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Entries in Nicolas Winding Refn (21)

Friday
Jun142019

Links: Madame X, King Richard, and Book Club 2?

IndieWire the problem of too much television for Emmy voters
Vanity Fair Book Club is getting a sequel with its quartet of stars returning. VF wants Andy Garcia back as well and we concur.
Variety an ouch ouch pan review of Nicolas Winding Refn's new TV series (which he keeps saying is a movie)
Variety this seems like a bad-omen move. Amazon is only giving their chief Oscar hopeful The Report (starring Adam Driver and Annette Bening) a two week theatrical window before it streams...

[More after the jump including Madonna's Madame X, Daredevil's longshot fight sequences, news on King Richard, and Catherine O'Hara visiting Broadway...]

Click to read more ...

Monday
May202019

Showbiz History: The Best Cannes Year? The Birth of Cher! 

Here are 10 things worth celebrating on this day in showbiz history, May 20th.

Federico Fellini and Jeanne Moreau were both winners at the 1960 Cannes festival but they look none too happy about it!

1891 Thomas Edison's prototype kinetoscope gets its first public display (to the National Federation of Women's Club). Could any of them have imagined the colossal artform that would spring forth in those early days?

1960 The 13th annual Cannes Film Festival wraps up with Federico Fellini's masterpiece (well, one of them at any rate) La Dolce Vita taking the Palme d'Or. The competition lineup was insanely rich...

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Tuesday
Nov212017

Cast List: "Too Old to Die Young"

by Nathaniel R

After his success d'estime with Drive (remember that surprising but wonderful Cannes Best Director win?) his provocative (aka insane) follow-ups, Only God Forgives and The Neon Demon, have not been greeted so enthusiastically. But Denmark's second most famous director shows no signs of slowing down...

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Wednesday
Jun282017

Soundtracking: "Drive"

It's Chris Feil's weekly column on music in the movies! This week is the techno mythmaking of Drive:

So there’s a new musically-infused motorist crime tale on the block? While Baby Driver tries to take space on your headphones, it may still have to take a backseat to something even more moodily effective (if less uplifting): Nicolas Winding Refn’s Drive.

Refn is no stranger to using music (mostly in original scores from frequent collaborator Cliff Martinez) to help build his films’ elusive auras, but he has never been so successful as using this tool as he is here. This film’s musical identity is inextricably linked to the protagonist in ways that inform the audience of his psychosis as much as the subtlety of Ryan Gosling’s performance. Just as Gosling pulls us into the mind of a lovable psychopath, the song choices help make this grim pulp landscape something beautiful.

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Thursday
Sep292016

It's More Than Just National Coffee Day Today

First things first. And coffee is always first. Coffee is life. Did you know that up to 60% of the human body is made of coffee? Huh--oh, that's water? You sure it's not water filtered through ground coffee beans? 

But beyond coffee there are other things to celebrate on September 29th. Happy Special day to any reader who arrived on this very day and to the following important events in Cinephile history, Judy Garland lore, and Oscar and Emmy winners...

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Wednesday
Jul062016

Interview: That Neon-Loving Demon, Nicolas Winding Refn

Nicolas Winding Refn. Photographed by Tom Hoops for Lab MagazineNicolas Winding Refn, the Danish auteur whose made a career of candy colored violent films after grimier movies at home, is both exactly what you'd expect and unexpected. The expected: he's a little bit eccentric pacing the room rather than sitting, a little intimidating, and a little impish -- it's difficult to know if he truly means what he says in some instances, or if he has just mastered the art of provocation. The unexpected: he's relatively friendly, surprisingly generous about his collaborators despite the auteur's ego, very tall, thin and surprisingly attractive, something you wouldn't necessarily think since he's so often been photographed with inhuman gods like Ryan Gosling who make everyone but other movie stars look crumpled and basic.

As we talk we find mutual ground in Christina Hendricks adoration ("the perfect woman," he says) but elsewhere it's like he's speaking a foreign language and I don't mean Danish. His films, though quite serious on the surface, betray a dark sense of humor, and yet it still surprises me to hear him drop "I think it would be fun to make a spy movie" as we're saying our goodbyes. Why is this surprising? I couldn't quite tell you but such is the fascination of meeting this singular director, whatever you make of his increasingly divisive movies.

Our interview follows....

NATHANIEL: Let's talk about your opening scene. It's such a bold tableau. Did you ever worry you were coming on too strong. Like 'how will I top that first image?'

NICOLAS WINDING REFN: I'm setting the stage knowing that, if you look through the film, you'll see the same dynamic in all the other scenes of death and beauty.

NATHANIEL: So you're laying the theme.

NWR: I'm laying the theme right on. Most films -- storytelling in mass media -- start slowly, introducing. Eventually it gets to some kind of dramatic point in the first act. That means the second act is how do we solve it and the third act is resolution. But i don't necessarily believe that's the right order...

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