Nicolas Winding Refn Quotes About Film
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I love films, I love movies, I love television, I love television series, I love the internet, I love anything that enhances images. But most of all, I love, love movies.
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I never desired to really go to Hollywood and make films, and purely because I want my entire control, which I'm used to having.
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Financing films that are demanding is a task, in itself. Because people are so afraid of taking any kind of chance, because they're afraid the audience isn't going to respond. But the audience is so hungry for anything that's a bit original, personal, or different.
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Doing your first film, it's very important that it's a commercial success, because that gives you a couple times to experiment until you have to hit the jackpot again.
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If you create something that is essentially alien to you - as a man - and make a film about woman, the more I can surround myself with woman and combine it with my soul's point of view, the more I become a stranger in a strange land.
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Like all art forms, film is a media as powerful as weapons of mass destruction; the only difference is that war destroys and film inspires.
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I feel Amazon is really bringing films into the future. So for me it was the best of both worlds.
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I'm a fetish filmmaker, in that I don't know why I do what I do, I just like to see things. When I figure out what I would like to see, I will put it in a film.
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[Liv Corfixen] very much part of my life in that she's everything in my life and we found a way to use each other much more on a creative level as well. She was kind of the idea for this movie so I wanted to acknowledge that. She gave me the original idea to make the film.
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I just think it was time [in THe Neon Demon]to do a film about women. But not just women, I wanted to do a movie about a teenage girl. It was a great counter to the masculinity of "Drive."
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I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.
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Jenna Malone was a very important piece of how the film [The Neon Demon] turned out.
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I woke up one day and I realized I wasn't born beautiful, but my wife was, so I decided to make a horror film about it: what it would be like to be born beautiful.
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The best thing you can do with actors is collaborate with them. My job is to inspire them to give their best. And they're only inspired if they feel they are part of the creative process, otherwise they'll shut down. So my goal is always to ask people what they would like to do before I even say my opinion. I usually don't know anything until I see it. I'm a fetish filmmaker - I make films based on what I want to see.
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I can't make a film that I don't feel comfortable with.
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The first person I ever described the film [The Neon Demon] to was Christina Hendricks [who has a cameo in the movie]. We were having dinner in LA and she asked me what I wanted to do next and I said, "I want to do a horror movie." And she goes, "What's it going to be about?" And I said, "A lot of blood and high heels."
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I was in Hollywood. It's the mythology heart. It's where all the European films came in the '30s and '40s. The marriage between Europe and Hollywood has always been the best when it works.
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I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
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The problem with cinema nowadays is that it's a math problem. People can read a film mathematically; they know when this comes or that comes; in about 30 minutes, it's going to be over and have an ending. So film has become a mathematical solution. And that is boring, because art is not mathematical.
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Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.
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The casting of any film is around 60% of the film, but it's also about the right casting insight. It's a bit like a house of cards, everyone has to match up in a certain way so the whole structure is grounded. So that's essential, and yes, it's about finding the right people and the right constellation around the lead character.
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I very much enjoy my freedom creatively but I also would love to make one of those big Hollywood films that costs a lot of money and has a lot of people running around with cell phones and all that insanity.
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The conversations about a film are an example of success because then you know whatever you've done has resonated.
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My initial idea was I wanted to make it a horror film, very much. At times I do enter that world.
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Only God Forgives was very much a generation gap in a way. It was all the youth of the world that embraced it. I make films for young people. That's what I will continue to do.
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I like doing the promotional work. It's part of the film's process. Cannes was very wonderful to premiere.
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I'm a fetishist. I make films based on what I would like to see.
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I wanted to make a horror film about beauty.
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