EVERY FRAME IS A PAINTING
How the Cinematography of 'Drive' Utilized Quadrants for 'Tightly Composed & Weirdly Unpredictable' Frames
One of the many pleasures of Nicolas Winding Refn’s “Drive” (2011) is that the shots feel both tightly composed and weirdly unpredictable. Even though most of the images follow a simple quadrant system, Refn puts plenty of subtle touches within the frame. Let’s take a look.
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