3

Driver is exactly my kind of movie character, with the sort of dilemma that I think is inherently cinematic. His dilemma is that he doesn’t belong to the day or the night. He’s caught between two worlds, he doesn’t know which one to belong to, and he ends up transforming himself into what he was meant to be, which is a hero, which he wasn’t aware of.
-NICOLAS WINDING REFN

5

A lot of people want to be in control in the cinema, to be made to feel secure. I go against those conventions, for good or bad. I want to create a permanent state of unease. I want the audience to ask, ‘What the fuck is going on?’ If they ask that, they can start to let go a bit. Some people don’t. Some people can’t. But if you go with it, then trust me: you’re in for a ride.

happy birthday to NICOLAS WINDING REFN;
the killer of cinema, the pornographer, the lover of carrot pie and hot chocolate, and the director who lights up a room like nobody does.
09/29/1970

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

3

Having Matt as my older brother kind of sucks. Because he’s a rock star and I am not. And it has always been that way. But there was this one time when I was in high school and he was in New York. And he called me up, because he had a horrible nightmare. And his nightmare was awesome. He was being attacked by some crazy guy on the street. And he said that I came out of nowhere with an axe and I just axed this crazy guy to death. I mean, I saved his life! It’s just that made me realize that my brother sees something in me that I, you know, sometimes don’t see in myself.
- Tom Berninger

7

All coming here hoping to Christ the stories they heard is true, thinking that every fuckin’ plunker who steps off the dock trips dead into a bucket of money. But then you get here. And it ain’t that. And if you ain’t strong enough, this city’ll bugger you 18 different ways and then leave you to rot. Where’s the fuckin’ dignity?

The Knick - 1x04 - Where’s The Dignity

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