How would you define Wild Side’s editorial line and how does Nicolas Winding Refn fit into your line up?
MC: Wild Side was originally founded in 2002 with two goals: to try to discover those talents -in particular from Asia- who create the films of tomorrow (such as Park Chan Wook and Kim Ji-Won) and to help preserve the forgotten classics of world cinema.
We have now expanded our collaboration to European directors, with the likes of Ben Wheatley from the UK, Jaume Balaguero and Paco Plaza from Spain, and of course the Dane Nicolas Winding Refn with whom we have collaborated on four feature films.
When you want to add a name to your roster of talents, what do you look for?
MC: We’re looking for directors willing to take risks, to shift the traditional boundaries of filmmaking with regards to the narrative style and storyline, and Nicolas has all those talents and more. He is 100% professional and knows precisely what it means to make a movie, from script stage to theatrical distribution. He generously and brilliantly takes part in the promotion of his films, unlike many other directors. He wants to see all creative materials, the posters and trailers, not to be critical but simply because he wants to be kept in the loop.
Weren’t you instrumental in helping Refn direct his previous hit movie Drive?
MC: I had indeed mentioned Nicolas’s name to a production company who was looking for a director for Drive, and I said you should offer Nicolas a chance to make a movie in the US because he is a great director. The production company then gave the Drive script to Nicolas and offered me to take part in the financing of the film. We were the first distributors to pre-buy it, which kicked off the film’s financing. We loved the project and knew that Nicolas would bring something totally fresh to the relatively simple storyline. His Best Director Award in Cannes 2011 and recognition from his peers were absolutely well-deserved.
France is actually almost a second home for Nicolas. That’s where he achieves his highest scores at the box office and where today his films can raise a good amount of financing, such as Only God Forgives co-financed by Wild Bunch and Gaumont.
When you say that Nicolas has achieved his highest BO in France, what do you mean exactly?
MC: Drive sold 1.6 million tickets in France. With Bronson, we had around 100,000 admissions and 45,000 admissions for Valhalla Rising, plus rave reviews. Nicolas actually made it in the ‘directors that count’ list in France with Valhalla.
What can you say about Only God Forgives, without revealing too much?
MC: I think that Nicolas’ idea for Only God Forgives was to deconstruct Drive. After his phenomenal success with that movie, he probably asked himself: should I go on in this direction or try something more personal, as Drive wasn’t based on his own script.
With Only God Forgives, he has come back to much more personal material and what he has experimented in terms of direction certainly lifts him to the highest levels of craftsmanship. I can’t tell you more. But when I saw the finished film, I felt I hadn’t been captivated by a movie like that in quite a while. I believe that’s what people look for when they go to the movies. They want to be surprised.
This reminds me of a saying from Nicolas’ late uncle, the marvellous film distributor Peter Refn for whom ‘a good movie should be a well-prepared surprise’…
MC: Although Nicolas often uses the same themes, he is able to challenge his directing skills on each new project. And with Only God Forgives, he takes even greater creative risks.
How are Ryan Gosling and Kristin Scott Thomas in the film?
MC: It’s quite amazing the way Nicolas has worked again with Ryan on something that has the colour of Drive in terms of direction but is altogether very different. He has searched deep down into Ryan’s inner frailty and pushed it ever further. As for Kristin Scott Thomas, she also puts herself at risk and plays an extraordinary kind of Lady Macbeth. She gives a terrific performance. But the true mind-blowing performance comes from Thai actor Vithaya Pansringarn.
How does it feel to come to Cannes with one of the most eagerly awaited films of the competition?
MC The pressure is mostly on the director. When you go to Cannes, you run against 19 of the best directors in the world to hopefully win. When Drive screened in Cannes competition in 2011, Nicolas was a bit of an outsider. Here he is eagerly-awaited and the pressure is much bigger.
Only God Forgives is jointly released by your company and Jean Labadie’s Le Pacte. How do you share the duties?
MC: Wild Side concentrates on the marketing and publicity, while Le Pacte handles more specifically the programming and relationships with exhibitors but we take all decisions together.
What type of release and marketing have you put together for the film?
MC: The film comes out on May 22 on 300-350 prints. We have done the usual trailer, poster and internet campaigns that kick started two weeks prior to the premiere. What’s more complicated when a film is selected in Cannes is to organise press screenings as you can’t really show the film in advance. We expect Only God Forgives to do really well in France. Drive became a cult movie here, especially with teenagers. Nicolas’ filmmaking is ahead of the times and I think that’s precisely why youngsters enjoy his films.
Are you already working on Nicolas’ next movie?
Yes. His next movie will also be co-financed by Wild Bunch and Gaumont and should also be jointly released in France by us and Le Pacte.
Photo Semmy Demmou