Nicolas Winding Refn on Saddling Netflix Noir Series ‘Copenhagen Cowboy’ and How ‘Theatrical Will Always There’ But the Hollywood System Is Falling Apart – Crew Call Podcast

A pandemic and the closing of cinemas did not stop the winner of the Cannes Film Festival, Nicolas Winding Refn from the travel The filmmaker struggled with his family to film the new noir Netflix series Copenhagen cowboy which falls on Thursday 5 January.

The six-episode series follows Mui, a lone wolf protagonist who looks a lot like the crime crusaders in Refn’s repertoire, e.g. B. Ryan Gosling’s manager in travel and Julian in only God forgives and Mads Mikkelsen’s Tony-winning direction printer Franchise. Known to possess a gift, Mui is bought as a “lucky coin” to help cure a much older woman’s fertility problems.

You can listen to our conversation below:

“As Mui sees it, she’s in a bad way and needs to clean house,” explains Refn, as the protag is thrust into a gangster underworld that includes Copenhagen’s Serbian and Asian crime families.

After doing a trilogy of masculinity, it was in a way a natural transition to femininity,” Refn says of his creation of kick-ass Mui, a superhero in his eyes.

“We were stuck in Denmark during the pandemic and I really didn’t know what the world was going to be like,” Refn tells us on Crew Call. “I had the concept of what I wanted to do. Netflix Nordic was founded. When they heard, I thought about an extension printer trilogy in a new story, they came on board.”

“I gave them a number and they’re like, ‘Okay, we’re on it,'” says the filmmaker, who spent five months cracking the show with an all-female writing team.

Refn’s wife Liv Corfixen, executive producer of the series, and his two daughters, Lola and Lizzilou, star.

Given his alluring blue, purple and red style and compelling, suspenseful story, would Refn ever make a superhero movie for Hollywood? But one day he goes over to the dark side of the tent poles.

No chance.

“I have always valued my independence. I think waking up in the morning and going to work and painting how you want it to look and going home is still the most satisfying experience ever. For me,” he tells us.

“At the end of the day, if you’re not in control or you can’t manipulate to your advantage, it’s a commission. You have to struggle all day to convey a compromise, what kind of example am I setting for my own children?

“Hollywood is very seductive and exciting, but it’s also a system that is desperately falling apart. And I think they do it to themselves more than anything else. Who knows? I want to do something big and big, but I want to keep my freedom, my momentum and my creative control.”

Copenhagen cowboy repeats the second streaming series that Refn has created after that of 2019 Too old to die young by Amazon Studios. The last film he directed was the 2016 fashion horror film. neon Demon, with Elle Fanning. Refn hasn’t turned his back on the big screen, despite his enthusiasm for streaming.

“The theater market is in its own redefinition of existence,” he tells us, “for cinema to survive we have to go back and make films again. There must also be an ecosystem that reflects the possibilities.”

“Streaming has forced the theater market to reinvent itself,” he continues, “I don’t think theater will ever disappear. I think theater will always be there, but it needs to be challenged to become better, more relevant and more meaningful.”

Then he adds, “I think I’ll do a movie next year.”

Could travel still made today in today’s theater market? Refn addresses it today as well.