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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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04:50C'est un peu comme un coin, comme un ying et un yang.
04:54Vous avez un documentaire et vous avez un fantasie.
04:57Et je me souviens d'extrême,
04:59donc je suis allé de l'un à l'autre.
05:02Et je pense que j'ai travaillé dans le fantasie
05:04qui 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.
05:17Il a des mêmes personnages,
05:19et il a des mêmes mondes.
05:20Mais je ne suis plus intéressé en ce que j'étais.
05:25Parce que social media dominait cette narrative maintenant.
05:30Tout est accessible et la plupart du monde est réel,
05:35ou à l'est qu'il peut être très réel,
05:38capturé de moment à moment.
05:39Et c'est très efficace.
05:42Et je ne peux pas faire ça.
05:43Mais ce que je peux faire,
05:44c'est que je peux manipuler ça dans mon version.
05:47C'est fantasy.
05:49Et ça, j'ai été plus intéressé.
05:51et j'ai perdu la peur de vivre dans le monde réel,
05:54et j'ai été plus intéressé par stepping dans le théâtral space,
06:02le space de l'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:08Qu'est-ce que tu veux faire ?
06:10Je pense que si les directeurs veulent revenir et changer leurs films,
06:16je suis sûre qu'il y a une raison.
06:18Je n'ai pas besoin de faire.
06:20Je n'ai jamais eu la liberté de créer,
06:23pour faire le film que je voulais faire.
06:25Donc, il n'y a pas vraiment de changer.
06:27Je n'ai pas besoin d'un autre.
06:28Je n'ai pas besoin d'un autre.
06:30Donc, une fois que je suis fait,
06:30c'est une autre chose que j'ai été ostracisé dans mon corps.
06:33Je n'ai pas besoin d'un autre.
06:35Je n'ai pas besoin d'un autre.
06:36Je n'ai pas besoin d'un autre.
06:38Sous-titrage Société Radio-Canada
07:08They're talking about you, boy
07:13But you're still the same
07:17Oh, absolutely.
07:19I mean, I'm starting from the beginning
07:21with doing everything in 4K.
07:23And I'm doing all the restorations myself.
07:25So, I'm doing...
07:26It's all coming from me.
07:27And you can buy them directly from me
07:30at buynwr.com
07:32I'll sign your box set
07:34and send it off to you.
07:36Yeah, I'm a huge fan of 4K.
07:40Like, I love 4K.
07:42I think 4K is, like, amazing.
07:45Because so many films can be re-watched
07:48with even better quality.
07:50And who doesn't want that, you know?
07:53So, it's kind of like a new layer of...
07:56The new normal for me.
07:58So, I decided to do all my films in 4K
08:01slowly rolling them out, you know.
08:07I think cinema, and television for that matter,
08:10has had a very tough time
08:12in the last 10 years or so.
08:1410, 15 years.
08:16Gaming, social media,
08:18VR canvases are exploding.
08:20And they're constantly evolving
08:22because technology is allowing them to evolve.
08:25Movies and television,
08:27TV is becoming more and more just content
08:30that you almost look at
08:31while you're doing other things.
08:33And movies are still that window
08:35of exclusivity of the collective experience.
08:39But I think that movies
08:41also need to re-evaluate themselves.
08:44I remember when we were in Cannes
08:46for Only God Forgives,
08:48and I, after everyone had been booing me
08:50for so long that, during my stay,
08:54I did say, look,
08:56you can be angry with me and about my film,
08:58but I am from the future,
09:01and I'm going to make something
09:02that'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,
09:09because 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
09:22and content, essentially,
09:23how we viewed it.
09:24And I think that to justify
09:26or 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.
09:37Violence 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,
09:45never seen before in violin.
09:50I'm not that strategic,
09:52but I will say that
09:54everything is an evolution of something.
09:57and there can be a tendency
10:00when something is liked
10:03that everyone wants the same, same.
10:07But 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,
10:19to transition.
10:20You know, obviously,
10:21the two films are very different,
10:23but what ties them is
10:25myself and Ryan's interaction.
