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Johnny Jewel — née John Padgett — is the staggeringly productive force behind that glistening, nocturnal, electro-noir synth pop you heard in Nicolas Winding Refn's "Drive." Almost four years later, he brings his signature genre-bending style back to the screen for his pal Ryan Gosling's dark fairytale "Lost River." But in between, he juggled running his own label, Italians Do It Better, while playing in several of its bands including Glass Candy and Chromatics, doing for-hire TV work and squirreling money away for his own super-secret side projects. His "Lost River" journey began around 2008 when he supplied tracks for "Bronson" director Refn, who brought Jewel on for the acclaimed "Drive," starring and produced by Gosling. By now, Jewel and Gosling have learned to talk each other in a kind of creative frenzy, a simpatico mind meld that makes for a unique director/composer pairing. "When you're creating a world, there's a. »
- Ryan Lattanzio
It’s hard to dislike Tom Hardy as an actor. Whatever cinematic challenge he takes on, from atypically brainy blockbusters like Inception and The Dark Knight Rises to taut dramas like Bronson and Locke, he always gives it his all, digging under his character’s skins with a diligence and canniness that elevates him above possibly any other actor of his generation. Along the way, he’s found particular success in embodying strong, silent types, the kinds of men who more resemble wild animals than well-mannered gentlemen. Hardy’s characters are like caged wolves – as much as you want to reach in and pet them, you might lose your hand if you do.
In Child 44, the actor is up to his usual tricks. As Leo Demidov, a dedicated security officer tasked with cracking down on traitors in Joseph Stalin’s Soviet Union, Hardy plays another hardened man’s man, »
- Isaac Feldberg
The London-born actor got his start in supporting roles, appearing in two of the most memorable productions of the early 2000s, but it would be a few years until Hardy became the star we now know. After dealing with alcohol addiction and the end of his first marriage, Hardy has become one of Britain's brightest talents. Now, the actor stars in the thriller "Child 44" opposite Gary Oldman and, later this summer, takes over for Mel Gibson in the summer blockbuster "Mad Max: Fury Road."
From his acting debut to his favorite actor, here are 15 things you probably don't know about Tom Hardy.
[Sources: IMDb, Wikipedia] »
- Jonny Black
"Drive" may have brought director Nicolas Winding Refn the most mainstream attention of his career, but it’s easy to forget that his first English-language breakthrough was actually 2008's "Bronson." It was the first film Refn made after completing his "Pusher" trilogy in 2005, and in many ways, it felt like Refn was entering a new, more stylistically bold phase of his career. This phase would be further exemplified by his subsequent work, especially with his last film “Only God Forgives.” While the most memorable aspect of "Bronson" is easily Tom Hardy's powerhouse, star-making performance, a recent video essay from filmmaker/essayist Sean Pettis sheds light on just how rich this film is in both its attention to detail and symbolism. Whether it's through the use of static shots, foreshadowing, or even vertical lines, which can be seen in the background of several shots, the essay effectively demonstrates how Refn was able to reinforce the. »
- Ken Guidry
Tom Hardy is a great actor. The guy is a chameleon and has done everything from play the craziest inmate in England (Bronson) to a Batman villain (The Dark Knight Rises) and beyond. But, this summer's Mad Max: Fury Road represents the first major franchise lead role for the actor and it looks spectacular. Each trailer we have seen has topped the previous one and is renewing interest in the decades old franchise that has always been associated with star Mel Gibson. If the massive Mad »
- Alex Maidy
If you haven’t watched the trailer to Ryan Gosling’s directorial debut called Lost River, correct that now. While early buzz has been mixed, I’m excited to see the film. I think it is also cool that Johnny Jewel scored the film, considering he was going to be the original composer for Refn’s Drive (See Symmetry: Themes for an Imaginary Film where some of Jewel’s ideas and possibly leftout compositions lay). Lost River looks dreamy, hypnotic and a nightmare of Americana.
From the Press Release
Directed and written by Ryan Gosling, Lost River is a dark fairy tale about love, family and the fight for survival in the face of danger starring Christina Hendricks, Eva Mendes, and Ben Mendelsohn. The multi-talented Jewel provides a grainy analog synth score »
- Andy Triefenbach
Directed and written by Ryan Gosling, Lost River is a dark fairy tale about love, family and the fight for survival in the face of danger starring Christina Hendricks, Eva Mendes, and Ben Mendelsohn. The multi-talented Jewel provides a grainy analog synth score that is both emotive and haunting, setting the tone for film’s dreamlike setting.
In the virtually abandoned city of Lost River, a single mother of two (Hendricks) is led into a macabre underworld in her quest to save her childhood home and hold her family together.
- Michelle McCue
Space Rocket Nation announced today the start of production in Los Angeles on Nwr's The Neon Demon. When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has. Regarding the commencement of principle photography, director Nicolas Winding Refn said,
"I very much look forward to the odyssey I'll be taking with all these wonderful actresses (and a few guys) to travel beyond The Neon Demon where all I see is the wicked dying young."
