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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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09:00from the future and I'm going to make
09:01something that's going to predict
09:03what it's going to be like if you want to
09:05make films in the future
09:07and I was right because
09:09right after Only God Forgives
09:11the industry changed because of Netflix
09:13Netflix was the game changer
09:15and it changed not so much
09:18what we were making but it's how we
09:19experienced film
09:22and content essentially
09:23how we viewed it and I think that to
09:25justify or for a movie to exist
09:28in longevity
09:29you have to see what a film
09:32can become rather than what it used
09:34to 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
09:44interesting never seen before
09:46I'm not that strategic
09:52but I will say that
09:54everything is an evolution
09:56of something
09:57and there can be a tendency
10:00when something is
10:02liked that
10:03everyone
10:05wants 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
10:14destroys your past in order to make
10:17something new
10:19to transition
10:20you know obviously the two films are very different
10:23but what ties them is
10:25myself 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
10:36in one movie and 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
11:06you know
11:07a lot of harsh reactions
11:09and a lot of booing and screaming
11:12but then I was like
11:13that's kind of cruel
11:15because then you're like
11:16the sex pistols of cinema
11:18you know
11:18you'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
11:29as 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
11:39you'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 in Kane
12:03you forgot to add Drive
12:04we'll let that slip
12:06we won't know about Drive
12:08for 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
12:25on the asshole of humanity
12:28what was funny about talking to Billy Freakin
12:30was that it was
12:31he had a man who had struggled a lot in Hollywood
12:35and started very successfully
12:39at a young age
12:40and then gone into Sorceress
12:43and
12:43you know
12:45was 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 an 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 their best films
13:04for some reason
13:05get so destroyed
13:07and then they lose
13:09sight of themselves
13:10or they lose their confidence
13:12and it affects
13:12all the other movies
13:14they make afterwards
13:14and I was like
13:16I'm never going to be like that
13:17because
13:18I'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
13:28I like what I was making
13:30obviously
13:30but I
13:31I don't know how
13:32how
13:34much
13:35I want to continue
13:36I may want to
13:37take a break
13:38and
13:38go and make movies again
13:41I've decided to do
13:42more
13:42visual arts
13:44you know
13:45and
13:45trying
13:46to find other
13:48areas of creativity
13:50but I think it's time
13:52to
13:52to go make a film again
13:53you said you work on two shows
13:55but you work on
13:55The Famous Five
13:56or something
13:57so The 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 like
14:19a past history thing
14:21that came up
14:22as an opportunity
14:23Well I mean
14:28if anything
14:28if something is interesting
14:29you know
14:30why not look at it
14:31I've had some wonderful
14:32meetings 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
14:47I
14:47it's maybe not so much
14:49my 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
14:59I'm pretty open
15:00to anything
15:01but at the same time
15:02at the end
15:03you should just
15:04make what makes you happy
15:05it'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 that money
15:17has to get
15:17you know
15:18recouped
15:19and then you have to make
15:20a certain type of movie
15:21you don't have the freedom
15:22to do whatever you want
15:23because you're
15:24you're a slave
15:25to the economics
15:26if your film
15:27costs 200 million dollars
15:29or 100 million dollars
15:30you need to make
15:31300-400 million dollars
15:32to break even
15:33that already puts a strain
15:34on what kind of movie
15:35can you make
15:36and I don't want
15:37any conditions
15:39on me
15:39at all
15:41you have to be
15:42completely free
15:43I mean in the beginning
15:49a lot of people
15:49were talking about
15:50another drive
15:51but it was like
15:52that would be
15:53the worst idea
15:54I've ever heard of
15:55so never
15:56never
15:57I've been very lucky
16:07to 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 with people
16:24and
16:25it's all been
16:26a lot of fun
16:27but I think
16:28when 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
16:42with it
16:43and obviously
16:44it's like anything
16:45it's an opportunity
16:46I don't have a love
16:47I don't have any love
16:49Il 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 et jeudiants.
17:03J'ai dit oui pour le processus.
17:05C'est très important que nous sommes avec lui, quand il est filmé.
17:09Lorsqu'il a qu'il a la drive, je suis venu à Danemark avec les enfants.
17:13J'en ai fait 10 mois.
17:15C'était juste pour hård.
17:18Ma vie quotidienne, c'est que j'ai une routine.
17:23Je me réveille, je fais deux heures de sport chaque jour.
17:27Ensuite, j'ai des lunches.
17:29Ensuite, j'ai été appelé à mes enfants.
17:32J'ai travaillé à la nuit.
17:34Et puis, j'essaie de ne pas aller à la maison trop tard.
17:39Et puis, on arrive Friday et c'est le week-end.
17:42Et puis, on essaie de relaxer un peu plus.
17:45Et puis, le lendemain, c'est le lendemain.
17:47Tu regardes des films ?
17:48J'ai regardé beaucoup de films quand j'étais beaucoup 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 ?
17:57J'ai fait ma première exposition qui s'ouvre à Tokyo.
18:02Et 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 Friday, la semaine dernière,
18:15à Tokyo, où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:23Hey !
18:24C'est moi !
18:25C'est moi !
18:31C'est moi !
18:32C'est toi qui ?
18:33C'est moi !
18:34C'est toi qui ?
18:35Et vous êtes en Death Stranding 2 ?
18:51Je suis le hard man, et le hard man est toujours en Death Stranding.
19:00Je pense que je ne crois pas tout ce que tu lis sur le Internet.
19:03Tu peux nous dire quelque chose ?
19:05Je crois tout ce que tu lis sur le Internet.
19:33Sous-titrage Société Radio-Canada
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