10:29However, I find that interesting.
10:31It's like taking something
10:32and turning it on its head.
10:34It's taking the ultimate superhero
10:36in 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,
10:47is what makes the world interesting,
10:50is that things can become different.
10:53It can evolve into other components
10:55rather than just always
10:57staying in the same repeat lane
10:59because you very quickly
11:01run out of steam, in my opinion.
11:03I was very happy,
11:05but 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
11:16the sex pistols of cinema.
11:18You know, you're like
11:19the 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
11:29as it continues to evolve
11:31and you just have to be,
11:33you have to just to be,
11:34trust yourself.
11:35So you never lose your vision
11:36when you have that strong reaction?
11:39No, on the contrary,
11:40you're like, it's like energy.
11:41It's like, just wait for the next one.
11:43I love that.
11:45I'm like you.
11:46I have no regrets
11:47about Only God Forgives.
11:48I think it's a masterpiece,
11:49and 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
12:012001, it says,
12:03you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive
12:08for 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
12:19about four years ago.
12:20Four years is a zip.
12:22It's not even a blip.
12:23It's not a pimple
12:25on the asshole of humanity.
12:28What was funny about
12:29talking to Billy Friedkin
12:30was that it was,
12:32he had a man
12:33who had struggled a lot
12:34in Hollywood
12:35and started very successfully
12:39at a young age
12:40and then gone into sorceress
12:43and, you know,
12:45was still traumatized
12:47by that experience
12:48after so many years.
12:49and I think that was
12:50what was so sad
12:51in a way
12:52that it had such an effect
12:54on him.
12:54It's a little bit like
12:55Michael Cimino
12:56doing Heaven's Gate.
12:57These amazing films,
13:00both Sorcerers
13:01and Heaven's Gate
13:02are probably
13:03their best films,
13:05for some reason
13:05get so destroyed
13:07and then they lose
13:09sight of themselves
13:10or they lose
13:11their confidence
13:12and it affects
13:12all the other movies
13:14they make afterwards.
13:15And I was like,
13:16I'm never going to be
13:17like that
13:17because I'm right,
13:19you're wrong.
13:23I mean,
13:24I've done two shows,
13:26one with Amazon,
13:27one with Netflix
13:27and I like
13:29what I was making,
13:30obviously,
13:30but I don't know
13:32how much
13:35I want to continue.
13:36I may want to
13:37take a break
13:38and go and make
13:40movies again.
13:41I've decided
13:42to do more
13:42visual arts,
13:45you know,
13:45and trying
13:46to find
13:48other areas
13:49of creativity
13:50but I think
13:51it's time
13:52to go make
13:53a film again.
13:54You said
13:54you work on
13:54two shows
13:55but you work
13:55on The Famous Five
13:56or something.
13:57The Famous Five
13:58was a television show
14:00that I just,
14:01how do you say,
14:02executive produced
14:03or created
14:04but I had no
14:05involvement in it
14:06otherwise
14:07I just created
14:08the kind of
14:08concept and the story
14:10based on these
14:11very famous books.
14:12The Famous Five
14:13was more because
14:13my kids would read
14:14the books
14:15when they were young.
14:16I remember my mother
14:17reading me the books
14:18so it was more like
14:19a past history thing
14:21that came up
14:22as an opportunity.
14:27Well, I mean,
14:28if something is interesting,
14:30you know,
14:30why not look at it?
14:31I've had some wonderful
14:32meetings in Hollywood,
14:33met wonderful people
14:35but in the end
14:36I like my freedom.
14:38That's all I really want
14:39is just to be free.
14:41When you work
14:41in Hollywood
14:42there is a contract.
14:44Some people love that
14:45and can work within that.
14:48It's maybe not
14:49so much my thing
14:50right now
14:51but who knows,
14:52maybe next year
14:52I'll do a big,
14:55you know,
14:55big superhero movie
14:56that could be fun maybe.
14:59I don't know.
15:00I'm pretty open
15:00to anything
15:01but at the same time
15:02at the end
15:03you should just
15:04make what makes you happy.
