+ 102 Notes


Ryan Gosling and Nicolas Winding Refn on the set of “Only God Forgives”

+ 330 Notes


Only God Forgives (2013) - dir. Nicolas Winding Refn | Denmark, Thailand

Apr 18 @ 5:31 AM
+ 270 Notes


Archive. Nicolas Winding Refn, Madrid, 1996

Apr 14 @ 6:30 PM
+ 193 Notes

Pusher 1996 Dir. Nicolas Winding Refn

Apr 10 @ 3:33 PM
+ 364 Notes

Drive (2011) Nicolas Winding Refn

Mar 20 @ 12:12 AM
+ 1107 Notes


Refn: Most fight scenes usually consist of stunt men or stand-ins fighting or you shoot it in a way where you can hide the illusion of punches and it’s more about sound. But I wanted to do everything in wide shots. You see everything in its full size, nothing is hidden. Ryan was green, blue, black, yellow all over his body afterwards. It was aching because he took some massive punches. He had to fall onto the cement floor, that’s a massive hit and he had to do that again and again and again.

Were there any insurance problems in beating up Ryan?

Refn: I don’t think we told the insurance company what we were doing. 

+ 207 Notes

"I’m just telling you this because I want you to know the truth."

Mar 12 @ 1:26 AM
+ 120 Notes

Only God Forgives (2013)

Feb 13 @ 12:31 AM
+ 74 Notes

Nicolas Winding Refn on set of the campaign film for H&M with David Beckham.

Jan 24 @ 8:49 PM
+ 2638 Notes

"I give you five minutes when we get there. Anything happens in that five minutes and I’m yours. No matter what. Anything a minute on either side of that and you’re on your own. I don’t sit in while you’re running it down. I don’t carry a gun. I drive." - Drive (2011)

Jan 19 @ 5:33 AM
+ 589 Notes

The location provided ample space to build the strip club’s dressing room, the design of which grew out of Sigel’s preproduction discussions with Refn and production designer Beth Mickle. Sigel recalls, “I mentioned that on Frankie & Alice, we created a dressing room that had tables at different angles, so when we shot we got layers and layers of detail in the mirrors. Nicolas took that idea one step further and said, ‘Let’s make it all mirrors.’ So we basically made a mirror box — it reminded me of a Lucas Samaras sculpture — and it was just lit with practical light.”

We had one shot where we had to do a 360-degree camera move,Sigel continues. To avoid seeing the camera’s reflection in the mirrors, “key grip Alex Klabukov created a rig from the ceiling that was almost like a helicopter blade — the camera sat on it and spun around above the actors, just barely out of shot.

For much of the scene, Sigel and Lundsgaard sit tucked in a corner of the set, rolling two cameras. Lundsgaard keeps his camera trained on Cook, Sigel follows Driver, and as the actors move through the frame, the bare bulbs positioned around the mirrored walls occasionally flare the lenses. “The globes were 40 or 60 watts, and they had a sort of mauve color,” says gaffer Anthony “Nako” Nakonechnyj, one of Sigel’s longtime collaborators. “We would turn off globes we didn’t see to increase the contrast, and we could dim them down if they were too bright or were flaring the lens.” x

+ 156 Notes

As you may know, Japanese martial art masters always balanced their ferocity with the calming beauty of an art – tea ceremony, calligraphy, flower arranging for example. For me, Chang was violent because it was his duty. He was also a kind and caring father. When he had to go to extremes in dealing justice, he balanced or cleansed himself with the soulful sounds of his karaoke. The music purified him and cleansed his karma. I also pictured Chang sending the souls of his victims with his voice.
-Vithaya Pansringarm;

+ 352 Notes


Nicolas Winding Refn, Ryan Gosling, and Nicolas’s wife Liv Corfixen at the Hua Hin International Film Festival

It was very expensive for us paying off the cops, because we needed the security, especially because we were firing guns at the closing time. I didn’t have the money basically to hire all the extra help that was needed. I was contacted by Hua Hin Film Festival and they asked, would Ryan and I go to red carpet, and like, appear at the festival. And they said, “We’ll pay you.” I think it was 20 thousand dollars. And I went, “Well, how about we turn that twenty into a hundred?” And they were like, “Do you promise to show up?” “We will show up for sure!” So we agreed on that. We came up to Hua Hin and then they’re taking 10% because of taxes, which was just kind of ironic, cause all cash, but alright, we had to sign a slip. But then we had 90 thousand dollars. I was like, ” I’ve never counted [wishpers] 90 thousand dollars. What even it feels like?” And I said, “I wanna count it!” So I was sitting in a hotel room in Hua Hin, counting 90 thousand dollars to pay off the cops [laughs] at first to be able to shoot." - Nicolas Winding Refn's commentary on Only God Forgives.

Jan 06 @ 12:01 AM
+ 94 Notes
We live in a day and age where we’re in such a hurry to define whatever we do. Now, more than ever, we’re suddenly defining our children. I don’t know how many terms have been invented in the last X amount of years to define our children’s behavior. We’re obsessed with diagnoses, and information, because then we can consume and live fast.
Dec 26 @ 2:30 AM
+ 277 Notes

Nicolas Winding Refn, photographed by Søren Solkær, Copenhagen 2013.

Dec 24 @ 8:30 PM