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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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05:51J'ai perdu l'intention de vivre dans le monde réel et d'être plus excitée
05:57de se passer dans le space theatrical, le space d'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:12Je pense que si les directeurs veulent revenir et changer leurs films,
06:16je suis sûre qu'il y a une raison.
06:17Je n'ai pas besoin de faire, je n'ai jamais eu créé la liberté de faire le film que j'ai voulu faire.
06:25Donc, il n'y a rien à vraiment changer.
06:27Je me regarde donc, une fois que j'ai fait quelque chose,
06:30j'ai été ostracisé de mon corps, il n'est plus en moi.
06:36Je dois continuer à faire quelque chose.
06:47Sous-titrage Société Radio-Canada
06:57Oh, absolument.
07:19I mean, I'm starting from the beginning with doing everything in 4K
07:23and I'm doing all the restorations myself.
07:25So I'm doing, it's all coming from me.
07:28And you can buy them directly from me at buynwr.com.
07:32I'll sign your box set and send it off to you.
07:36So, I am, yeah, I'm a huge fan of 4K.
07:40Like, I love 4K.
07:42I think 4K is like, oh, amazing.
07:45Because so many films can be rewatched with even better quality
07:50and who doesn't want that, you know?
07:53So it's kind of like a new layer of the new normal for me.
07:58So, I decided to do all my films in 4K,
08:01slowly rolling them out, you know?
08:06I think cinema and television, for that matter,
08:10has had a very tough time in the last 10 years or so,
08:1410, 15 years.
08:16Gaming, social media, VR, canvases are exploding
08:20and they're constantly evolving
08:22because technology is allowing them to evolve.
08:24Movies and television, TV is becoming more and more just content
08:30that you almost look at while you're doing other things.
08:33And movies are still that window of exclusivity
08:37of 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
08:47and I, after everyone had been booing me for so long
08:51that during my stay,
08:53I did say, look, you 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 what 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.
09:14Netflix was the game changer
09:15and it changed not so much what we're making,
09:18but 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,
09:29you have to see what a film can become
09:33rather 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,
09:45never seen before in violence.
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,
10:08but 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 the two films are very different,
10:23but 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.
10:34You know, it's taking the ultimate superhero in 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, is what makes the world interesting,
10:50is that things can become different.
10:52It can evolve into other components
10:55rather 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,
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 the sex pistols of cinema.
11:18You know, you're like the 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 as it continues to evolve
11:31and you just have to be,
11:33you have to just to be, trust 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 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,
12:02it says,
12:03you forgot to add drive.
12:05We'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.
12:142001 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
12:30was that he had a man
12:33who had struggled a lot in Hollywood
12:35and started very successfully at a young age
12:40and then had gone into Sorceress
12:43and was still traumatized by that experience
12:48after 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
12:56doing Heaven's Gate.
12:57These amazing films
12:59both Sorceress and Heaven's Gate
13:02are probably their best films
13:04for 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
13:14they make afterwards.
13:15And I was like,
13:16I'm never going to be like that
13:17because I'm right.
13:19You're wrong.
13:19I mean, I've done two shows
13:26one with Amazon
13:27one with Netflix
13:27and 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
13:38and go and make movies again.
13:41I've decided to do more visual arts
13:44and 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
13:55but you work on The Famous Five or something.
13:57The Famous Five was a television show
14:00that I just, how do you say,
14:02executive produced or created
14:04but I had no involvement in it
14:06otherwise I just created the kind of concept
14:09and the story
14:10based on these very famous books.
14:12The Famous Five was more because
14:13my kids would read the books
14:15when they were young.
14:16I remember my mother reading me the books
14:18so it was more like a past history thing
14:21that came up as an opportunity.
14:27Well, I mean, if anything,
14:28if something is interesting,
14:30you know, why not look at it?
14:31I've had some wonderful meetings in Hollywood,
14:33met wonderful people
14:35but in the end, I like my freedom.
14:38That's all I really want
14:39is just to be free.
14:41When you work in Hollywood,
14:42there is a contract.
14:44Some people love that
14:45and can work within that.
14:48It's maybe not so much my thing right now
14:51but who knows, maybe next year
14:52I'll do a big, you know,
14:55big superhero movie.
14:57That could be fun maybe.
14:59I don't know.
15:00I'm pretty open to anything
15:01but at the same time,
15:02at the end,
15:03you should just make what makes you happy.
15:05It's one thing having creative control
15:08which is easier enough
15:10but it's where all the money that's invested
15:13puts a burden on you
15:15because all that money has to get 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.
15:26if your film costs $200 million
15:29or $100 million
15:30you need to make $300-$400 million
15:32to break even.
15:33That already puts a strain
15:34on what kind of movie can you make
15:36and I don't want any conditions on me
15:39at all.
15:42You have to be completely free.
15:43I mean, in the beginning
15:49a lot of people were talking about another drive
15:51but it was like
15:52that would be the worst idea I've ever heard of.
15:56So never?
15:56Never.
16:05I've been very lucky to live a fun life
16:09and it has nothing to do with fame.
16:13you realize very quickly.
16:17It has that I've had opportunities
16:19and I've been able to work with people
16:21I'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
16:29the 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.
16:46I don't have any love for you.
16:47I don't have any love for you.
16:49I don't have any love for you.
16:50There's still a lot of work.
16:51You're going to work all the time.
16:52I also should work.
16:54I will also...
16:55I will...
16:56I will...
16:56I will...
16:57I will be here in Bangkok
16:59for six months.
17:00he will be in the next film
17:01Il a fait un film pour le film.
17:03Je me suis dit à la film.
17:05Il est très bon, qu'on est avec lui.
17:09Lui, quand il a fait Drive,
17:11j'ai eu venu chez les enfants.
17:13J'ai eu l'a vu 10 mois.
17:15C'était trop difficile à avoir de l'autre.
17:21Dans ma vie quotidienne, je me réveille.
17:23J'ai eu réveille, je fais 2 heures de sport chaque jour.
17:27J'ai généralement j'ai eu un lunch.
17:29Then I get yelled at by my kids
17:32I work at night
17:34And then try not to get to bed too late
17:39And then Friday comes and it's weekend
17:42And you try to relax a little more
17:45And the next day is Monday
17:47You watch movies?
17:48I used to watch a lot of movies when 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
18:04A collaboration with Hideo Kojima?
18:06Can you talk about that?
18:09Well, I created an exhibition
18:11That opened on Friday last week
18:15In Tokyo
18:16Where I built this installation between us
18:20I saw my wife and my daughter in the procession
18:23Hey, it's me!
18:27Where are you going?
18:33Wait!
18:38Don't live without me!
18:41No!
18:43Don't go!
18:45Please!
18:46Don't go!
18:48And you are in Death Stranding 2
18:50I 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
19:04Can you tease us something?
19:06Well, believe everything you read on the internet
19:08Ah, okay
19:08Because
19:26Don't mind
19:26Don't mind
19:27On the internet
19:28cek
19:29We're going to see a fun movie
19:30We're going to see a a lot of children
19:30We're going to see a world
19:31And we're going to see a fun movie
19:32Not even if we're going to see you
20:03...