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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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04:52C'est comme un coin, comme un ying et un yang.
04:54Vous avez un documentaire et vous avez un fantasie.
04:57Et je me souviens de l'extrême,
04:59donc je suis allé de l'un à l'autre.
05:02Et je pense que travailler dans la fantôie 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.
05:17Il a des mêmes personnages et des mêmes mondes.
05:20Mais je n'étais plus intéressé dans la façon dont j'étais.
05:25Parce que social media dominait cette narrative maintenant.
05:30Tout est accessible et la plupart du tout est réel.
05:35Or à l'heure, certains peuvent être très réel.
05:38C'est-à-dire de moment à moment.
05:39Et ce sont très efficaces.
05:42Et je ne peux pas faire ça.
05:43Mais ce que je peux faire, c'est que je peux manipuler ça
05:46dans mon propre version.
05:47C'est fantasy.
05:49Et ça, j'ai été plus intéressé.
05:51Et j'ai perdu la peur de vivre dans le vrai monde
05:55et d'être plus excitée par stepping dans le théâtral space,
06:02le space d'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:08Je pense que si les directeurs veulent retourner
06:15et changer leurs films, je suis sûre qu'il y a une raison.
06:18Je n'ai pas besoin de faire.
06:20Je n'ai jamais eu la liberté créative de faire
06:23pour faire le film que je voulais faire.
06:25Donc, il n'y a rien à changer.
06:27Je regarde l'avant.
06:29Donc, une fois que j'ai fait quelque chose,
06:30j'ai été ostracisé dans mon corps.
06:33Il n'est plus en moi.
06:35Enfin, j'ai пробuqué pour le investir.
06:40D' proyecto de nous
06:42de mettre en halo
06:45On peut en faire passer
06:48V' alimentos
06:48Ceci est en gros
06:49C'est vrai
06:49Pour faire
06:54Il n'est plus
06:57Il n'est plus
06:59Il n'est plus
07:01…
07:01Ma
07:02Oh, absolument.
07:19I mean, I'm starting from the beginning
07:21with doing everything in 4K
07:23and I'm doing all the restorations myself.
07:25So I'm doing, it's all coming from me
07:27and you can buy them directly from me
07:30at bynwr.com.
07:32I'll sign your box set
07:34and send it off to you.
07:37I 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
07:49with even better quality
07:50and who doesn't want that, you know?
07:53So it's kind of like a new layer of,
07:56the 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
08:12in the last 10 years or so,
08:1410, 15 years.
08:16Gaming, social media, VR,
08:18canvases are exploding
08:20and they're constantly evolving
08:22because technology is allowing them to evolve.
08:24Movies and television,
08:27TV is becoming more and more just content
08:30that you almost look at
08:31while you're doing other things.
08:33And movies are still that window
08:35of exclusivity of the collective experience.
08:39But I think that movies also needs
08:42to re-evaluate themselves.
08:44I remember when we were in Cannes
08:46for Only God Forgives
08:47and I, after everyone had been booing me
08:50for so long
08:51that during my stay,
08:54I did say,
08:55look, you can be angry with me
08:57and about my film,
08:58but I am from the future
09:01and I'm going to make something
09:02that's going to predict
09:03what 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
09:12because of Netflix.
09:14Netflix was the game changer.
09:15and it changed not so much
09:18what we're making,
09:18but it's how we experienced
09:20film and content, essentially,
09:23how we viewed it.
09:24And I think that to justify
09:26or for a movie to exist
09:28in longevity,
09:29you have to see
09:31what a film can become
09:33rather than what it used to be.
09:37Violence is like sex.
09:39It's all about the build-up.
09:40Bang, bang,
09:41and then it's to the other wall.
09:43Now make it dirty,
09:44unique, interesting,
09:45never seen before in violin.
09:50I'm not that strategic,
09:52but I will say that
09:54everything is an evolution
09:56of something.
09:58And there can be a tendency
10:00when something is liked
10:03that everyone wants the same same.
10:08But I don't necessarily think
10:09that's true.
10:10It's better to give them
10:11something else
10:12or something different
10:13or something that
10:14destroys your past
10:16in order to make
10:17something new,
10:19to transition.
10:20You know,
10:20obviously,
10:21the two films
10:22are very different,
10:23but what ties them
10:24is myself
10:26and Ryan's interaction.
10:29However,
10:29I find that interesting.
10:30it's like taking something
10:32and turning it on its head.
