Passer au playerPasser au contenu principalPasser au pied de page
FilmsActu
  • 24/07/2025
✩ Les Films à VOIR ? Ils sont ICI ► https://www.youtube.com/playlist?list=PL843D2ED8D80FA673

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
00:30...
01:00...
01:02...
01:04...
01:06...
01:10...
01:12...
01:14...
01:16...
01:18...
01:20...
01:22...
01:24...
01:26...
01:28...
01:30...
01:32...
01:34...
01:36...
01:42...
01:44...
01:46...
01:48...
01:50...
01:52...
01:54...
01:56...
01:58...
02:00...
02:02...
02:04...
02:24...
02:26...
02:28...
02:38...
02:40...
02:42...
02:48...
02:50...
03:12...
03:14...
03:18...
03:20...
03:22...
03:24...
03:26...
03:28...
03:30...
03:32...
03:34...
03:36...
03:38...
03:40...
03:44...
03:46...
04:08...
04:14...
04:16...
04:18...
04:20...
04:22...
04:24...
04:28...
04:30...
04:32...
04:34...
04:36...
04:38...
04:40...
04:42...
04:44...
04:46...
04:48...
04:50...
04:52...
04:54...
04:56...
04:58...
06:00C'est l'espace théâtre, l'espace d'un-réalité, 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 sûr qu'il y a une raison.
06:18Je n'ai pas besoin de faire.
06:20Je n'ai jamais eu de la liberté créative pour faire le film que je voulais faire.
06:25Donc, il n'y a rien à changer.
06:27Je n'ai rien à changer.
06:28Je fais un peu plus de temps.
06:29Donc, une fois que je suis fait quelque chose,
06:30c'est l'autraciné de mon corps.
06:33Il n'est plus en moi.
06:36Je dois faire un peu plus de temps.
07:08Oh absolutely, I mean I'm starting from the beginning with doing everything in 4k
07:23and I'm doing all the restorations myself so I'm doing, it's all coming from me
07:27and you can buy them directly from me at bynwr.com
07:32I'll sign your box set and send it off to you
07:36I am, yeah I'm a huge fan of 4k, like I love 4k
07:42I think 4k is like 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, slowly rolling them out, you know
08:04I think cinema and television for that matter has had a very tough time in the last 10 years or so
08:1410-15 years, gaming, social media, VR, canvases are exploding
08:20and they're constantly evolving because 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 of the collective experience
08:39but I think that movies also needs 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 and 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
09:13Netflix was the game changer
09:15and it changed not so much what we were 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
09:28in longevity
09:29you have to see what a film can become
09:33rather than what it used to be
09:34Violence is like sex
09:38it'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
09:46I'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
10:09it'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
10:19it's a transition
10:20you know, obviously the two films are very different
10:23but what ties them is myself and Ryan's interaction
10:28however I find that interesting
10:30it's like taking something and turning it on its head
10:34it'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
10:45and 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
11:02in my opinion
11:03I was very happy
11:05but obviously, you know, a lot of harsh reactions
11:09and a lot of booing and screaming
11:12but then I was like, that's kind of cruel
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
11:38no, on the contrary, you're like
11:40it's like energy
11:41it's like, just wait for the next one
11:43I love that
11:44I'm like you
11:45I have no regrets about Only God Forgives
11:48I think it's a masterpiece
11:49and it is
11:49I 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 2001
12:02it says, you forgot to add Drive
12:04we'll let that slip
12:06we won't know about Drive for another 30 years
12:0930 seconds
12:10whether it lives or dies
12:12I'm talking about films
12:132001 was made in 1968
12:17I made this film about 4 years ago
12:204 years is a zip
12:21it's not even a blip
12:23it's not a pimple on the asshole of humanity
12:28what was funny about talking to Billy Friedkin
12:30was that it was
12:31he had a man who 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
12:51in 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
13:44you know
13:45and 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
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
14:23Well, I mean, if anything
14:28if something is interesting
14:29you know, why not look at it
14:31I've had some wonderful meetings in Hollywood
14:33met wonderful people
14:35but in the end
14:36I like my freedom
14:37that's all I really want
14:39is just to be free
14:40When you work in Hollywood
14:42there is a contract
14:44Some people love that
14:45and can work within that
14:47It's maybe not so much my thing right now
14:51but who knows
14:51maybe next year
14:52I'll do a big
14:53you know, big superhero movie
14:56that could be fun maybe
14:59I don't know
14:59I'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 dollars
15:29or 100 million dollars
15:30you need to make 300-400 million dollars
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
15:41You 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
15:55So never?
15:56Never
15:57I've been very lucky to live a fun life
16:09and it has nothing to do with fame
16:13you realize very quickly
16:16it 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'm a mess
16:51I'm going to work all the time
16:52I'm going to work
16:54I'm going to work
16:55I'm going to work
16:56I'm going to work
16:58I'm going to be here in Bangkok
16:59for six months
17:00and Yang Han will make his next film
17:02and I'm going to film the process
17:04and I'm going to work
17:06it's nice
17:06it's nice
17:06it's nice
17:06it's nice
17:07it's nice
17:07it's nice
17:08we're together with him
17:08when he's filming
17:09when he's filming
17:10last time he made Drive
17:11I was home
17:12in Denmark
17:12with the children
17:13and it was about 10 months
17:15and it was just too hard
17:17to be away from each other
17:18my daily life is
17:22I have a routine
17:23I wake up
17:24I do two hour sports every day
17:27then I usually have 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
17:41and it's weekend
17:42and you try to relax a little more
17:45and the next day is Monday
17:47I 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
17:55that I find interesting
17:56like what?
17:58well I did my first exhibition
18:00that just opened in Tokyo
18:02and that's been a lot of fun
18:03to do that
18:04collaboration with Hideo Kojima?
18:06yeah
18:07can you talk about that?
18:09well I created an exhibition
18:11that opened Friday last week
18:15in Tokyo
18:16where I built this installation
18:18between us
18:20I saw my wife
18:21and my daughter
18:22in the procession
18:23hey
18:24it's me
18:26where are you going?
18:33wait
18:34don't live without me
18:40don't go
18:44please
18:45don't go
18:47and 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
19:03you read on the internet
19:04can you tease us something?
19:06well believe everything
19:07you read on the internet
19:08we're going to see another film
19:15we're going to see a good film
19:19Sous-titrage Société Radio-Canada
19:49...