t have anything to back that up. People talk about whom Fitzgerald drew from to write Daisy and there are elements of Zelda Sayre and of another woman he met called Ginevra King so that’s fascinating. I love reading about Zelda and her life and I think Daisy is just struggling with not finding herself interesting, and trying to fill the air, basically. I don’t think she is hard-hearted either. I could defend her for hours. I haven’t played anything like that before so it is exciting, something different.

And how do the paparazzi treat you nowadays?

Carey Mulligan: I haven’t had any problem in London. In LA if they find out where you are living then it is quite hard. LA is worse. I have no problem in London.

What can you say about your Steve McQueen movie, ‘Shame‘?

Carey Mulligan: We shot it at the beginning of the year. It is Michael Fassbender who plays a guy living in New York struggling with loneliness and I play his sister, his slightly worried sister who comes to stay with him — the sister is a struggling artist and really it is a story about people struggling with loneliness — and incidents of hilarity ensue, as you can imagine (laughs!).

I understand the character is quite terrifying…

Carey Mulligan: The character did terrify me. I had no idea. She’s an outrageous person, loud, uncompromising, very unlimited and brash and I begged Steve to give me the job and then afterwards it was like, ‘Sh*t. I now have no idea!’ But I just felt at that point there was a lot that I wanted to exercise. It was just one of the best experiences ever.

Driver (Ryan Gosling) is a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can’t help falling in love with his beautiful neighbor Irene, a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard. After a heist intended to pay off Standard’s protection money spins unpredictably out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals. But when he realizes that the gangsters are after more than the bag of cash in his trunk – that they’re coming straight for Irene and her son – Driver is forced to shift gears and go on offense. Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, Oscar Isaac, and Albert Brooks, ‘Drive’ is set for release September 16th in the US, and September 23rd in the UK. Check out what Ryam Gosling had to say about the film below.

Was it significant that he’s only called Driver and has no name?

Ryan Gosling: Well, we wanted the film to feel like a fairy tale, and Los Angeles is, in a way, fairy tale land, based and built on fantasy. And that the only way this movie was really going to resonate on a deep level for the audience, if you weren’t from Los Angeles, is if we dug into the mythology of these characters’ story. So we started to treat the Driver as a knight and Irene as a princess locked in the tower. Bernie Rose as an evil wizard and Ron Perlman as the dragon that needs to be slain.

Is it fun to dive into acting with very little dialogue?

Ryan Gosling: Dialogue just wasn’t necessary any more. If you eliminated the dialogue, people are smart, they can see how someone’s feeling, you don’t need to tell them. We just took away everything that wasn’t necessary and it turned out that there wasn’t a lot that was necessary. Very little had to be said to push the story forward. I think you can say more that way. Once you put a word to it, it pins it and makes it that. So for us we were able to say a lot more by cutting out the dialogue. The thing that really influenced the movie the most was the way that we made it and the way that it came about, I had had these feelings that I like driving but I don’t necessarily need to drive fast or do stunts. I don’t like that in movies necessarily. I just like getting in the car and driving around because I feel like it puts me under some kind of spell. When I get somewhere I don’t remember the drive. I like to listen to music when I’m driving so I had this feeling like the movie can be about driving, not about stunts and going fast.

This film matches European art house cinema with the violent, visceral, adrenaline rush of American cinema and action pictures. As an actor how do you see that vision of putting these two types of cinema together?

Ryan Gosling: First off, I can’t believe that they let us do it (laughs). This whole project was charmed in some way, for instance one of the producers, Marc Platt, a year earlier he said to me, ‘I’m never going to send you a script you won’t want to do, when I send you something I promise you’re gonna want to do it.’ Then a year later he sent me ‘Drive,’ the second I finished reading the script I called him and said he was right. He gave me this opportunity, which I’ve never had before, where he said, ‘You can have any director you want.’ It was clear to me that Nicolas….he’s one of my favourite film makers, there’s nobody like him, this is such a well explored genre that it is hard to believe that you have anything to contribute to it. I just knew Nicolas wouldn’t let himself mimic anybody, he has to be unique, it’s not in his DNA to mimic anyone. It had to be him, I knew if we could get him on board we would have a shot at making something unique.

