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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
Transcription
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04:56Vous avez des fantômes, et j'aime l'extrême,
04:59donc j'ai pensé que je vais partir de l'autre à l'autre.
05:02Et je pense que j'ai travaillé dans le fantôme,
05:04ça a été beaucoup de fun.
05:06Donc j'ai décidé de faire Pusher 4 quelques années,
05:11mais comme un show de TV,
05:12et ça s'est devenu Copenhagen Cowboy,
05:14qui est vraiment Pusher 4.
05:16Il a des mêmes personnages et des mêmes mondes,
05:20mais je n'étais pas plus intéressé
05:24dans la manière dont j'ai eu l'habitude,
05:26parce que social media dominait cette narrative maintenant.
05:30Tout est accessible, et la plupart du tout est réel,
05:35ou à l'aise peut être très réel,
05:37capturé de moment à moment,
05:39et c'est très efficace, et je ne peux pas faire ça.
05:43Mais ce que je peux faire, c'est que je peux manipuler
05:46ça dans mon propre version.
05:48C'est fantôme, et c'est que je me suis plus intéressé.
05:51J'ai perdu la peur de vivre dans le vrai monde,
05:56et d'être plus excitée par stepping dans le théâtre,
06:02le space de l'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:09Qu'est-ce que tu veux faire ?
06:12Je pense que si les directeurs veulent retourner
06:15et changer leurs films, je suis sûr qu'il y a une raison.
06:18Je n'ai pas besoin de faire.
06:20Je n'ai jamais eu la liberté de faire
06:23pour faire le film que je voulais faire.
06:25Donc, il n'y a rien à changer.
06:27J'ai quand même regardé.
06:29Donc, une fois que j'ai fait quelque chose,
06:31j'ai été ostracisé dans mon corps.
06:33Il n'est plus en moi.
06:36Il n'y a jamais eu de faire.
06:39Il n'y a rien que j'ai fait.
06:42On a toujours...
06:44Et on a toujours...
06:46ça fait un peu...
06:49Mais on a encore...
06:50Il s'agit de mon corps.
06:51On s'agit de mon corps.
06:53Il n'y a rien.
06:54Il n'y a rien.
06:56On a toujours...
06:57On a encore...
06:59On a même...
07:00On a même...
07:00On a tout...
07:01Sous-titrage Société Radio-Canada
07:31Sous-titrage Société Radio-Canada
08:01Sous-titrage Société Radio-Canada
08:31...while you're doing other things.
08:33And movies are still that window of exclusivity of 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,
08:48and after everyone had been booing me for so long that during my stay,
08:54I did say, look, you can be angry with me and about my film,
08:58but I am from the future, and I'm going to make something
09:02that's going to predict what 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.
09:13Netflix was the game-changer,
09:16and 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 rather 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.
09:49I'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.
10:10It's better to give them something else,
10:12or 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.
10:30It'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, you know,
11:08a lot of harsh reactions
11:09and a lot of booing and screaming.
11:12But then I was like,
11:13that'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
11:25because I did it my way.
11:27The world will see it as it continues to evolve
11:31and you just have to be,
11:33you have to just to be, trust yourself.
11:35So you never lose your vision
11:36when you have that strong reaction?
11:39No, on the contrary, you're like,
11:40it'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?
12:00When you were mentioning 2001,
12:02it says,
12:03you 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,
12:142001 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.
12:24It's not a pimple on the asshole of humanity.
12:28What was funny about talking to Billy Freakin
12:30was that he had a man
12:33who had struggled a lot in Hollywood
12:35and started very successfully at a young age
12:40and then had gone into Sorceress
12:43and was still traumatized by that experience
12:48after so many years.
12:49And I think that was what was so sad in a way
12:52that it had such an effect on him.
12:54It was a little bit like Michael Cimino
12:56doing Heaven's Gate.
12:57These amazing films,
13:00both Sorceress and Heaven's Gate,
13:02are probably their best films,
13:05for some reason get so destroyed
13:07and then they lose sight of themselves
13:10or they lose their confidence
13:12and it affects all the other movies
13:14they make afterwards.
13:15And I was like,
13:16I'm never going to be like that
13:17because I'm right, you're wrong.
13:19I mean, I've done two shows,
13:26one with Amazon,
13:27one with Netflix,
13:27and 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
13:38and go and make movies again.
