An affable sense of humor and action pervades through Steve Wang’s 1997 martial arts actioner Drive, both in the technical craftsmanship on screen and the performances by the two leads, Kadeem Hardison and Mark Dacascos.

Drive: A Conversation is a three-way Zoom conversation between Refn, editor Matt Newman, and Martinez. Of course, Drive had done something similar, albeit to a lesser extent, but still enough so that one person actually filed a lawsuit against distributor FilmDistrict for false advertising.The overall color balance hasn’t changed, but there’s more depth to the warm, golden hues that suffuse Drive. As we should all know by now, for movie content, 70 Mbps average bit-rate is never enough to resolve grain perfectly, and it isn't on this disc either. He gives a brief recap of how he became Refn’s English-language editor, before focusing on what was involved in cutting Drive.

Indeed, it's something of a miracle that Drive ended up instead starring Ryan Gosling, and shot by Refn, a director whose career has pretty-much been defined by it ever since. Gosling’s Driver is clearly inspired by Ryan O’Neal’s The Driver in that film, especially in terms of his taciturn nature—Driver was much more garrulous in the novel by Sallis, so that key change proves that Refn was following Hill in that regard. Drive is a magnificent modern classic, a landmark indie production; a low-key B-movie framework made striking by unexpected plot deviation and narrative subversion, unusual often against-type characterisation from an ensemble cast who all provide tremendous performances (Gosling, Bryan Cranston, Carey Mulligan, Albert Brooks, Ron Perlman, Oscar Isaac, Christine Hendricks), breathtaking visual energy, a stunningly sublime soundtrack, richly evocative symbolism and imagery, and an effortlessly cool style. Drive on 4K has never looked better, it's not absolutely perfect, but what Second Sight Films has achieved is excellent.A. from Mann's fellow Chicagoan William Friedkin) rather than the high-octane FAST AND FURIOUS flash-over-substance film that one very disgruntled audience member thought it would be and took her outrage to unintentionally satirical heights by suing DRIVE's distributor for the cost of her ticket as well as asserting the film also had Anti-Semitic views and still intends to file a class-action suit against "false advertising".