I asked to have a meeting with him and we sat there for about two hours and he wouldn’t look at me or talk to me, he seemed very bored and disinterested, and unimpressed (laughs). It was like a date that was going horribly wrong, I thought I have to get out of here, this is awful. I feel terrible about myself, I feel terrible about him, I just feel terrible. So then it turns out he was sick, he had the flu, he had this American medication and he was high. He kind of had a Batman neck, he would just stare ahead, them every once in a while he’d look at me like this (twists around stiffly). So he said, ‘Can you take me home?’ So we got in the car and it was that awkward drive home where you don’t know what to say to each other so I decided to turn up the music, REO Speedwagon’s ‘Can’t Fight This Feeling Anymore’ came on, and Nicolas, I thought, I wasn’t sure, but it couldn’t be true, but out of the corner of my eye I saw him crying, and then I looked over and he was singing at the top of his lungs, ‘I can’t fight this feeling anymore., it’s time to bring this ship into the shore, and throw away the ores, forever, because I can’t fight this feeling any more.’ (Bursts into laughter) He then said, ‘I got it, this is the movie, the movie is about a man who drives around Los Angeles at night listening to pop music.’ So we tried to tell Marc that this was our idea, and we also thought that really drivers shouldn’t talk, Hossein Amini had written this beautiful beautiful script, it was poetry, it was also really authentic to the world it was set in. But it was the kind of script that was so authentic on paper, that unless you were going to shoot it Ken Loach style I don’t think you could match it’s authenticity. So we had to find a way to somehow marry this fever dream that Nicolas was having listening to REO Speedwagon, and the amazing script. Producers Marc and Adam gave us the freedom to go on that journey and find out what that is, that’s the film (laughs).

The aspect of violence is so intense but at the same time funny.

Ryan Gosling: When I saw ‘Valhalla Rising’ at the movie theatre, it was one of the only times I had this experience in a movie, but when Mads Mikkelson’s character guts the other character and pulls his intestines out, everybody in the theatre just started laughing, they were hitting each other and turning around and the whole theatre came to life. Suddenly it was fun to go to the movies. It was allowed to be poetry and it was also allowed to be funny, and fun. It didn’t have to be serious all the time. To me that’s amazing, the way Nicolas handles violence. Even last night, we both got to watch the colour timing before a screening of it, we got to go into the cinema alone, we got to sit there and watch them check the sound and check the colour. The scene where Albert Brooks stabs the other character in the neck came on and we all just started laughing. It’s nice to treat the violence in a slightly cartoonish way, it makes it more fun somehow.

How was it working with Albert Brooks?

Ryan Gosling: I think we all felt that the film became officially awesome when Albert Brooks became Bernie Rose and decided to play this villain. There’s no one like him, you love him, and it’s even more terrifying if you love your villain. Personally I think the movie wouldn’t be the movie without Albert. But really with everything, as soon as Carey Mulligan came on board, Ron Pearlman, Oscar Isaacs, Christina Hendricks. Nicolas is really great at casting who he felt is right. With these characters you don’t have to go to the characters, they come to you in a way.

This could be a slight spoiler for people who haven’t seen ‘Driver’ yet, but the elevator scene is so brutal. What are you going through when you’re acting like that and it’s so visceral?

