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FilmsActu
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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.
06:36Il n'est plus en un vers.
06:39Tout.
06:40Tout.
06:42Tout.
06:44Tout.
06:44Tout.
06:47Tout.
06:55Tout.
06:57Tout.
06:59Tout.
07:00Sous-titrage Société Radio-Canada
07:30Sous-titrage Société Radio-Canada
08:00Sous-titrage Société Radio-Canada
08:30...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.
09:16And it changed not so much what we're making, but 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, you 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, never seen before in violence.
09:49I'm not that strategic, but I will say that everything is an evolution of something.
09:57And 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 in 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.
10:53It can evolve into other components rather than just always staying in the same repeat lane because 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. It's like, just wait for the next one.
11:43I love that.
11:45I'm like you. I have no regrets about Only God Forgives.
11:48I think it's a masterpiece, and it is. I 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?
11:59When 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.
12:10Whether it lives or dies. I'm talking about films. 2001 was made in 1968.
12:18I made this film about four years ago.
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 he had a man who had struggled a lot in Hollywood
12:35and started very successfully at a young age and 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, that it had such an effect on him.
12:54It's 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,
13:05for some reason get so destroyed and 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 because I'm right, you're wrong.
13:23I mean, I've done two shows, one with Amazon, one with Netflix,
13:27and I like what I was making, obviously, but 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, and 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 also.
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.
14:07Otherwise, I just created the kind of concept and the story based 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.
14:23Well, I mean, if anything, 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, is just to be free.
14:41When 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, maybe 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, at the end, you should just make what makes you happy.
15:05It's one thing having creative control, which is easier enough, but it's where all the money that's invested puts a burden on you,
15:16because 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, 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.
15:42You 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.
15:55So never?
15:56Never.
16:05I've been very lucky to live a fun life, and it has nothing to do with fame.
16:14You realize very quickly.
16:17It has that I've had opportunities, and 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, the 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.
16:46It's like an opportunity.
16:47It's like an opportunity.
16:48It's like an opportunity.
16:49Yes, I don't want to work with it.
16:50Il faut travailler tout le temps.
16:52Je vais aussi travailler.
16:54Je vais aussi...
16:58Nous devons être ici à Bangkok pendant 6 mois.
17:00Lange devons faire des films.
17:02J'ai dit oui pour le processus.
17:06C'est très important que nous sommes avec lui,
17:08quand il est filmé.
17:10Lorsqu'il a qu'il a la drive,
17:12je suis venu chez moi avec les enfants.
17:14J'ai des années 10 mois.
17:16C'était juste pour hård.
17:20Dans le quotidien, j'ai une routine.
17:22Je me réveille,
17:24je fais deux heures de sport chaque jour.
17:26J'ai généralement lundi.
17:28J'ai été appelé à mes enfants.
17:30J'ai été appelé à mes enfants.
17:32J'ai travaillé à la nuit.
17:34J'ai essayé de ne pas d'y dormir trop tard.
17:38Et puis,
17:40Friday arrive et c'est le week-end.
17:42J'essaie de relaxer un peu.
17:44Et puis, le prochain jour, c'est le mois.
17:46Tu vois des films ?
17:48J'ai regardé beaucoup de films quand j'étais plus jeune.
17:52Mais maintenant, c'est plus dur et plus.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:58J'ai fait ma première exposition
18:00qui s'ouvre à Tokyo.
18:02C'était beaucoup de plaisir.
18:04Une collaboration avec Hideo Kojima ?
18:06Oui.
18:08J'ai créé une exposition
18:10qui s'ouvre à la semaine dernière,
18:14la semaine dernière,
18:16où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille
18:22dans la procession.
18:24Hé !
18:25C'est moi !
18:27...
18:38...
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18:48Et tu es dans Death Stranding aussi ?
18:51Je suis Heart Man, et Heart Man est toujours dans Death Stranding.
19:00Je pense que je ne crois pas tout ce que tu lis sur le Internet.
19:04Tu peux nous dire quelque chose ?
19:06Je crois tout ce que tu lis sur le Internet.
19:18Vous allez voir un beau film ?
19:48Merci.