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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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04:58J'aime l'extrême, donc j'ai pensé que je vais aller de l'autre à l'autre.
05:02Et je pense que j'ai travaillé dans la fantôie, ça a été beaucoup de fun.
05:06Donc j'ai décidé de faire Pusher 4 quelques années, mais comme un show de télévision.
05:12Et ça s'est devenu Copenhagen Cowboy, qui est vraiment Pusher 4.
05:17Il y a des mêmes personnages et des mêmes mondes.
05:20Mais je n'étais plus intéressé comme ça que j'ai l'habitude,
05:25parce que social media dominait cette narrative maintenant.
05:30Tout est accessible et la plupart des choses sont réelles,
05:35ou à l'aise, des choses peuvent être très réelles,
05:38capturées à l'heure du moment.
05:39Et ce sont plus efficaces.
05:42Et je ne peux pas faire ça.
05:43Mais ce que je peux faire, c'est que je peux manipuler ça dans mon propre version.
05:48C'est fantasy.
05:49Et ça, je me suis plus intéressé.
05:51Je me suis plus intéressé pour vivre dans le vrai monde,
05:55et être plus excitée par stepping dans le théâtral space,
06:02le space de l'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:12Je pense que si les directeurs veulent revenir et changer leurs films,
06:16je suis sûre qu'il y a une raison.
06:17Je n'ai pas besoin de faire ça.
06:20Je n'ai jamais eu de la liberté de faire le film que je voulais faire.
06:25Donc, il n'y a rien à vraiment changer.
06:27Je fais un peu à l'aise.
06:29Donc, une fois que j'ai fait quelque chose,
06:30j'ai été ostracisé par mon corps.
06:33Il n'est plus en moi.
06:36Je dois continuer à faire quelque chose.
06:38Il n'est plus en moi.
07:08Oh, absolument.
07:19Je veux dire, j'ai commencé par le début,
07:21avec tout tout en 4K.
07:23Et j'ai fait toutes les restaurations, j'ai fait ça.
07:25Donc, c'est tout qui vient de moi.
07:27Et vous pouvez les acheter directement par me sur www.bynwr.com.
07:32Je vais signer votre box set et sender l'offre à vous.
07:37Je suis un grand fan de 4K.
07:40Like, I love 4K.
07:42I think 4K is like, oh, amazing.
07:45Because so many films can be re-watched with even better quality.
07:50And who doesn't want that, you know?
07:53So, it's kind of like a new layer of the new normal for me.
07:58So, I decided to do all my films in 4K,
08:01slowly rolling them out, you know?
08:06I think cinema, and television for that matter,
08:10has had a very tough time in the last 10 years or so,
08:1410, 15 years.
08:16Gaming, social media, VR canvases are exploding,
08:20and they're constantly evolving
08:22because technology is allowing them to evolve.
08:25Movies and television, TV is becoming more and more just content
08:30that you almost look at while you're doing other things.
08:33And movies are still that window of exclusivity
08:37of the collective experience.
08:39But I think that movies also need to re-evaluate themselves.
08:44I remember when we were in Cannes for Only God Forgives
08:47and I, after everyone had been booing me for so long
08:51that during my stay, I did say,
08:55look, you can be angry with me and about my film,
08:58but I am from the future,
09:01and I'm going to make something that's going to predict
09:03what it's going to be like
09:05if you want to make films in the future.
09:07And I was right, because right after Only God Forgives,
09:11the industry changed because of Netflix.
09:14Netflix was the game changer.
09:15And it changed not so much what we were making,
09:18but it's how we experienced film and content, essentially,
09:23how we viewed it.
09:24And I think that to justify or for a movie to exist in longevity,
09:29you have to see what a film can become
09:33rather than what it used to be.
09:34violence is like sex.
09:39It's all about the build-up.
09:40Bang, bang, and then it's to the other wall.
09:43Now make it dirty, unique, interesting,
09:45never seen before in violence.
09:46I'm not that strategic,
09:52but I will say that everything is an evolution of something.
09:58And there can be a tendency when something is liked
10:03that everyone wants the same, same.
10:08But I don't necessarily think that's true.
10:09It's better to give them something else or something different
10:13or something that destroys your past
10:16in order to make something new, to transition.
10:20You know, obviously the two films are very different,
10:23but what ties them is myself and Ryan's interaction.
10:29However, I find that interesting.
10:31It's like taking something and turning it on its head.
10:34It's taking the ultimate superhero in one movie
10:37and emasculating him in the next.
10:39It's taking one movie that's very poppy
10:42and another movie that's very esoteric.
10:46And that, I think, is what makes the world interesting,
10:50is that things can become different.
10:53It can evolve into other components
10:55rather than just always staying in the same repeat lane
10:59because you very quickly run out of steam, in my opinion.
11:03I was very happy, but obviously,
11:06you know, a lot of harsh reactions
11:09and a lot of booing and screaming.
11:12But then I was like, that's kind of cool
11:15because then you're like the sex pistols of cinema.
11:18You know, you're like the one everyone throws bottles at,
11:21but you can't deny it existence.
11:23You can't really criticize it because I did it my way.
