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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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04:53C'est comme un yin et un yang, vous avez un documentaire et vous avez un fantasie.
04:57Et je me souviens de l'extrême, donc je me souviens de l'un à l'autre.
05:02Et je pense que j'ai travaillé dans le fantasie, ça a été beaucoup de plaisir.
05:06Donc, j'ai décidé de faire Pusher 4 quelques années, mais comme un TV show.
05:12Et ça s'est devenu Copenhagen Cowboy, qui est vraiment Pusher 4.
05:16Il a des mêmes personnages et des mêmes mondes.
05:20Mais je n'étais plus intéressé comme ça, parce que social media dominait cette narrative maintenant.
05:30Tout est accessible et la plupart du tout est réel, ou à l'est qu'il peut être très réel,
05:38capturé de moment à moment. Et c'est très efficace.
05:42Et je ne peux pas faire ça.
05:43Mais ce que je peux faire, c'est que je peux manipuler ça dans ma propre version.
05:47C'est fantasy. Et c'est ça que j'ai été plus intéressé.
05:51J'ai perdu l'intention de vivre dans le monde réel,
05:55et d'être plus excités sur le space théâtre,
06:01le space d'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:08Qu'est-ce que tu veux faire ?
06:12Je 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 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.
06:35J'ai besoin de revenir à quelque chose.
07:05Sous-titrage Société Radio-Canada
07:35Sous-titrage Société Radio-Canada
08:05I 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.
08:38But 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, but 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, and 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, I 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, it says,
12:03you forgot to add Drive, but we'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, 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,
12:40and then had gone into Sorceress,
12:43and was 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, or 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.
13:19I 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.
13:51But 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,
14:02executive produced or created, but I had no involvement in it.
14:07Otherwise, 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.
14:48It's maybe not so much my thing right now, but who knows,
14:52maybe next year I'll do a big, you know, big superhero movie.
14:57That could be fun, maybe.
14:59I don't know.
15:00I'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.
15:19And 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.
15:41You have to be completely free.
15:47I 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,
16:09and it has nothing to do with fame.
16:14You 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, it's like anything.
16:45It's an opportunity.
16:47I don't have any love.
16:50You're a mess.
16:51You're working all the time.
16:52I also have to work.
16:54I was also...
16:55I was...
16:56I was...
16:56We're going to be here in Bangkok for six months.
17:01Yang Han will make his next film,
17:02and I've said yes to the film process.
17:06It's new to be together with him,
17:08when he's filming.
17:10Last time he made Drive,
17:11I was home in Denmark with the children.
17:14And it took over ten months.
17:16And it was just for hard to be away from each other.
17:18My daily life is, I have a routine.
17:23I wake up.
17:24I do two-hour sports every day.
17:27Then I usually have lunch.
17:30Then I get yelled at by my kids.
17:33I work at night.
17:35And then try not to get to bed too late.
17:39And then Friday comes,
17:41and it's weekend.
17:42And you try to relax a little more,
17:45and the next day is Monday.
17:47You watch movies?
17:49I used to watch a lot of movies
17:51when I was a lot younger,
17:52but 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
18:00that just opened in Tokyo,
18:02and that's been a lot of fun to do that.
18:04Collaboration with Hideo Kojima?
18:06Yeah.
18:07Can you talk about that?
18:08Well, I created an exhibition
18:11that opened on Friday last week in Tokyo,
18:16where 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!
18:37Don'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,
18:52and Heart Man is forever in Death Stranding.
18:55I think that
19:01don't believe everything you read on the internet.
19:04Okay.
19:04Can you tease us something?
19:06Well, believe everything you read on the internet.
19:08Ah, okay.
19:08We're going to see a good film.
19:19We're going to see a good film.
19:38one that quality film in Death Stranding with Hall,
19:39we're going to see a good film.
19:40We'll see a good film.
19:41Bye.
19:44Bye.
19:45Bye.
19:46Bye.
19:47Bye.
19:47Bye.
19:47Bye.
19:48Bye.
19:49Bye.
19:51Bye!
19:51Bye.
19:52Bye.
19:53Bye.
19:54Bye.
19:54Bye.
19:56Bye.
19:57Bye!
19:58Bye.
20:00Bye.
20:02Bye.
20:02Bye!
20:03Bye!
20:04Bye!
20:05Bye.
20:05Bye.