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Auteurs: Nicolas Winding Refn

Margarete Perriseau - Patrick Smith - Aberdeen & Geneveve Robbins

In 1970 Nicolas Winding Refn was born to be in film. His father was Anders Refn, a film

director and editor. His mother was Vibeke Winding, a cinematographer. Exposed to film-

making from both parents, he was certainly predisposed, if not destined, to find a role for

himself. Refn moved from Europe to New York City at age 10. Imagine the impressions and

experiences he gained over the next six years as a teenager during the 1980s in the Big Apple.

He returned to Copenhagen where he graduated from high school. Again he left, drawn back to

New York, and entered an Academy for the Arts. In a fit of rage, he threw a desk against a

classroom wall. He was expelleda glimpse into a turbulent personality.

A second event in his youth captured his imagination and gave him a model for his own

career. Tobe Hooper had produced the notorious horror flick, The Texas Chain Saw Massacre

(1974). With production costs under $300,000, it grossed over $30 million at the box office. At

the Cannes Film Festival in 2014, 40 years later, Refn acknowledged that viewing this cult film

inspired him to make movies. Refn introduced both a restored version and Tobe, himself, at a

screening among directors. His intro was passionate:

The curse of the film is that its a masterpiece When you make a film that goes beyond

filmmaking, its no longer just a movie Seeing a movie that goes from being a movie

to an art form, and we are in the mecca of art forms of cinema. I wanted to really give the

Palme dOr to Tobe Hooper, because he shouldve gotten it 40 years ago. I want him to

know that he has made one of the greatest art achievements, not films, but art
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achievements in the modern century. So I think that when he comes on stage we can give

him an emotional Palme dOr. (Refn)

His mother was not happy with his teenage impulsivenessneither with his motivation,

nor his aspiration to follow in Tobes footsteps. His expulsion in New York prompted his return

to Denmark. He was readily accepted into a Danish film school, but again displaying his volatile

temperament, he dropped out before starting. In a 2013 interview, he connected art, violence,

film, and himself:

I guess art is an act of violence, in a way. It's an emotional outpouring, and I don't really

know ... I think that violence in the cinema is necessarily a fetish. Emotionally, our

artistic expression consists of sex or violence. It all boils down to those two pure

emotions that we have. But where erotica or sexuality is not fantasy, because most of us

do it, violence, on the other hand, is fetish, is fantasy. There is a sexuality to violence that

I find very intoxicating. But I think that that's what turns me on. (Refn)

Refn wrote, directed, and starred in a short film, which was shown on an obscure cable

TV channel. A half million dollar offer to turn this into a feature film put him on the map. Pusher

gained him international recognition in 1996 at age 26. He was on his way. After a lifetime of

dealing personally with success and failure, praise and criticism, he has learned to cope. In

another 2013 interview at Cannes, he revealed his personal perspective:

Refn: Here its only about vanity and thats your own vanity.
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Smith: About that vanity how have you been dealing with some of the negative

feedback following yesterdays first press screening of the film?

Refn. I only like it when people love it or hate it. (Smith)

All directors are infatuated with art, at least to some degree, but Nicolas Winding Refn, in

some ways, takes this to a whole new level. He loves drawing deep, often conflicting emotions

in his stories, and using symbolism to quietly but surely elaborate on what the audience learns,

making sure each frame of each film produced has more to offer than just the focal point. He

loves to use lighting, character blocking, and the settings to accomplish this. Whenever

producing the final product, he goes to great lengths working with the people/departments that

work with those elements, making sure every part of the frame, in focus, off to the side of the

focal point, or even part of a blurry background, tells a story. Many frames in his works have

contributing elements in all four sections, not just one or two like many films do. This

maximization of frame space is very unique to Refn, and excellent proof of his passion for both

the stories told in movies and the visuality of them.

When he first became enthralled with filmmaking, and started directing, he was very

reluctant to go into the Hollywood film industry, despite his potential. Though his upbringing in

Denmark wasnt the root cause of this, it was very fitting that a foreigner to filmmaking in the

US preferred directing stories that were more freeing; more about the artform and hardly at all

about the money. In an interview with Filmmaker Magazine, Refn stated how didnt want to

give up [his] creative control by having to answer to the masses, rather than what created the

mood he desired. He reflected on how he received inspiration from gritty films, and classical
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reads as well. Needless to say, those types of raw, uncomfortable stories dont usually thrive in

Hollywood without major alterations, including a happy ending.

What eventually coaxed Refn into coming to Hollywood, almost exclusively, was the

persuasion of Ryan Gosling. These two artists met when Gosling was looking for someone to

help him put together a film hed been wanting to do. Between the similarities of both their

personalities, and taste in film ideas, they became close friends. Refn loved working with

Gosling, and must have felt since Gosling could still implicate the gritty emotions into his works,

he could too. After that friendship brought Refn into Hollywood, he now had to go with more

mainstream plotlines for production, but he still found ways to stay true to his artistic desires.

