FilmsActu X Nicolas Winding Refn 2025-07-04 16:00

FilmsActu

✩ Les Films à VOIR ?  Ils sont ICI ► https://www.youtube.com/playlist?list=PL843D2ED8D80FA673  La trilogie Pusher de Nicolas Winding Refn, dans une version restaurée 4K, le 9 juillet au cinéma  FilmsActu X Nicolas Winding Refn (Interview) © 2025

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05:58C'est ce qui se passe dans l'espace théâtre,

06:02l'espace d'un-réalité, comme un stage.

06:05Et donc, c'est comme l'évolution, vous le savez.

06:12Je pense que si les directeurs veulent revenir

06:15et changer leurs films, je suis sûre qu'il y a une raison.

06:18Je n'ai pas besoin de faire.

06:20Je n'ai jamais eu la liberté créative

06:23pour faire le film que je voulais faire.

06:25Donc, il n'y a rien à changer.

06:27Je n'ai pas besoin d'un côté.

06:29Donc, une fois que j'ai fait quelque chose,

06:30j'ai été ostracisé dans mon corps.

06:33Il n'est plus en moi.

06:36J'ai besoin d'un côté de quelque chose.

06:57J'ai besoin d'un côté de 4K.

06:59J'ai besoin d'un côté de 4K.

07:01J'ai besoin d'un côté de 4K.

07:04J'ai besoin d'un côté de 4K.

07:06J'ai besoin d'un côté de 4K.

07:10J'ai besoin d'un côté de 4K.

07:11J'ai besoin d'un côté de 4K.

07:14J'ai besoin d'un côté de 4K.

07:16J'ai besoin d'un côté de 4K.

07:17J'ai besoin d'un côté de 4K.

07:19J'ai besoin d'un côtéaudation de 4K.

07:24J'ai besoin d'un côté de 4K.

07:27Je vous mets de 4K

07:29contreméniezau à buynwr.com.

07:33J'ai besoin de votre set et sur vous…

07:39Je suis un fan de 4K.

07:42J'ai verre 4K.

07:46So many films can be rewatched with even better quality and who doesn't want that you know so it's kind of like a new layer of the new normal for me so I decided to do all my films in 4k slowly rolling them out you know.

08:04I think cinema and television for that matter has had a very tough time in the last 10 years or so 10-15 years. Gaming, social media, VR canvases are exploding and they're constantly evolving because technology is allowing them to evolve.

08:25Movies and television, TV is becoming more and more just content that you almost look at while you're doing other things and movies are still that window of exclusivity of the collective experience but I think that movies also needs to re-evaluate themselves.

08:45I remember when we were in Cannes for Only God Forgives and I after everyone had been booing me for so long that during my stay I did say look you can be angry with me and about my film but I am from the future and I'm going to make something that's going to predict what it's going to be like if you want to make films in the future.

09:07And I was right because right after Only God Forgives the industry changed because of Netflix. Netflix was the game changer and it changed not so much what we're making but it's how we experienced film and content essentially.

09:23How we viewed it and I think that to justify or for a movie to exist in longevity you have to see what a film can become rather than what it used to be.

09:34Violence is like sex. It's all about the build up. Bang bang and then it's to the other wall. Now make it dirty, unique, interesting, never seen before in violence.

09:46I'm not that strategic but I will say that everything is an evolution of something and there can be a tendency when something is liked that everyone wants the same same.

10:07But I don't necessarily think that's true. It's better to give them something else or something different or something that destroys your past in order to make something new, to transition.

10:19You know, obviously the two films are very different but what ties them is myself and Ryan's interaction.

10:28However, I find that interesting. It's like taking something and turning it on its head. It's taking the ultimate superhero in one movie and emasculating him in the next.

10:39It's taking one movie that's very poppy and another movie that's very esoteric and that I think is what makes the world interesting is that things can become different.

10:52It can evolve into other components rather than just always staying in the same repeat lane because you very quickly run out of steam in my opinion.

11:02I was very happy but obviously, you know, a lot of harsh reactions and a lot of booing and screaming.

11:11But then I was like, that's kind of cool because then you're like the sex pistols of cinema.

11:17You know, you're like the one everyone throws bottles at but you can't deny it existence.

11:22You can't really criticize it because I did it my way. The world will see it as it continues to evolve.

11:30And you just have to be, you have to just to be, trust yourself.

11:34So you never lose your vision when you have that strong reaction?

11:38No, on the contrary, you're like, it's like energy. It's like, just wait for the next one.

11:42I love that.

11:44I'm like you. I have no regrets about Only God Forgives. I think it's a masterpiece and it is. I just didn't make it very expensive.

11:51Is there a doctor in the house? We need to get a medic in here. Is there a doctor around?

11:59When you were mentioning 2001, you forgot to add Drive. We'll let that slip.

12:05We won't know about Drive for another 30 years.

12:0930 seconds.

12:10Whether it lives or dies. I'm talking about films. 2001 was made in 1968.

12:17I made this film about four years ago. So it's about time.

12:19Four years is a zip. It's not even a blip. It's not a pimple on the asshole of humanity.

12:27What was funny about talking to Billy Friedkin was that it was, he had a man who had struggled a lot in Hollywood and started very successfully at a young age.