Directed by Nicolas Winding Refn (Bronson, Valhalla Rising, Drive, Only God Forgives) with a screenplay co-written by Nwr and Mary Laws, the film's principal cast includes Elle Fanning (Maleficent), Jena Malone (The Hunger Games: Mockingjay Part 1), Karl Glusman (Stonewall), Bella Heathcote (Dark Shadows), Abbey Lee (Mad Max: Fury Road), Desmond Harrington (Dexter, Gossip Girl) Christina Hendricks »
"Los Angeles, CA - Monday, March 30, 2015 - Space Rocket Nation announced today the start of production in Los Angeles on Nwr's The Neon Demon: When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.
Regarding the commencement of principle photography, Refn said, "I very much look forward to the odyssey I'll be taking with all these wonderful actresses (and a few guys) to travel beyond The Neon Demon where all I see is the wicked dying young."
- Jonathan James
Given his track record, Nicolas Winding Refn honestly has my money as soon as he announces a new project. With gripping character study Bronson, stylish modern classic Drive (possibly my favorite movie of all-time) and the hypnotic Only God Forgives under his belt, the filmmaker is one of the most unique voices working in cinema today. And judging by new tidbits about his upcoming horror movie The Neon Demon, that’s not about to change anytime soon.
While being interviewed by Dazed and Confused last month about her documentary My Life Directed By Nicolas Winding Refn, the filmmaker’s wife, Liv Corfixen, let slip some fascinating details about The Neon Demon‘s inspirations – including that the film is inspired by Countess Elizabeth Báthory, a notoriously cruel 16th-century countess who was rumored to bathe in the blood of local virgins. Báthory tortured these young girls and murdered them in hopes of »
- Isaac Feldberg
Most cinephiles are already well versed in the career of the artistically wonderful Nicolas Winding Refn. From the early days of his Pusher trilogy to the Tom Hardy-led Bronson, to the critically and financially successful Drive, Nwr has done an excellent job creating a worldwide recognition for himself and with good reason. He’s a rare voice in today’s world of film, and his follow up to Drive, Only God Forgives is a poetic and violent film filled with visually striking elements. Liv Corfixen, Refn’s wife, documented the ins and out of dealing and living with Nwr during the time period in which Only God Forgives was filmed, and the result is My Life Directed By Nicolas Winding Refn (review). It’s a very interesting and thoroughly entertaining documentary that doesn’t hide the fact that sometimes making films is hard and living with someone who is »
- Justin Edwards
Danish born filmmaker Nicolas Winding Refn is one of the most exciting and diverse directors working in and outside the film industry today. A cinephile who states that Tobe Hooper’s Texas Chain Saw Massacre is the film that cemented his desire to one day make a picture himself, Refn’s films exude such cinematic passion with a stark, specific vision, and as much style as there is substance in every film he’s created. If you’ve ever wondered on the thought process of such an auteur, then step right up, because My Life Directed By Nicolas Winding Refn delivers that in harsh spades.
My Life Directed By Nicolas Winding Refn (referred here on out as Mldbnwr) chronicles the making of Only God Forgives, Refn’s stylish, Alejandro Jodorowsky dedicated, neon-drenched deconstruction of a leading Hollywood star. Shot and directed by his fellow filmmaker wife Liv Corfixen, we’re »
- Justin Edwards
"It would be boring if we all just made safe films." So says Nicolas Winding Refn following the premiere of Only God Forgives at the 2013 Cannes Film Festival. The quote comes from the brisk, 58-minute documentary My Life Directed By Nicolas Winding Refn, shot by Refn's wife Liv Corfixen during production of Only God Forgives, largely during the couple's time in Bangkok with glimpses back home in Denmark during post production and finally at the film's premiere on the Croisette in Cannes. It's a fascinating look at a filmmaker I've personally come to anticipate his every next feature, though I'm not afraid to admit Only God Forgives was a bit of a let down, as it seems it was for Refn... or was itc The most fascinating aspect of this doc is to lay witness to Refn's inner turmoil. From the beginning he's stuck in his own head, looking at »
- Brad Brevet
After Bronson, Valhalla Rising, Drive, and Only God Forgives, Nicolas Winding Refn is one of the most exciting directors working today. Refn burst onto the film scene in the late 1990s with the delightfully nasty Pusher trilogy, and has continued to produce some of the most thought-provoking and visually spectacular genre-benders of any modern auteur. From Tom Hardy’s career-defining titular Bronson to Mads Mikkelsen’s feral One Eye to Ryan Gosling’s icy cold Driver, Refn has time and again crafted nuanced portraits of deeply conflicted but undeniably charismatic antiheroes.