Ryan Gosling: Well, when you’re doing it it’s different because we didn’t have a lot of money on this movie. ‘Irreversible’ has a head smashing in it which is the best head smashing that I’ve ever seen. So we called Gaspar Noe and we asked him, ‘First of all, can we do a head smashing? Second of all, how did you do that?’ So he told us how, but we didn’t have the money that they had to do it, so we basically made these prosthetic heads to smash that didn’t look anything like the guy and they were squashed like grapes with just one kick. It was almost like ‘Who Framed Roger Rabbit’ or something (laughs) – it was cartoonish. So when you’re shooting it you’re very aware of the falseness of it. So it’s different. It’s harder to get lost in those kind of things because they’re so technical but I think that Nicolas did a great job of eliminating all of those elements and making it really visceral and scary, a transformative scene for the character. We also used a werewolf metaphor throughout the movie, that the Driver thought he was a werewolf and had never turned into one but was convinced that he had the potential to. In that scene, the werewolf is unleashed.

IMPAwards have unveiled these six character banners for Nicolas Winding Refn‘s mesmerising thriller ‘Drive.’ Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, Oscar Isaac, and Albert Brooks, ‘Drive’ is currently my favourite film of 2011 – it’s absolutely fantastic! The story of follows a Hollywood stunt driver (Ryan Gosling) who moonlights as a getaway driver. The film is set for release in cinemas September 16th in the US, and September 23rd in the UK. Check out my interview with Ryan Gosling for the film here.

Driver (RYAN GOSLING) is a stunt driver by day and a getaway driver by night. Doesn’t matter what job he does, Driver is most comfortable behind the wheel of a car. Shannon (BRYAN CRANSTON) is part mentor, part manager for Driver. Since he knows what a great talent Driver is behind the wheel, he either peddles him to film and television directors in the entertainment business or thieves who need an accomplished getaway driver, taking a cut for his own pockets. Always looking to make a buck, Shannon’s current plan is funding a stock car that Driver can race on the professional circuit. Since Bernie Rose (ALBERT BROOKS) is the wealthiest guy he knows, even if the sources of his money are questionable, Shannon proposes he be their investor.

After seeing Driver in action at the speedway, Bernie Rose insists Nino (RON PERLMAN) partners with them as well. Primarily a loner and ambivalent about the deals Shannon makes for him, Driver’s world changes the day he shares an elevator ride at his apartment building with Irene (CAREY MULLIGAN). When he sees her again at the grocery store with her young son, Benicio (KADEN LEOS), he is transfixed, and willingly offers help when they are stranded in the parking lot because Irene’s car won’t start. Soon Driver settles into a routine of driving Irene to her waitress job and watching Benicio, entangled in their lives while her car is fixed. This interlude in Driver’s life abruptly stops when Standard (OSCAR ISAAC), Irene’s husband, is let out early from prison for good behavior. Even though nothing has happened between Driver and Irene, Standard is threatened by another man’s presence in his family’s life. Driver backs off, respectful of Irene’s desire to keep her family together, but when he finds Standard bloodied and lying in the garage with a scared Benicio standing next to his father, Driver is embroiled even further in Irene’s life. Then trouble begins…

Nicolas Winding Refn‘s upcoming thriller ‘Drive’ follows Driver (Ryan Gosling), a stunt driver by day and a getaway driver by night. Doesn’t matter what job he does, Driver is most comfortable behind the wheel of a car. Shannon (Bryan Cranston) is part mentor, part manager for Driver. Since he knows what a great talent Driver is behind the wheel, he either peddles him to film and television directors in the entertainment business or thieves who need an accomplished getaway driver, taking a cut for his own pockets. Always looking to make a buck, Shannon’s current plan is funding a stock car that Driver can race on the professional circuit. Since Bernie Rose (Albert Brooks) is the wealthiest guy he knows, even if the sources of his money are questionable, Shannon proposes he be their investor. After seeing Driver in action at the speedway, Bernie Rose insists Nino (Ron Perlman) partners with them as well. Primarily a loner and ambivalent about the deals Shannon makes for him, Driver’s world changes the day he shares an elevator ride at his apartment building with Irene (Carey Mulligan). When he sees her again at the grocery store with her young son, Benicio (Kaden Leos), he is transfixed, and willingly offers help when they are stranded in the parking lot because Irene’s car won’t start. Soon Driver settles into a routine of driving Irene to her waitress job and watching Benicio, entangled in their lives while her car is fixed. This interlude in Driver’s life abruptly stops when Standard (Oscar Isaac), Irene’s husband, is let out early from prison for good behavior. Even though nothing has happened between Driver and Irene, Standard is threatened by another man’s presence in his family’s life. Driver backs off, respectful of Irene’s desire to keep her family together, but when he finds Standard bloodied and lying in the garage with a scared Benicio standing next to his father, Driver is embroiled even further in Irene’s life. Then trouble begins. ‘Drive’ is set for release in cinemas September 16th in the US, and September 23rd in the UK.