13:41I've decided to do more visual arts,
13:45you know,
13:45and trying to find other areas of creativity.
13:51But I think it's time to go make a film again.
13:54You said you work on two shows,
13:55but you work on The Famous Five or something.
13:57The Famous Five was a television show
14:00that I just, how do you say,
14:02executive produced or created,
14:04but I had no involvement in it.
14:07Otherwise, I just created the kind of concept
14:09and the story.
14:10based on these very famous books.
14:12The Famous Five was more because
14:13my kids would read the books
14:15when they were young.
14:16I remember my mother reading me the books.
14:18So it was more like a past history thing
14:21that came up as an opportunity.
14:27Well, I mean, if something is interesting,
14:30you know, why not look at it?
14:31I've had some wonderful meetings in Hollywood,
14:33met wonderful people,
14:35but in the end, I like my freedom.
14:38That's all I really want.
14:39It's just to be free.
14:41When you work in Hollywood,
14:42there is a contract.
14:44Some people love that
14:45and can work within that.
14:48It's maybe not so much my thing right now,
14:51but who knows, maybe next year
14:52I'll do a big, you know,
14:55big superhero movie.
14:58That could be fun, maybe.
14:59I don't know.
14:59I'm pretty open to anything,
15:01but at the same time,
15:02at the end,
15:03you should just make what makes you happy.
15:06It's one thing having creative control,
15:08which is easier enough,
15:11but it's where all the money that's invested
15:13puts a burden on you,
15:15because all that money has to get 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,
15:23because you're a slave to the economics.
15:27If your film costs $200 million or $100 million,
15:30you 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.
15:43I mean, in the beginning,
15:49a lot of people were talking about another drive,
15:52but it was like,
15:53that would be the worst idea I've ever heard of.
15:56So never?
15:56Never.
16:05I've been very lucky to live a fun life,
16:09and it has nothing to do with fame.
16:13and you realize very quickly.
16:17It has that I've had opportunities,
16:19and I've been able to work with people.
16:22I've met people.
16:23I've spoken with people,
16:24and it's all been a lot of fun.
16:27But I think when I started,
16:30the idea of being seen was very essential,
16:33the idea of fame,
16:35and fame being an opportunity.
16:37It'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,
16:44it's like anything.
16:45It's an opportunity.
16:46I don't have any love for you.
16:49I don't have a lot of love for you.
16:51I'm going to work all the time.
16:52I'm going to work too.
16:54Yeah, I'm also, yeah.
16:58We are going to be here in Bangkok for 6 months.
17:01Long Han's going to make the next film,
17:02and I have said yes to the film process.
17:04C'est très important que nous sommes avec lui, quand il filme.
17:09Quand il a fait Drive, j'ai eu venu à Danemark avec les enfants.
17:13C'est à cause de 10 mois.
17:15C'était trop difficile à faire de l'autre.
17:20Mon quotidien est une routine.
17:23Je me réveille, je fais deux heures de sport tous les jours.
17:27J'ai généralement j'ai l'air.
17:29J'ai l'air de mes enfants.
17:32J'ai travaillé à la nuit.
17:34J'ai essayé de ne pas d'y dormir trop tard.
17:39Et puis, Friday arrive et c'est le week-end.
17:42J'ai essayé de relaxer un peu plus.
17:45Et le prochain jour, c'est Monday.
17:47Tu vois des films ?
17:49J'ai regardé beaucoup de films quand j'étais plus jeune.
17:52Mais maintenant, c'est plus difficile et plus difficile.
17:54Il y a d'autres choses que je trouve intéressant.
17:56Like quoi ?
17:57J'ai fait ma première expérience qui s'ouvre à Tokyo.
18:01Et ça a été beaucoup de plaisir.
18:03C'est une collaboration avec Hideo Kojima ?
18:06Oui.
18:07Pouvez-vous parler de ça ?
18:08J'ai créé une expérience qui s'ouvre la semaine dernière,
18:14la semaine dernière,
18:15en Tokyo,
18:16où j'ai créé cette installation entre nous.
18:19J'ai vu ma femme et ma fille dans la procession.
18:23Hey !
18:24C'est moi !
18:25C'est moi !
18:26C'est moi !
18:27H
18:52Je pense qu'on ne croise pas tout ce que tu lèves sur internet.
19:04Tu peux nous dire quelque chose ?
19:06Non, croise tout ce que tu lèves sur internet.