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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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09:28Il faut voir ce qu'un film peut devenir, plutôt que ce qu'il devait être.
09:37Violence c'est comme sexe.
09:39C'est tout de suite le build-up.
09:41Bang, bang, et ensuite c'est à l'autre wall.
09:43Maintenant, c'est dure, unique, intéressant, jamais vu en violence.
09:50Je ne suis pas si stratégique, mais je dirais que tout est une évolution de quelque chose.
09:58Il peut y avoir une tendance, quand c'est comme ça, que tout le monde veut le même.
10:07Mais je ne pense pas que c'est vrai.
10:10C'est mieux que leur donner quelque chose d'autre, ou quelque chose de différent,
10:14ou quelque chose de détruire votre passé en order de faire quelque chose de nouveau, de 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.
10:34It'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,
10:50is that things can become different.
10:53It can evolve into other components,
10:55rather than just always staying in the same repeat lane,
11:00because you very quickly run out of steam, in my opinion.
11:03I was very happy, but 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 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, 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.
11:41It's like, just wait for the next one.
11:43I love that.
11:44I'm like you. I 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.
11:57Is there a doctor around?
12:00When you were mentioning 2001,
12:02I said, Cain, 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.
12:142001 was made in 1968.
12:18I made this film about four years ago.
12:20So it's about time.
12:21Four 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 was that it was,
12:32he had a man who had struggled a lot in Hollywood,
12:36and started very successfully at a young age,
12:41and then had gone into Sorceress,
12:44and was still traumatized by that experience after so many years.
12:50And I think that was what was so sad in a way,
12:53that it had such an effect on him.
12:55It was a little bit like Michael Cimino doing Heaven's Gate.
12:58These amazing films, both Sorceress and Heaven's Gate,
13:02are probably their best films.
13:05for 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 they make afterwards.
13:15And I was like, I'm never going to be like that,
13:17because I'm right, you're wrong.
13:24I mean, I've done two shows,
13:26one with Amazon, one with Netflix,
13:28and I like what I was making, obviously,
13:31but 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,
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, but you work on The Famous Five also.
13:57The Famous Five was a television show that I just,
14:01how do you say, executive produced or created,
14:04but I had no involvement in it.
14:06Otherwise, I just created the kind of concept and the story,
14:10based on these very famous books.
14:12The Famous Five was more because my 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 something is interesting, you know,
14:30why not look at it?
14:31I've had some wonderful meetings in Hollywood,
14:33met wonderful people, but in the end,
14:36I 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.
14:47I, it's maybe not so much my thing right now,
14:51but who knows, maybe next year I'll do a big,
14:53you 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,
15:02at the end, you 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 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,
15:23because you're, you're a slave to the economics.
15:26If your film costs $200 million or $100 million,
15:30you 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.
15:48I mean, in the beginning,
15:49a lot of people were talking about another drive,
15:52but it was like,
15:53that would be the worst idea I've ever heard of.
15:56So never?
15:57Never.
15:58I've been very lucky to live a fun life.
16:09And it has nothing to do with fame.
16:14You 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.
16:25and it's all been a lot of fun.
16:28But I think when I started,
16:30the idea of being seen was very essential.
16:34The idea of fame.
16:35And fame being an opportunity.
16:38It's like an opportunity.
16:39It's like a stage.
16:40One 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.
16:47I don't have any love.
16:50You're going to work all the time.
16:52in the time.
16:53I've always worked.
16:54I've also worked.
16:55Yeah, it's like...
16:57We'll be here in Bangkok over six months.
17:01Yang Han will film his next film,
17:03and I've said yeah to the process.
17:05It's nice to be there with him with his film.
17:10After he made Drive,
17:11I was back home in Denmark with my children.
17:13After ten months,
17:15it was difficult for everyone.
17:17It was just like it's hard to be out
17:18from.
17:19Qu'est-ce que tu vois ?
17:49J'ai vu beaucoup de films quand j'étais plus jeune, mais maintenant c'est plus dur et plus.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:57Je faisais mon premier exposition qui s'ouvre à Tokyo et ça a été beaucoup de fun.
18:04Une collaboration avec Hideo Kojima ?
18:06Oui.
18:07Pouvez-vous parler de ça ?
18:08Je créais une exposition qui s'ouvre à la semaine dernière, à Tokyo,
18:16où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:24Hé, c'est moi !
18:26Je suis en Heart Man et Heart Man est toujours en Death Stranding.
18:55Je pense qu'on ne peut pas croire tout ce que tu lisais sur le internet.
19:03Ok.
19:04Pouvez-vous nous quelque chose ?
19:05Oui, croire tout ce que tu lisais sur le internet.
19:08Ok, j'ai vu.
19:15J'ai vu, j'ai vu.
19:17Je vais voir une belle film.