12:40And then gone into Sorceress and, you know, was still traumatized by that experience after so many years.

12:48And I think that was what was so sad in a way that it had such an effect on him.

12:54It's a little bit like Michael Cimino doing Heaven's Gate. These amazing films, both Sorceress and Heaven's Gate are probably their best films, for some reason get so destroyed and then they lose sight of themselves or they lose their confidence and affects all the other movies they make afterwards.

13:14And I was like, I'm never going to be like that because I'm right. You're wrong.

13:19I mean, I've done two shows, one with Amazon, one with Netflix and I like what I was making, obviously, but I don't know how much I want to continue.

13:35I may want to take a break and go and make movies again. I decided to do more visual arts, you know, and trying to find other areas of creativity.

13:50But I think it's time to go make a film again.

13:53You said you work on two shows, but you work on The Famous Five or something.

13:57So The Famous Five was a television show that I just, how do you say, executive produced or created, but I had no involvement in it.

14:06Otherwise, I just created the kind of concept and the story based on these very famous books.

14:11The Famous Five was more because my kids would read the books when they were young. I remember my mother reading me the books.

14:18So it was more like a past history thing that came up as an opportunity.

14:27Well, I mean, if anything, if something is interesting, you know, why not look at it?

14:30I've had some wonderful meetings in Hollywood, met wonderful people, but in the end, I like my freedom.

14:37That's all I really want is just to be free.

14:40When you work in Hollywood, there is a contract. Some people love that and can work within that.

14:46It's maybe not so much my thing right now, but who knows, maybe next year I'll do a big, you know, big superhero movie.

14:57That could be fun maybe. I don't know. I'm pretty open to anything, but at the same time, at the end, you should just make what makes you happy.

15:05It's one thing having creative control, which is easier enough, but it's where all the money that's invested puts a burden on you, because all that money has to get recouped.

15:18And then you have to make a certain type of movie. You don't have the freedom to do whatever you want, because you're a slave to the economics.

15:26If your film costs $200 million or $100 million, you need to make $300, $400 million to break even.

15:32That already puts a strain on what kind of movie can you make. And I don't want any conditions on me at all.

15:40At all. You have to be completely free.

15:47I mean, in the beginning, a lot of people were talking about another drive, but it was like, that would be the worst idea I've ever heard of.

15:55So never?

15:56Never.

16:05I've been very lucky to live a fun life. And it has nothing to do with fame. You realize very quickly.

16:16It has that I've had opportunities. And I've been able to work with people. I've met people. I've spoken with people. And it's all been a lot of fun.

16:27But I think when I started, the idea of being seen was very essential. The idea of fame. And fame being an opportunity. It's like an opportunity. It's like a stage.

16:39One thing is becoming famous. The next, what are you going to do with it? And obviously, it's like anything. It's an opportunity.

16:47I don't have any love. You have to work all the time. I also have to work.

16:54I also have to work.

16:57We're going to be here in Bangkok for six months. Yang Han will make his next film, and I've said yes to the film process.

17:04It's new, that we're together with him, when he's filming.

17:09Last time he made Drive, I was home in Denmark with children.

17:13And it took over ten months. And it was just too hard to be away from each other.

17:18My daily life is, I have a routine. I wake up. I do two-hour sports every day. Then I usually have lunch. Then I get yelled at by my kids.

17:32I work at night. And then try not to get to bed too late. And then Friday comes, and it's weekend. And you try to relax a little more. And the next day is Monday.

17:46You watch movies?

17:48I used to watch a lot of movies when I was a lot younger, but now it's just harder and harder. There's other things that I find interesting.

17:55Like what?

17:56Well, I did my first exhibition that just opened in Tokyo, and that's been a lot of fun to do that.

18:03A collaboration with Hideo Kojima?

18:05Yeah.

18:06Can you talk about that?

18:07Well, I created an exhibition that opened on Friday last week in Tokyo, where I built this installation between us.

18:19I saw my wife and my daughter in the procession. Hey, it's me!

18:26Where are you going? Wait!

18:33Don't live without me! No! Don't go! Please! Don't go!

18:48And you are in Death Stranding 2.

18:50I am Heart Man, and Heart Man is forever in Death Stranding.

18:55I think that don't believe everything you read on the internet.

19:03Okay. Can you tease us something?

19:05Well, believe everything you read on the internet.

19:07Ah, okay.

19:08We're going to see a beautiful film.

19:38There you go.

19:39Ashton Moe because of a climate in football.

19:40You're learning how to bring accidents.

19:41We're all going to think of an event, but alsousing.

19:42You have to feel safe or achei interesting.

19:43We're all going to see a bit on this sort of theme.

19:44I didn't know that tonight.

19:45It's going to be real time, but as long as it stands, I'm starting from there!

19:46This, I think there's no other way.

19:47Without a sense with that, I think it would help you to find something between us,

19:48Nobody would support us.

19:49I'm interested if you're interested in the internet.

19:50In this sea, like Joshصos.

19:51I'd like to thank the conversation with him.

19:52Ashton Moe.

19:53My mother, online is aliyah, I'm not sure we read that.

19:55I don't look like that however much.

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