We spoke with Michael Pitt about “The Driver,” his directorial debut produced in collaboration with Rag & Bone and Alldayeveryday. He talks shooting black and white and an upcoming collaboration with Martin Scorsese. Check out these behind the scenes photos of Michael in action—both behind the camera and on-set, in character.

How did you end up working with [“Road to Paloma” writer] Jonny Hirschbein for this project? Did you two collaborate on the story?

Jonny and I collaborated completely on this project. We are actually developing a project with Martin Scorsese producing.

You wrote the score for the short: it suggests an intense mental trip in the vein of “Taxi Driver.” Would you agree?

I am extremely influenced by the films of Martin Scorsese. Some of the inspiration for this film came from “Raging Bull,” “Rocco and His Brothers,” “Mala Noche” and “Strangers in Paradise.”

“You’re working on imagery, literature and music simultaneously.”

You also directed the movie. What came first: the images or the sound? Or were they intertwined?

Cinema itself is intertwined. That’s what I love about the art form. You’re working on imagery, literature and music simultaneously.

Why did you choose to use dense, high-contrast black and white?

Aesthetically, I thought that it complimented the Rag & Bone brand. Also, I think it’s good for a new director to work in black and white at some point, because you focus on shadow and light.