What was the appeal of ‘Drive’ for you?

Carey Mulligan: I had seen ‘Bronson’ when it came out because I love Tom Hardy so much and just thought it was the most incredible film. And then I watched the ‘Pusher’ trilogy because it was Nicolas Winding Refn. And then, last summer, I watched ‘Valhalla Rising’ and emailed my agent and said, ‘I just want to work with someone like Winding Refn. I want to work with anyone who makes films like he does.’ And he emailed me back and said, ‘Well, he’s making a film.’ But the character was originally written for a slightly older Latina woman, so my agent said, ‘We’ll get you a meeting and just see what happens.’ So I went and met him at his house, we’d actually met before, in Melbourne, a couple of years ago when I was there on the press tour for ‘An Education.’ We hadn’t really spoken very much, but when I walked into his house, Nicolas is the most brutally honest person I’ve ever met in my life, he was sitting on the sofa and he turned and said, ‘Ah, Carey, you were much fatter last time we met.’ So from then on, I thought, ‘Right, well, he won’t lie. He’ll always tell me if I’m being crap.’ (Laughs) And then we just had the best time making it. He was on my fantasy wish list of directors, so I was just thrilled to be in it.

What did he discuss with you about your character? Do you see her as more of a reactionary character?

Carey Mulligan: There are all these stories from the actors that worked on this film. Nicolas would invite you around to his house, you’d meet him and he’d ask you a series of questions, and basically use that to formulate what he thought the character was. So, I went in and just said bullsh*t. I just wanted the job so badly that I started saying anything that came to mind. I started having all these ideas that didn’t make any sense. I was trying to convince him to cast me basically, so I was trying to make it fit me, but then she has an 8 year old child in the film.

Oscar Isaacs, who plays my husband, and I came up with our whole love story together. There was a scene that was cut, that was about when we first met, and him being a couple of years older than me, and me being 17 years old – we came up with all of our backstory. When it comes to the film, so much about my character’s relationship with Ryan Gosling’s character in the film is about this calm center, which is surrounded by just complete chaos. It was this fairy tale, slightly surreal love story, with a knight in shining armor and a girl stuck in a tower. It was really more about two lonely, struggling people who found a way to be temporarily peaceful, so dialogue and backstory and all that sort of stuff was stripped away.

So much is not said in the film. Does that make it easier or harder for you as an actress?

Carey Mulligan: It makes it easier, if you can’t do an American accent. I don’t know…..It’s different. I played a character in ‘Never Let Me Go’ where the script for my character was very sparse, and I enjoyed it. With ‘Never Let Me Go,’ I had a whole book written from my character’s point of view, so I always knew where I was. But with Ryan Gosling, it was just easy. He’s such a brilliant actor and he is so prepared. He doesn’t have to warm himself up to be in a scene, he’s just in it, it draws you in, in a way. We had scenes where we stared at each other with no words for three minutes until it was weird, but somehow I feel like it works because the rest of the film has all the complex and witty and intelligent and terrifying characters. This is the part of the film where there’s a little bit of hope, it’s quite nice.

Were you involved in the action at all?

