A Quote by Nicolas Winding Refn
L.A. films are hard to define compared to New York films because New York films are their own subgenre, in a way. L.A. is more transparent.
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My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.
I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films.' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
I live in New York City, the stories of my films take place in New York; I'm a New York filmmaker.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
Some critic complained about how many small films are released in New York... it annoyed me. Those small films that are lucky to get two weeks are often my favorite films of the year.
I've made so many films in New York. There was an assumption I think a lot of people had that I am a New Yorker, that I am from New York, and I always felt like nothing could be further from the truth.
Looking back at 'Taxi Driver' or, really, any of the Martin Scorsese films, he really filmed New York City in a way that I saw New York City.
New York City is the most culturally diverse city in the world, and yet there have been few films about the Chinese, Latino, and Middle Eastern experience in New York.
I think because I've maintained my residence in New York, those kinds of films have been more accessible.
'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.
As a kid, my dad would take me to see indie films when I would visit him in New York. Films that I just wouldn't see growing up in the Bay Area.
I certainly didn't have New York Jewish humor. But I was in three Mel Brooks films so people thought I was a connoisseur of New York Jewish humor.
I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don't really count.
Because I direct films, I have to live in a major English-speaking production center. That narrows it down to three places: Los Angeles, New York and London. I like New York, but it's inferior to London as a production center. Hollywood is best, but I don't like living there.
I love filming in New York. I love New York movies, too. I just like it when people can take New York and make it their own, because there are so many different New Yorks.
We were going to do 'Reno 911!: New York, New York, Las Vegas,' which was like a 'Die Hard' set not in New York, but in the New York, New York casino in Las Vegas. We were really excited about being locked into the one casino and doing a bad action movie.
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