WRITER’S NOTE: This article was written back in 2011 when this screening took place.

Continuing with his film programming at New Beverly Cinema which he entitled The Wright Stuff II, filmmaker Edgar Wright gave us a vehicular double feature with “The Driver” and “Duel.” The main attraction of the evening, however, was “The Driver,” a 1978 movie directed by Walter Hill, and Wright gleefully told the audience it was more for him than us as it was his first time seeing it on the big screen, and that it made him want to become a getaway driver. Joining him for this screening was the film’s director Walter Hill, actors Bruce Dern and Ronee Blakley, and producer Frank Marshall.

Upon seeing the sold-out audience at the New Beverly, Hill remarked, “This is the largest crowd in the United States that has ever seen this movie. It didn’t do all that well when it was first released.”

Indeed, “The Driver” is not as well-known as some of Hill’s other movies like “48 Hours” or “Southern Comfort.” When it came out, it was criticized as not being fun and for being “too real.” Hill remarked how depressing it can be when a movie you make does no business and gets bad reviews. Later though, another filmmaker contacted Hill about the reception “The Driver” got and told him, “Pay no attention to reviews. The movie’s marvelous, life is hard.”

“The Driver” marked the first time Hill worked with Dern, and Dern praised Hill endlessly throughout the evening and said he would go anywhere in the world for him. Dern said he found Hill to be “full of surprises,” and he came to work thinking they would do something which had never done before. Hill in turn described Dern as “a very special actor” who always jumped out at him with quality and personality in each of his performances, and that he gave each role an unusual quality of psychological density to even the most mundane characters.

Marshall, best known for producing the Jason Bourne movies and “Raiders of the Lost Ark,” originally turned the movie down because it was being shot at night in downtown Los Angeles. Back in the 1970’s, he was worried about shooting there as it had a very brutal atmosphere. Somehow though, he got sucked into doing this one and ended up trading a summer in Malibu as a result. “The Driver” later led Hill to make another film called “The Warriors” which was also shot at night.

While Dern has most of the movie’s dialogue, the main star of “The Driver” is Ryan O’Neal. His character is noted for having only 350 words in the entire script, and Wright remarked how nice it was to have an action movie where the hero has no good lines. O’Neal was known as a heartthrob at the time, but he was eager to do something different in his career when this role came along. However, many didn’t accept O’Neal as this character when the movie came out as people had a different image of him at the time. Years later though, it is clear just how good he is here, and it served him well in his growth as an actor.

When it comes to the car chases in “The Driver,” it is clear the actors really were driving those cars instead of their stunt doubles. This film was released not long after “The French Connection” which did everything for real, and everyone was really tearing around at crazy speeds. Hill said he and his fellow filmmakers were “young and reckless” back then, and he gleefully pointed out there indeed was “a real man in that car that flipped.”

But what’s great about the car chases in “The Driver,” as Marshall pointed out, is how Hill uses them to tell a story. These are not car chases for the sake of car chases, but ones which are an integral part to the movie as a whole. Watching it at New Beverly Cinema, it made me yearn for the kind Hollywood doesn’t do any more unless CGI is heavily involved. In the end, there is not much which is even better than the real thing.

One audience member asked if there were any police experts on set during the making of “The Driver.” Hill said there were not, and he made clear how the movie is really “pure fantasy” in what it portrays and is the “opposite of law enforcement.” It’s hard to think of any police force wanting to be involved with a movie like this as it appears to show the bad guys getting away without any real repercussions. In the end, Hill saw it as an extension of the “dark sides of personalities.” Indeed, this is not a film inhabited by easily redeemable characters, and Hill was correct in describing as a “very unreal movie.”

Hill also took the time to talk about his style of directing, and this something I was eager to know more about. His films typically don’t get much rehearsal time, but he found this actually works in the director’s favor. He told the audience that two-thirds of directing is casting, and he never gets any rehearsal until take one. Dern added how Hill is not very good at rehearsal, and this made him and Walter seem like a perfect match for one another.

Hill even talked about how he originally wanted Robert Mitchum for Dern’s role, and that he talked with him for six hours straight about it. In the end, however, Mitchum told Hill there was “too much car stuff” and that he didn’t have the energy for it. This clearly benefited Dern who got the role instead, and he admitted Mitchum would have been a “handful” for Hill to deal with.

In the end, this screening “The Driver” really turned out to be a gift for everyone at New Beverly Cinema. It was a gift for Hill and the other guests as it brought back so many memories they would have otherwise forgotten. It was also a gift for Wright as he would never have seen it on the big screen otherwise. But it was an especially big gift for the audience because many of would not have seen it otherwise. I probably would not have rushed out to see “The Driver” if Wright did not feature it in his festival of movies, and for me it turned out to be a special treat.

“The Driver” is one of the many movies which show how Walter Hill is still a vastly underappreciated filmmaker at times. After watching it at New Beverly Cinema, I am reminded of how effective a director he can be when given the right material.

ADDITIONAL WRITER’S NOTE: This movie has become a cult classic in recent years and has proven to be very influential on many filmmakers. Nicolas Winding Refn has cited it as an inspiration on his brilliant movie “Drive,” and you can see its influence all over Edgar Wright’s 2017 action film “Baby Driver.”