10:34It's taking the ultimate superhero
10:36in one movie
10:37and emasculating him
10:39in the next.
10:39It's taking one movie
10:41that's very poppy
10:42and another movie
10:43that's very esoteric.
10:46And that,
10:47I think,
10:47is what makes
10:49the world interesting,
10:50is that things
10:51can become different.
10:53It can evolve
10:53into other components.
10:55rather than just
10:56always staying
10:57in the same
10:58repeat lane
10:59because you very quickly
11:01run out of steam,
11:02in my opinion.
11:03I was,
11:04I was very happy,
11:05but obviously,
11:07you know,
11:08a lot of harsh reactions
11:09and a lot of booing
11:11and screaming.
11:12But then I was like,
11:13that's kind of cool
11:15because then you're like
11:16the sex pistols
11:17of cinema.
11:18You know,
11:18you're like the one
11:19everyone throws bottles at,
11:21but you can't deny
11:22it existence.
11:23You can't really
11:24criticize it
11:25because I did it my way.
11:27The world will see it
11:29as it continues to evolve
11:31and you just have to be,
11:33you have to just
11:34to be,
11:34trust yourself.
11:35So you never lose
11:36your vision
11:36when you have
11:37that strong reaction?
11:39No,
11:39on the contrary,
11:40you're like,
11:40it's like energy.
11:41It's like,
11:42just wait for the next one.
11:43I love that.
11:45I'm like you.
11:46I have no regrets
11:47about Only God Forgives.
11:48I think it's a masterpiece
11:49and it is.
11:50I just didn't make it
11:51very expensive.
11:52Is there a doctor
11:53in the house?
11:53We need to get
11:56a medic in here.
11:58Is there a doctor around?
12:00When you were mentioning
12:012001,
12:02it says,
12:03you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive
12:08for another 30 years.
12:1030 seconds.
12:10Whether it lives or dies.
12:12I'm talking about films.
12:152001 was made in 1968.
12:18I made this film
12:19about four years ago.
12:20Four years is a zip.
12:22It's not even a blip.
12:24It's not a pimple
12:25on the asshole of humanity.
12:28What was funny about
12:29talking to Billy Freakin
12:30was that it was,
12:32he had a man
12:33who had struggled a lot
12:34in Hollywood
12:35and started very successfully
12:39at a young age
12:40and then had gone
12:42into Sorceress
12:43and was still traumatized
12:47by that experience
12:48after so many years.
12:49And I think that was
12:50what was so sad
12:51in a way
12:52that it had such
12:53an effect on him.
12:54It was a little bit like
12:55Michael Cimino
12:56doing Heaven's Gate.
12:57these amazing films
12:59both Sorceress
13:01and Heaven's Gate
13:02are probably
13:03their best films
13:04for some reason
13:05get so destroyed
13:07and then they lose
13:09sight of themselves
13:10or they lose
13:11their confidence
13:12and it affects
13:12all 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
13:24done two shows
13:26one with Amazon
13:27one with Netflix
13:27and I like
13:29what I was making
13:30obviously
13:30but I
13:31I don't know
13:32how
13:32how
13:34much
13:35I want to continue
13:36I may want to
13:37take a break
13:38and
13:38go and make
13:40movies again.
13:41I've decided to do
13:42more
13:42visual arts
13:44you know
13:45and
13:45trying
13:46to find
13:48other areas
13:49of creativity
13:50but I think
13:51it's time
13:52to go make
13:53a film again.
13:54You said
13:54you work on
13:54two shows
13:55but you work on
13:55The Famous Five
13:56also.
13:57The Famous Five
13:58was a television show
14:00that I
14:00I just
14:01how do you say
14:02executive produced
14:03or created
14:04but I had no
14:05involvement in it
14:06otherwise
14:07I just created
14:08the kind of
14:08concept and the story
14:10based on these
14:11very famous books.
14:12The Famous Five
14:13was more because
14:13my kids would read
14:14the books
14:15when they were young
14:16I remember my mother
14:17reading me the books
14:18so it was more
14:19like a
14:20past history
14:21thing that
14:22came up
14:22as an opportunity.
14:27Well I mean
14:28if anything
14:28if something is
14:29interesting
14:29you know
14:30why not
14:30look at it.
14:31I've had some
14:31wonderful meetings
14:32in 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.
14:41When you work
14:41in Hollywood
14:42there is a
14:43contract.
14:44Some people love
14:45that and can work
14:46within that.
