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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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04:56Vous 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.
06:36J'ai besoin de faire quelque chose.
06:39...
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07:01Sous-titrage Société Radio-Canada
07:31Sous-titrage Société Radio-Canada
08:01Sous-titrage Société Radio-Canada
08:03I think cinema and television for that matter has had a very tough time in the last 10 years or so, 10, 15 years.
08:16Gaming, social media, VR canvases are exploding and they're constantly evolving because technology is allowing them to evolve.
08:24Movies and television, TV is becoming more and more just content that you almost look at 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 and I, after everyone had been booing me for so long that during my stay,
08:53I 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.
09:14Netflix was the game changer and it changed not so much what we're making, but it's how we experienced film and content, essentially, how we viewed it.
09:24And 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.
09:37Violence 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, never seen before in violence.
09:46I'm not that strategic, but I will say that everything is an evolution of something.
09:58And there can be a tendency when something is liked that 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 or something that destroys your past.
10:16in order to make something new, to transition.
10:20You know, obviously the two films are very different, but 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 and emasculating him in the next.
10:39It's taking one movie that's very poppy and another movie that's very esoteric.
10:45And 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,
10:59because you very quickly run out of steam, in my opinion.
11:03I was very happy, but obviously, you know, a lot of harsh reactions and a lot of booing and screaming.
11:12But then I was like, that's kind of cool, because then you're like the sex pistols of cinema.
11:18You know, you're like the one everyone throws bottles at, but 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?
11:38No, on the contrary, you're like, it's like energy.
11:41It's like, just wait for the next one.
11:44I love that.
11:45I'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.
11:57Is there a doctor around?
12:00When you were mentioning 2001, it says,
12:03Cain, you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive for another 30 years.
12:0930 seconds.
12:10Whether it lives or dies.
12:12I'm talking about films, 2001 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 Friedkin was that it was,
12:32he had a man who had struggled a lot in Hollywood,
12:36and started very successfully at a young age,
12:41and then had gone into Sorceress, and, you know,
12:45was still traumatized by that experience after 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 doing Heaven's Gate.
12:57These amazing films, both Sorceress and Heaven's Gate,
13:02are probably their best films, for 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 they make afterwards.
13:15And I was like, I'm never going to be like that,
13:17because I'm right, you're wrong.
13:20I mean, I've done two shows, one with Amazon, one with Netflix,
13:28and 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,
13:45and 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.
13:57The Famous Five was a television show that I just,
14:01how do you say, executive produced or created,
14:04but I had no involvement in it.
14:06Otherwise, 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.
14:18So it was more like a past history thing that came up as an opportunity.
14:27Well, I mean, if something is interesting, you know, why not look at it?
14:31I've had some wonderful meetings in Hollywood, met 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.
14:40When you work in Hollywood, there is a contract.
14:44Some people love that and can work within that.
14:47I, it's maybe not so much my thing right now, but who knows,
14:51maybe next year I'll do a big, you know, big superhero movie.
14:57That could be fun maybe. I don't know.
14:59I'm pretty open to anything, but at the same time,
15:02at the end, you should just make what makes you happy.
15:05It'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.
15:18And then you have to make a certain type of movie.
15:20You don't have the freedom to do whatever you want because you're,
15:24you're a slave to the economics.
15:26If your film costs $200 million or $100 million,
15:30you need to make three, $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.
15:41You have to be completely free.
15:43I mean, in the beginning, a lot of people were talking about another drive,
15:51but it was like, that would be the worst idea I've ever heard of.
15:55So never?
15:56Never.
15:57I've been very lucky to live a fun life.
16:09And it has nothing to do with fame.
16:14You realize very quickly.
16:16It 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.
16:25and 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.
16:34And 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, it's like anything.
16:45It's an opportunity.
16:47I don't have any love.
16:49You have to work all the time.
16:52I also have to work.
16:54I don't know what you're doing.
16:56I do not know what you're doing.
16:57I...
16:58We're going to be here in Bangkok for six months.
17:02And Yang Han is going to make the next film.
17:03And I have said yes to the film process.
17:05It's new, that we're together with him when he's filming.
17:10When he made Drive, I came home in Denmark with children.
17:14And it took about ten months.
17:16And it was just hard to be from each other.
17:19La vie quotidienne, c'est que j'ai une routine.
17:23Je me réveille, je fais deux heures de sport chaque jour.
17:27Puis, j'ai généralement un lunch.
17:30Puis, j'ai été éveillé par mes enfants.
17:33J'ai travaillé à l'heure et j'ai essayé de ne pas aller à l'esprit trop tard.
17:39Et puis, Friday arrive et c'est le week-end.
17:43J'essaye de relaxer un peu plus, et le prochain jour c'est Monday.
17:47Tu vois des films ?
17:48J'ai regardé beaucoup de films quand j'étais beaucoup plus jeune,
17:52mais maintenant c'est plus difficile et plus difficile.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:57Je faisais mon premier exposition qui s'ouvre à Tokyo.
18:02Ça a été beaucoup de plaisir.
18:04Une collaboration avec Hideo Kojima ?
18:06Oui.
18:07Pouvez-vous parler de ça ?
18:08Je créais une exposition qui s'ouvre à la semaine dernière,
18:15en Tokyo, où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:23Hé, c'est moi !
18:26C'est moi !
18:27C'est moi-même !
18:28C'est moi-même !
18:32C'est moi-même !
18:40C'est moi-même !
18:41C'est moi-même !
18:42C'est moi-même !
18:43C'est moi-même !
18:45C'est moi-même !
18:46C'est moi-même !
18:46C'est moi-même !
18:47C'est moi-même !
18:48Et tu es dans «Death Stranding 2 » aussi ?
18:51Je suis «Heart Man »
18:52et «Heart Man » est toujours dans «Death Stranding.
19:00Je pense que tu ne crois pas tout ce que tu lisais sur le Internet.
19:03Ok.
19:04Tu peux nous dire quelque chose ?
19:05Je crois tout ce que tu lisais sur le Internet.
19:08Ah, ok.
19:15C'est un film ?
19:16C'est un film ?
19:17C'est un film !
19:18C'est un film ?
19:45C'est un film ?
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