15:06It's one thing
15:06having creative control
15:08which is easier enough
15:10but it's where
15:11all the money
15:12that's invested
15:13puts a burden on you
15:15because all that money
15:17has to get,
15:17you know,
15:18recouped
15:19and then you have to make
15:20a certain type of movie.
15:21You don't have the freedom
15:22to do whatever you want
15:23because you're
15:24a slave to the economics.
15:27If your film costs
15:28200 million dollars
15:29or 100 million dollars
15:30you need to make
15:31300, 400 million dollars
15:32to break even.
15:33That already puts a strain
15:34on what kind of movie
15:35can you make
15:36and I don't want
15:37any conditions on me.
15:40at all.
15:42You have to be
15:42completely free.
15:47I mean in the beginning
15:49a lot of people
15:49were talking about
15:50another drive
15:51but it was like
15:52that would be
15:53the worst idea
15:54I've ever heard of.
15:56So never?
15:56Never.
15:57I've been very lucky
16:07to live
16:07a fun life
16:09and
16:10it has nothing
16:12to do with fame.
16:14You realize
16:15very quickly.
16:17It has
16:17that I've had
16:18opportunities
16:19and I've been able
16:20to work with people
16:21I've met people
16:23I've spoken with people
16:24and
16:25it's all been
16:26a lot of fun.
16:27But I think
16:28when I started
16:29the idea of being seen
16:32was very essential
16:33the idea of fame
16:34and fame being
16:36it's like an opportunity
16:38it's like a stage.
16:39One thing is becoming famous
16:41the next
16:42what are you going to do with it?
16:43And obviously
16:44it's like anything
16:45it's an opportunity.
16:46you don't want
16:49your love
16:50I feel good at work
16:51you'll do all the time
16:52you'll do also work
16:54I'm going to still work
16:54I'm waiting
16:55I'm going to keep
17:05back
17:06It's a crazy
17:10you will come down
17:12avec les enfants dans le Danemark.
17:14J'ai passé 10 mois,
17:16et c'était trop difficile à avoir vécu.
17:21Mon quotidien est une routine.
17:23Je me réveille.
17:25Je fais deux heures de sport chaque jour.
17:27J'ai généralement j'ai l'air.
17:29J'ai l'air.
17:30J'ai l'air.
17:32J'ai l'air.
17:33J'ai l'air.
17:35J'ai l'air.
17:36J'ai l'air.
17:37J'ai l'air.
17:39Puis, on va un frat et c'est l'été.
17:42Il y arian et c'est l'ananas,
17:44et tu essaies de relaxer un peu.
17:46Le lendemain est un gegangen.
17:48Tu regardes des films ?
17:49J'ai vuAndré.
17:51J'ai vu beaucoup de films quand j'étais plus jeune.
17:52Mais maintenant, c'est juste plus difficile.
17:54Il y a des autres choses que je me suis intéressant.
17:56Comme quoi ?
17:58J'ai fait ma première expérience
18:00qui a été éveillée à Tokyo.
18:02C'était beaucoup d'amusement.
18:04Il y a une collaboration avec Hideo Kojima ?
18:07Oui.
18:08J'ai créé une expérience qui a créé l'été la semaine dernière à Tokyo, où j'ai créé cette installation entre nous.
18:20J'ai vu ma mère et ma fille dans la procession.
18:24Hé, c'est moi !
18:30Où vas-tu ?
18:33WAIT !
18:38Don't leave without me !
18:41No !
18:43Don't go !
18:45Please !
18:46Don't go !
18:48And you are in Death Stranding 2 ?
18:51I am Heart Man, and Heart Man is forever in Death Stranding.
19:00I think that you don't believe everything you read on the internet.
19:04Can you tease us something ?
19:06Don't believe everything you read on the internet.
19:08Oh, okay.
19:36C'est la fin de ne Idaho.
19:38C'est une nouvelle question !
19:41Aucine !
19:42Aucine !
19:43Aucine !
19:45C'est la fin de neuvière d'une autre chose d'un air.