14:47it's maybe not
14:49so much my thing
14:50right now
14:51but who knows
14:51maybe next year
14:52I'll do a big
14:53you know
14:55big superhero movie
14:56that could be fun
14:59maybe.
14:59I don't know.
15:00I'm pretty open
15:01to anything
15:01but at the same time
15:02at the end
15:03you should just
15:04make what makes
15:05you happy.
15:06It's one thing
15:06having creative control
15:08which is
15:08easier enough
15:10but it's where
15:11all the money
15:12that's invested
15:13puts a burden
15:15on you
15:15because all
15:16that money
15:17has to get
15:17recouped
15:19and then you
15:19have to make
15:20a certain type
15:20of movie
15:21you don't have
15:22the freedom
15:22to do whatever
15:23you want
15:23because you're
15:24a slave
15:25to the economics
15:26if your film
15:27costs $200 million
15:29or $100 million
15:30you need to make
15:31$300-$400 million
15:32to break even
15:33that already
15:34puts a strain
15:34on what kind
15:35of movie
15:35can you make
15:36and I don't want
15:37any conditions
15:39on me
15:39at all.
15:42You have to be
15:42completely free.
15:45I mean
15:48in the beginning
15:49a lot of people
15:49were talking
15:50about another drive
15:51but it was like
15:52that would be
15:53the worst idea
15:54I've ever heard of.
15:56So never?
15:56Never.
16:05I've been very
16:06lucky to live
16:07a fun life
16:09and
16:10it has nothing
16:12to do with fame.
16:13you realize
16:15very quickly
16:16it has
16:17that I've had
16:18opportunities
16:19and I've been able
16:20to work with people
16:21I've met people
16:23I've spoken
16:24with people
16:24and
16:25it's all been
16:26a lot of fun
16:27but I think
16:28when I started
16:29the idea
16:31of being seen
16:32was very essential
16:33the idea
16:34of fame
16:34and fame
16:35being
16:36it's like
16:37an opportunity
16:38it's like
16:38a stage
16:39one thing
16:40is becoming
16:40famous
16:41the next
16:42what are you going to do
16:42with it
16:43and obviously
16:44it's like anything
16:45it's an opportunity
16:46I don'tran
16:50will
16:51you
16:51I don't
16:52I don't
16:52I don't
16:53I don't
16:53I don't
16:55I don't
16:55I really
16:55I don't
16:56I don't
16:56I don't
16:58I don't
16:58I don't
16:59we have to
16:59come to
17:00Il y a deux heures de sport chaque jour.
17:30Puis je me suis dit par mes enfants, je travaille à la nuit et puis je n'essaie pas de dormir trop tard.
17:39Et puis on arrive Friday et c'est le week-end et je t'essaie de relaxer un peu plus et puis le prochain jour c'est le lendemain.
17:47Tu vois des films ?
17:48J'ai vu 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 ?
17:57J'ai fait ma première exposition qui s'ouvre à Tokyo et ça a été beaucoup de fun.
18:03Une 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, à Tokyo, où j'ai créé cette installation entre nous.
18:19J'ai vu ma femme et ma fille dans la procession.
18:23Hé, c'est moi !
18:25J'ai fait la vie !
18:27Je suis la occupation qui s'ouvre à la mort.
18:31Qu'est-ce que tu vas ?
18:33Wait !
18:38Don't live without me !
18:41No !
18:43Don't go !
18:45Please !
18:46Don't go !
18:48Et tu es en Death Stranding 2 ?
18:50Je suis un Harte Man,
18:52et Harte Man est toujours en Death Stranding.
18:55Qu'est-ce que tu vas ?
18:59Je pense que tu ne crois pas tout ce que tu lèves sur internet.
19:03Ok !
19:04Tu peux nous dire quelque chose ?
19:05Je crois tout ce que tu lèves sur internet.
19:07Ah ok !
19:25Je crois que tu fais un Harte Manet
19:28Moi, je suis un Harte Manet
19:31Et je crois que tu vas t'amorée
19:32Y tu vas dré !
19:33J'en sais pas !
19:34J'ai besoin de l'Harte Manet
19:35Je suis un Harte Manet
19:39Je suis un Harte Manet
19:40Je suis un Harte Manet
19:41Tu es un Harte Manet
19:43Tu es un Harte Manet
19:45Et ça c'est une Hubert也
19:48Tu es un Harte Manet
19:49Tu es un Harte Manet
19:51Est-ce que tu es un Harte Manet