A Quote by Nicolas Winding Refn
When I was 20 years old, my uncle was an arthouse distributor, and he would take me to Cannes every year to work as a film scout.
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As the population is, in general, aging, there is more interest in what a 50-year-old, a 60-year-old, a 70-year-old, an 80-year-old is like. And one of the things that just naturally started to happen as I got older - and I could feel younger people looking up to me in a certain way and wanting to know things that I knew - I got interested in the women, in particular, who were 20 years older than me. Because I understand in a way that I didn't 20, 30 years ago, how much they know.
When I signed that major-label contract when I was 20 years old. I did it because I wanted to play music for the rest of my life. That's every 20-year-old's dream - to do whatever the hell you want.
When you work in film, you learn to appreciate a distributor. You can have this great little film, but if you don't have a distributor, you are sitting in your living room with a great little film.
I would work until I got stuck, and I would put it down and pick up something else. I might be able to take a 20-minute nap and get to work again. That way, I was able to work about 10 hours a day... It was important to me to work every day. I managed to work on Christmas day, just to be able to say I worked 365 days a year.
One year, I went to Cannes with the film 'The Indian Runner' that Sean Penn directed. Everyone else in the film was all the same height, and on the red carpet, when they were taking photos, none of them would stand next to me, and I totally got it.
Before you know it it's 3 am and you're 80 years old and you can't remember what it was like to have 20 year old thoughts or a 10 year old heart.
If I went back to my 20-year-old self, what I would tell my 20-year-old self is, 'You don't know anything.' Because everyone, when they're young, they think they know what's going on in the world, and you don't.
When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.
If we're damaged it will take 20 years to fix ourselves. It only takes one year to cause 20 years of damage.
If I were involved with the NBA, I wouldn't want a 19-year-old or a 20-year-old kid to bring into all the travel and all the problems that exist in the NBA. I would want a much more mature kid. I would want a kid that maybe I've been watching on another team, and now he's 21, 22 years old instead of 18 or 19, and I might trade for that kid.
If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.
Two years ago, I was a twenty-nine year old secretary. Now I am a thirty-one year old writer. I get paid very well to sit around in my pajamas and type on my ridiculously fancy iMac, unless I'd rather take a nap. Feel free to hate me -- I certainly would.
About my work, my first film, Écoute le Temps (Fissures), was positioned by distributors as a thriller because they thought that it would sell more easily. But it was surely a mistake, as that kind of viewer did not take the bait, and it drew away its potential core audience, those whom I met in festivals and in various Q&As who seem to appreciate that particular kind of cross-over arthouse film.
Every 70-year-old needs a young person in their lives to mentor, and every 20-year-old needs a senior.
When I started in the business, getting in the ring, most nights I'd look across at a 15-20 year veteran. And every night, he would take me to school.
Everybody said that a film that funny can't win because normally your Cannes winner will be something more serious. It's not very often that a film that's bordering on comedy has won in Cannes.
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