Newton Thomas Sigel - Drive

The elevator scene in drive is a perfect example of an emotive lighting change creating something symbolic to develop both the character and help to carry the narrative without use of dialogue. Initially the lights flood the characters clothing mainly from the top of the lift and subtlety from the light seen in the lift, which then fade out shading Ryan Gosling and the assassin however Carey Mulligan is picked out in the corner with an over head light, Ryan Gosling then enters this light with her sharing a kiss, a final goodbye motif from the director as the scene takes a dark turn. As the light fades a sound track is introduced and the film is in slow motion removing the two from present time as they share a romantic  moment before Gosling's character descends further in a violence streak. The golden light is a unconventional choice opposed to a more conventional red that would in some ways imply a similar tone. Though the gold represents unique twist on the character as he acts as a protector for C Mulligan's character Irene, wearing his racing jacket with the scorpion Ryan's character embodies an alternate personality which is purely to protect. The golden light complements his attire illuminating the shinny silk material and later in the scene it helps to accentuate the violent movement of his body as he stomps on the assassins face, animalistic even.