In My Life Directed By Nicolas Winding Refn, Refn’s own deep conflict is swinging in the breeze as we witness him wrestle with the particularly challenging production of Only God Forgives. Directed and shot by his wife Liv Corfixen over the duration of the production and subsequent Cannes debut, My Life Directed By Nicolas Winding Refn captures the »
- Tom Stockman
It’s safe to say as Nicolas Winding Refn’s current muse, actor-turned-director Ryan Gosling, is also heavily influenced by his filmmaker friend. Take Gosling’s directorial debut “Lost River,” which is scored by dreamy analogue synth artist Johnny Jewel (who’s also in the bands Glass Candy, Chromatics Desire and Symmetry). Before scoring Gosling’s entire film, Jewel was probably best known for his musical contributions to Refn’s “Bronson” and “Drive.” So perhaps taking cues from his main bro (who has defended the actor’s film vigorously), Gosling tapped Jewel to write the entire score to his polarizing debut “Lost Rive,r” which some have compared to David Lynch, and yes, a little bit of Refn, too (here’s our review). In a press release from a few months back, Jewel said, "When Ryan e-mailed me the script my immediate feeling was that the whole film should be »
- Edward Davis
If you haven’t seen Nicolas Winding Refn’s “Bronson” yet, you really should. The outspoken and controversial Danish director broke into the mainstream with his neon-and-blood-slicked urban fairy tale “Drive," and swiftly rejected popular acceptance a mere three years later with the polarizing and underrated “Only God Forgives.” But it is 2008’s “Bronson” – a delirious kaleidoscope of psychotic violence, sickening humor, and eye-popping color schemes – that remains arguably his most vital work. It’s the film that made the world take notice of Tom Hardy, who gave his most over-the-top and entertaining performance to date (which is really saying something) as Britian’s most violent prisoner. And yet while the film certainly owes a modest degree of its stark-raving-mad energy to sources that run the gamut from “A Clockwork Orange” to Wagnerian opera, “Bronson” is its own strange potion. It’s certainly no more of a standard prison movie »
- Nicholas Laskin
In addition, Silver Reel Partners - the Zurich-based film financier that has put money into Under the Skin and the upcoming Maggie and A Hologram For the King - has come aboard to finance the film, which is based on an Andy McNab novel.
As previously annouced, SquareOne Entertainment has distribution rights for German-speaking territories but other presales include Odeon for Greece, Pt Amero for Indonesia, Sahamongkol for Malaysia, Thailand and Vietnam, Silverline for the Philippines, Gulf for pan Middle East, and D Production for Turkey.
The film will start shooting on April 13 in London, Paris and Budapest with Hungarian production company Pioneer Stillking Films.
- email@example.com (Michael Rosser)
Nicolas Winding Refn has finished casting his upcoming film The Neon Demon as principal photography is set to commence on March 30 in Los Angeles. Elle Fanning was previously cast in the lead role of the horror tale with a young female driven cast and she's now joined by Jena Malone, Bella Heathcote, Keanu Reeves, Christina Hendricks and Abbey Lee (Mad Max: Fury Road). Refn co-wrote the screenplay with Mary Laws and describes the origin of the story saying, "One morning I woke and realized I was both surrounded and dominated by women. Strangely, a sudden urge was planted in me to make a horror film about vicious beauty. After making Drive and falling madly in love with the electricity of Los Angeles, I knew I had to return to tell the story of The Neon Demon." Regular Refn collaborators are already aboard, which includes Matthew Newman (Bronson, Drive, Only God Forgives) as editor, »
- Brad Brevet
Stumbling across that list of best-edited films yesterday had me assuming that there might be other nuggets like that out there, and sure enough, there is American Cinematographer's poll of the American Society of Cinematographers membership for the best-shot films ever, which I do recall hearing about at the time. But they did things a little differently. Basically, in 1998, cinematographers were asked for their top picks in two eras: films from 1894-1949 (or the dawn of cinema through the classic era), and then 1950-1997, for a top 50 in each case. Then they followed up 10 years later with another poll focused on the films between 1998 and 2008. Unlike the editors' list, though, ties run absolutely rampant here and allow for way more than 50 films in each era to be cited. I'd love to see what these lists would look like combined, however. I imagine "Citizen Kane," which was on top of the 1894-1949 list, »
- Kristopher Tapley
The story of an overtaxed taxi driver (wholeheartedly embodied by Sundance acting-award winner Jack Reynor) forced to care for his mother (Toni Collette, even better) while she tries to drink herself into oblivion, the Dublin-set “Glassland” doles out a downbeat serving of kitchen-sink social realism with the sink itself thrown in for good measure, overflowing as it is with empty liquor bottles, dirty dishes and he broken dreams. Once again, “Pilgrim Hill” director Gerard Barrett gravitates toward characters too marginal to garner mainstream interest, while approaching his story with an elegant yet demanding ellipticism that overestimates the audience’s ability (or inclination) to connect the dots.
That’s not to say there isn’t something noble in Barrett’s uncompromised style, which flatters the intelligence of those alert and engaged enough to decipher its clues by dispensing with traditional exposition. Barrett plunges us directly into the septic squalor of Irish public housing, »
- Peter Debruge
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