He tended/tends to find groups that really work with him, both actors and those behind the

camera, to build teams that reflect the values he has. Then he brings them back for his next

films, if he sees fit. Ryan Gosling is probably the most iconic example of this, but there are

others, like film editor Matt Newman, who helped produce and edit several of Refns most

successful films. One of the biggest challenges producers and directors face is keeping their

ideas alive, and making them real, while working many other people who also have ideas of their

own. This is especially hard for directors like Refn, whose preferences are not shared by those

who drive Hollywood. By going to the effort of searching out the few who are compatible with

his ideas, Refn creates teams that have both the shared creative passions, and the success rates, as

a way to not lose the art in the search for success and money.

Another way Refn keeps the focus on the artwork of filmmaking, and shows the great

lengths he goes to to make it the priority, is by always filming chronologically. Though it can be

very inconvenient and usually more expensive way to film a movie, filming in the order of the

story helps both the actors and the directors really delve into the mood of the film. The focus it
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brings causes additional emotional depth, because there is no need to go back and forth with the

mindsets. All involved can get very focused in on the situations of the characters, and also

makes the story feel less choppy and more realistic for the actors, which helps, again, create a

more comfortable, real feeling. Directors dont often sacrifice the amount of convenience and

money this requires, but even after joining Hollywood, Refns number one priority has always

been making filmmaking an artwork.

Refn sees the world as an opportunity to learn and succeed. He portrays this belief in

every one of his films, through both storyline and tone. So, it is a gift that he has had many

interviews in which he explains the inspiration he gets to make his films.

If you love it or hate it, I dont care, because I did it exactly how I wanted to do it. That

probably means it is going to polarise. Polarisation is good because then you have been

violated. (Refn)

When looking at Nicholas Winding Refns designs over the time of his career, the

intricate differences within the consistent methods used within his filmography signal his

development. It only takes a minimal exposure to his films, but once you have an eye for the way

he portrays his visions the genius stands out and his choices become gripping. By studying

numerous interviews, and other examinations of his works, Refns challenges on modern

standards are given surprisingly simple words, by both himself and others.

One such captivating design process can be seen as early as Pusher (1996), That being

the intense focus on bright contrasting neon colors.

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Ive only known one woman, and I was out buying her a pair of shoes, and she kept on

trying the same two pairs on, and I was like whats wrong with her cant she not see that

its the same pair of shoes? And my wife says, Oh my god youre color blind. Because

apparently they were two different colors. (Refn)

His neon pallet would trickle into his work more as he continued making films.

Another fantastic facet used by Refn has to be the way he frames so as to tell more than

one story in a shot. Though he is using the rule of thirds he expands into his ability to focus on

character dynamics by splitting the screen into fourths in 2011s Drive.

Refn wife had a major influence on the making of Drive, My wife is my everything,

shes the inspiration for all my movies. Stated Refn. Further evidence of this inspiration

continued in the Neon Demon (2016) With a dedication to his wife again at the end, in an

interview with Aol. Refn states, She was inspirational to make a movie like this. Two years ago

I woke up, Realized I wasnt born beautiful, my wife was, Ill make a horror movie about it..

As far as the tone for Drive, Refn worked with Ryan Gosling to create a timeless feeling.

He put Ryan in a custom-made 1950s scorpion jacket. This fashion choice helped define the

look and feel of the entire movie. In an attempt to add a surreal tone Refn used themes from

Grimms Fairy Tales, The movie is constructed in the nature of a fairy tale, and this is why I

think it makes the movie feel dreamlike. (Refn).

Continuing our examination of The Neon Demon starring Elle Fanning, what could be his

most provocative film yet, Refn used his past, other pieces of art, and fairytales to write the story

of the vanity, power, and viciousness of the modeling industry. Refn loosely based the main

characters desire and narcissism on his own early days in the industry He knew the struggle of

making a place for yourself in career that will do anything to push you out. Refn used the
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experiences and emotions from his past to help write the story. (However, to make it a horror

film, he amped up the lengths people will go to for success.)

Beauty is power. Refn knew that a movie about beauty could bring a new dynamic to the

horror genre.

I wanted to make a film about beauty, and the power of it.

If you go through our history, our culture, our mythology, beauty has always been a very

dominating factor... (Refn)

Refn has always had a fascination of fantasy and mythic tales, and he incorporates that in

most of his films, The Neon Demon was no exception. Akin to Drive, he looked towards the

morals and processes in fairytales. Developing the beauty is power theme, he read dozens of

folklore tales and found that the themes are still applicable to todays society. In regards to the

villains of the story: They were like the Aleister Crowley disciples. The whole movie was very

much designed around the witchcraft ceremony.

References

Reed Buisness information, a division of reed elsevier, Inc. Page 6 european

cinema, Variety December 1-7, 2003

Taylor, Rumsey. "Fitzcarraldo"

Slant/I, 13 June 2003, www.Slantmagazine.com/film/

http://filmmakermagazine.com/29833-nicolas-winding-refn-

drive/#.WiLhHbmWzcs
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http://www.indiewire.com/2012/02/nicolas-winding-refn-says-drive-was-about-

the-purity-of-love-with-his-wife-says-driver-was-a-werewolf-253963/

http://www.telegraph.co.uk/film/mubi/drive/

http://www.independent.co.uk/arts-entertainment/films/features/nicolas-winding-

refn-interview-the-neon-demon-a7405246.html

http://www.businessinsider.com/nicolas-winding-refn-interview-2016-6