Carey Mulligan: No, I was really annoyed though. I wanted to be in more stunt stuff. There was, for a moment, a scene there where Ryan was shooting someone and covering me, and I was so excited, and then it all got cut. I had never had anything involving a gun before. There’s one portion of the film where this love story crosses over with the action stuff, which is a scene in an elevator, but other than that, no, I didn’t get to see the action stuff. I was on set a lot and Ryan nicked the producer’s Mini Cooper and did some stunt driving in a parking lot that scared the sh*t out of me. It was just to scare me, pretty much (laughs).

Would you like to do an action movie where you’re the butt-kicking heroine?

Carey Mulligan: Yeah. I don’t want to wear spandex though. I don’t want to wear any of the Lycra costumes (laughs). No, I would – I’d love to. I’d love to do a Paul Greengrass movie, or something like that, that’s a character-driven action film. I’d like someone to make me go to the gym every day and all that stuff. I don’t know, wherever the good characters are, I tend to try to get a job. It was nice because this was dipping my toe in the action genre, maybe I might put my foot in next time.

Were you a fan of this genre of ‘criminals with a change of conscious when they meet the right sort of girl’ before doing ‘Drive’?

Carey Mulligan: The only film I watched that really helped me, in terms of Irene, was ‘Alice Doesn’t Live Here Anymore.’ I thought her relationship with her son, in that film, was so beautiful. I was quite nervous about having a grown-up kid in the film, and her relationship with her son in that film was so beautiful and so honest. You don’t see very much between me and Kaden Leos, the boy who plays my child, but I took a little bit from that

Filmdistrict have debuted this new poster for Nicolas Winding Refn‘s upcoming thriller ‘Drive.’ Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, Oscar Isaac, and Albert Brooks, this film is sitting pretty amongst my most anticipated films of 2011 – I’ve heard nothing but great things. Refn’s previous two films ‘Bronson’ and ‘Valhalla Rising’ are two of my favourite films from recent years. The story of ‘Drive’ follows a Hollywood stunt driver (Ryan Gosling) who moonlights as a getaway driver. ‘Drive’ is set for release in cinemas September 16th in the US, and September 23rd in the UK. Check out my interview with Ryan Gosling for the film here.

Driver (RYAN GOSLING) is a stunt driver by day and a getaway driver by night. Doesn’t matter what job he does, Driver is most comfortable behind the wheel of a car. Shannon (BRYAN CRANSTON) is part mentor, part manager for Driver. Since he knows what a great talent Driver is behind the wheel, he either peddles him to film and television directors in the entertainment business or thieves who need an accomplished getaway driver, taking a cut for his own pockets. Always looking to make a buck, Shannon’s current plan is funding a stock car that Driver can race on the professional circuit. Since Bernie Rose (ALBERT BROOKS) is the wealthiest guy he knows, even if the sources of his money are questionable, Shannon proposes he be their investor. After seeing Driver in action at the speedway, Bernie Rose insists Nino (RON PERLMAN) partners with them as well. Primarily a loner and ambivalent about the deals Shannon makes for him, Driver’s world changes the day he shares an elevator ride at his apartment building with Irene (CAREY MULLIGAN). When he sees her again at the grocery store with her young son, Benicio (KADEN LEOS), he is transfixed, and willingly offers help when they are stranded in the parking lot because Irene’s car won’t start. Soon Driver settles into a routine of driving Irene to her waitress job and watching Benicio, entangled in their lives while her car is fixed. This interlude in Driver’s life abruptly stops when Standard (OSCAR ISAAC), Irene’s husband, is let out early from prison for good behavior. Even though nothing has happened between Driver and Irene, Standard is threatened by another man’s presence in his family’s life. Driver backs off, respectful of Irene’s desire to keep her family together, but when he finds Standard bloodied and lying in the garage with a scared Benicio standing next to his father, Driver is embroiled even further in Irene’s life. Then trouble begins…