Nicolas Winding Refn Quotes

Sometimes when an actor and director work together for the first time, it's not as if there's a suspicion, but there is tentativeness, a certain amount of a right of passage you have to go through in order to get there. When it's already there from the beginning, it's such a plus.

The concept of making a movie in which the director dictates is kind of exotic - and absolutely not truthful. Directing means allowing a great deal of collaboration and listening and having the ability to change your mind.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

It's ludicrous to think people work for you: 'a film by...' doesn't exist. Directed by, maybe, but it's a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.

Musicals are very collaborative. Unless you find somebody who wants to do something with you and has equal commitment, it's not going to work.

F. Gary Gray, I think, is one of the best directors I've ever worked with in my life, and I'd love to work with him again.

It's important that the director and actor have good chemistry, and not just the actors.

There's a synergy with Dre and me.

Directing Mr. Mohanlal was a delight. He's completely there and wanting to know what you want him to do. He's very keen on making sure the director's vision is realised.

Jay Z and Biggie and Nas always listened to my direction. They listened and they applied it and I also listened to their opinions and that's why the records came out so good.

I've done collaborations in all my movies, and I think it's part of what I enjoy about the process. This kind of intimacy that you create. Because it becomes very intimate.

Anybody who knows how to make a good movie, knows that it's a collaborative undertaking. To deny that its really dangerous.

When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.

For me to get to work with a writer-director over time in developing a project - my investment feels much more profound. I know that whatever is on the other end I'm going to feel that much closer to.

The Coens both give you direction, and then it's up to you to kind of figure out the music of what they're saying.

Collaborating with other artists is an emotional thing. Obviously, you don't do it unless this person inspires you.

Joel Little and I have this certain chemistry we have when we work together.

It is the director's vision, and as actors, we are just extensions of that.

In the 1990s music was a beautiful collaborative process between the composer, lyricist and director. They would exchange ideas and magic used to happen.

Keith Richards has some sort of quote that says 'it takes two people to write a song,' and I'm of that school of thought, too.

Working with Rajamouli and Karan is home ground for me now, having worked with them for such a long time.

Film is a team thing. There is no auteur.

When I do a film, I try and see how in tune I am with the director.