11:27The world will see it as it continues to evolve
11:31and you just have to be, you have to just to be, trust yourself.
11:35So you never lose your vision when you have that strong reaction?
11:39No, on the contrary, you're like, it's like energy.
11:41It's like, just wait for the next one.
11:43I love that.
11:44I'm like you.
11:46I have no regrets about Only God Forgives.
11:48I think it's a masterpiece, and it is.
11:50I just didn't make it very expensive.
11:52Is there a doctor in the house?
11:54We need to get a medic in here.
11:58Is there a doctor around?
11:59When you were mentioning 2001, you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive for another 30 years.
12:1030 seconds.
12:10Whether it lives or dies.
12:12I'm talking about films.
12:152001 was made in 1968.
12:18I made this film about four years ago.
12:20Four years is a zip.
12:22It's not even a blip.
12:23It's not a pimple on the asshole of humanity.
12:28What was funny about talking to Billy Friedkin was that he had a man who had struggled a lot in Hollywood
12:35and started very successfully at a young age and then had gone into sorceress
12:43and was still traumatized by that experience after so many years.
12:49I think that was what was so sad in a way, that it had such an effect on him.
12:54It was a little bit like Michael Cimino doing Heaven's Gate.
12:57These amazing films, both Sorcerers and Heaven's Gate, are probably their best films,
13:05for some reason get so destroyed and then they lose sight of themselves
13:10or they lose their confidence and it affects all the other movies they make afterwards.
13:15And 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,
13:30but I don't know how much I want to continue.
13:36I may want to take a break and go and make movies again.
13:41I've 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.
13:54You said you work on two shows, but you work on The Famous Five or something.
13:57The Famous Five was a television show that I just, how do you say, executive produced or created,
14:04but I had no involvement in it, otherwise I just created the kind of concept and the story
14:10based on these very famous books.
14:12The Famous Five was more because my kids would read the books when they were young.
14:16I remember my mother reading me the books, so it was more like a past history thing
14:21that came up as an opportunity.
14:23Well, I mean, if anything, if something is interesting, you know, why not look at it?
14:31I've had some wonderful meetings in Hollywood, met wonderful people, but in the end, I like my freedom.
14:38That's all I really want, is just to be free.
14:41When you work in Hollywood, there is a contract.
14:44Some people love that and can work within that.
14:47It'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.
15:00I'm pretty open to anything, but at the same time, at the end, you should just make what makes you happy.
15:06It's one thing having creative control, which is easier enough,
15:10but it's where all the money that's invested puts a burden on you.
15:15Because all that money has to get, you know, recouped.
15:19And then you have to make a certain type of movie.
15:21You don't have the freedom to do whatever you want, because you're a slave to the economics.
15:27If your film costs $200 million or $100 million, you need to make $300, $400 million to break even.
15:33That already puts a strain on what kind of movie can you make.
15:36And I don't want any conditions on me, at all.
15:42You have to be completely free.
15:45I mean, in the beginning, a lot of people were talking about another drive,
15:52but it was like, that would be the worst idea I've ever heard of.
15:56So never?
15:56Never.
15:57I've been very lucky to live a fun life, and it has nothing to do with fame.
16:14You realize very quickly.
16:17It has that I've had opportunities, and I've been able to work with people.
16:21I'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.
16:33The idea of fame, and fame being, it's like an opportunity.
16:38It's like a stage.
16:39One thing is becoming famous.
16:41The next, what are you going to do with it?
16:43And obviously, it's like anything, it's an opportunity.
16:47I don't have any love.
16:50There's a lot of fun.
16:51You have to work all the time.
16:52I mean, I also want to work.
16:54I also want to work.
16:55I also want to work.
16:58We're going to be here in Bangkok for six months.
17:01Yang Han will make his next film, and I've said yes to the film process.
17:04My daily life is, I have a routine.
17:23I wake up, I do two hours 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.
17:39And then Friday comes, and it's weekend, and you try to relax a little more, and the next day is Monday.
17:47You watch movies?
17:49I used to watch a lot of movies when I was a lot younger, but now it's just harder and harder.
17:54There's other things that I find interesting.
17:56Like what?
17:57Well, I did my first exhibition that just opened in Tokyo, and that's been a lot of fun to do that.
18:04A collaboration with Hideo Kojima?
18:06Yeah.
18:07Can you talk about that?
18:08Well, I created an exhibition that opened on Friday last week in Tokyo, where I built this installation between us.
18:20I saw my wife and my daughter in the procession.
18:24Hey, it's me!
18:31Where are you going?
18:33Wait!
18:38Don't leave without me!
18:42No!
18:43Don't go!
18:45Please, don't go!
18:47And you are in Death Stranding 2, or something.
18:51I am Heart Man, and Heart Man is forever in Death Stranding.
19:00I think that don't believe everything you read on the internet.
19:04Can you tease us something?
19:06Well, believe everything you read on the internet.
19:08Oh, okay.
19:08We're going to see a beautiful film.
19:38And you're going to see me on the internet.
19:47See you next time.
19:47Bye.
19:48Bye.
19:50Bye.
20:01Bho
20:02Bye.
20:03Sous-titrage FR ?