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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.
06:36J'ai j'ai tendré quelques今天 à leurs deductibles.
06:41Mais on se sentait le temps.
06:43J'ai besoin d'exprimer.
06:46J'ai besoin d'exprimer.
06:49J'ai besoin de nous.
06:52J'ai besoin d'exprimer.
06:54relación entre le temps.
06:56Alors voilà.
06:58Il n'avaitиксoire.
07:02Sous-titrage Société Radio-Canada
07:32Sous-titrage Société Radio-Canada
08:02I think cinema and television for that matter has had a very tough time in the last 10 years or so, 10-15 years.
08:15Gaming, social media, VR, canvases are exploding and they're constantly evolving because technology is allowing them to evolve.
08:25Movies 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, I 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 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, 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?
11:38No, on the contrary, you're like, it's like energy. It'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. I 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? We need to get a medic in here. Is there a doctor around?
12:00When you were mentioning 2001, you forgot to add Drive. We'll let that slip.
12:06We won't know about Drive for another 30 years.
12:1030 seconds.
12:11Whether it lives or dies. I'm talking about films. 2001 was made in 1968.
12:18I made this film about four years ago. So it's about time.
12:20Four years is a zip. It's not even a blip. It's not a pimple on the asshole of humanity.
12:28What was funny about talking to Billy Friedkin was that it was, he had a man who had struggled a lot in Hollywood.
12:36And started very successfully at a young age. And then gone into sorceress.
12:43And, you know, was still traumatized by that experience after so many years.
12:49And I 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.
13:04For 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.
13:20I 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. I 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. The 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 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. That's all I really want.
14:39It's just to be free. When 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?
14:51Maybe next year I'll do a big, you know, big superhero movie.
14:56That could be fun maybe. I don't know.
14:59I'm pretty open to anything, but at the same time, at 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.
15:21You don't have the freedom to do whatever you want because you're a slave to the economics.
15:26If 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.
15:41You have to be completely free.
15:43I mean, in the beginning, a lot of people were talking about another drive, but it was like that would be the worst idea I've ever heard of.
15:55So never?
15:56Never.
15:57Never.
15:58Never.
15:59Never.
16:00Never.
16:01I've been very lucky to live a fun life.
16:14And, um...
16:15It has nothing to do with fame.
16:16You realize very quickly.
16:17It has that I've had opportunities.
16:19Et j'ai pu travailler avec des gens, j'ai rencontré des gens, j'ai parlé avec des gens
16:24et ça a été beaucoup de fun.
16:27Mais je pense que quand j'ai commencé, l'idée de se voir était très essentielle, l'idée de fame.
16:35Et fame, c'est comme une opportunité, c'est comme un stage.
16:39Une chose est devenu fameuse, la prochaine, ce qu'est-ce que tu vas faire avec ça.
16:43Et évidemment, comme tout le monde, c'est une opportunité.
16:49J'ai pu travailler hele tiden, altså, j'ai pu aussi travailler.
16:54J'ai pu aussi, j'ai pu...
16:56J'ai pu...
16:57J'ai pu...
16:58J'ai pu être ici à Bangkok pendant 6 mois.
17:00J'ai pu laver ses nèstes film, et j'ai dit, j'ai à filmé processen.
17:05J'ai pu être ensemble avec lui, quand il filmé.
17:09J'ai pu l'aider, j'ai pu l'aider avec les enfants.
17:13J'ai pu l'aider avec les enfants.
17:15J'ai pu l'aider avec les enfants.
17:19J'ai pu l'aider avec les enfants.
17:21Le voyage au quotidien, j'ai dit deux heures de sport tout le jour.
17:27Ensuite, j'ai tuer le lunch.
17:30Ensuite, j'ai été dit par mes enfants.
17:33J'ai travailler à l'heure et puis je n'essaye pas de baisser trop tard.
17:39Et puis, soleil arrive, c'est le week-end.
17:42Et...
17:44Tu as essayé de relaxer un peu plus, et le prochain jour, c'est le mois d'août.
17:47Tu regardes les films ?
17:48J'ai regardé beaucoup de films quand j'étais plus jeune, mais maintenant, c'est plus difficile et plus difficile.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:58J'ai fait ma première exposition qui s'ouvre à Tokyo, et ça a été beaucoup de plaisir.
18:04Une collaboration avec Hideo Kojima ?
18:06Oui.
18:07Pouvez-vous parler de ça ?
18:08J'ai créé une exposition qui s'ouvre à la semaine dernière, en Tokyo, où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:24Hé, c'est moi !
18:26J'ai fait la fin.
18:31J'ai fait la fin!
18:32J'ai fait la fin!
18:33J'ai fait la fin!
18:38J'ai fait la fin de mon sans me !
18:42J'ai fait la fin!
18:45Et non !
18:45J'ai fait la fin de mon!
18:49Et tu es sur Terre-Man ?
18:51Je suis Terre-Man, et Terre-Man est toujours sur Terre-Man.
18:56Sous-titrage Société Radio-Canada
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