It’s difficult to walk away from Drive and not feel affected – whether by the performances, the style, the music or the overall feel of the film. Simply put: it leaves an impression. After watching Drive the first time (and the second), I could not get the distinct music and sound of the film out of my head. And I did not want to. From the moment the neon pink, italicized credits begin and the music kicks in, you know you are about to be taken on a ride. The catchy 1980s synth-pop is interwoven with an almost mellow, but never quite calming, score that works to highlight the quieter moments while keeping the tension in the darker ones. I got the chance to chat with Drive’s composer, Cliff Martinez, about the process of putting together his hypnotic score, working with director Nicolas Winding Refn, and some of his more surprising influences.