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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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05:28Ça dominait cette narrative maintenant. Tout est accessible, et la plupart du monde est réel,
05:35ou à l'aise, peut être très réel, capturé de moment à moment, et c'est très efficace.
05:42Et je ne peux pas faire ça, mais ce que je peux faire, c'est que je peux manipuler ça
05:46dans mon propre version. C'est fantasy, et ça je me suis plus intéressé.
05:51J'ai perdu la peur de vivre dans le monde réel et d'être plus excitée par stepping
05:58dans l'espace theatrical, l'espace 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, je suis sûre qu'il y a une raison.
06:17Je n'ai pas besoin de faire, je n'ai jamais eu de la liberté de faire,
06:23pour faire le film que j'ai voulu faire, donc il n'y a rien à vraiment changer.
06:27Je regarde donc, une fois que j'ai fait quelque chose, j'ai été ostracisé dans mon corps,
06:33c'est plus loin dans mon corps, j'ai besoin de continuer à faire quelque chose.
06:38Il y a quelque chose dans vous, c'est difficile de expliquer.
06:47Sous-titrage Société Radio-Canada
07:17Oh, absolument.
07:19I 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.
07:28And you can buy them directly from me at buynwr.com.
07:32I'll sign your box set and send it off to you.
07:36Yeah, I'm a huge fan of 4K, like I love 4K.
07:42I think 4K is like amazing, because so many films can be rewatched with even better quality,
07:51and 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?
08:03I think cinema, and television for that matter, has had a very tough time in the last 10 years or so, 10, 15 years.
08:16Gaming, social media, VR, canvases are exploding, and they're constantly evolving,
08:22because technology is allowing them to evolve.
08:25Movies 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 need to re-evaluate themselves.
08:44I remember when we were in Cannes for Only God Forgives,
08:47and after everyone had been booing me for so long that during my stay,
08:54I 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, because 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 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 in longevity,
09:29you have to see what 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, and then it's to the other wall.
09:43Now, make it dirty, unique, interesting, never seen before, and violent.
09:50I'm not that strategic, but I will say that
09:54everything is an evolution of something.
09:57And there can be a tendency when something is liked that everyone wants the same, same.
10:07But I don't necessarily think that's true.
10:10It's better to give them something else, or something different,
10:13or something that destroys your past in order to make something new, to transition.
10:20Obviously, the two films are very different, but 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, is that things can become different.
10:53It can evolve into other components, rather 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 and a lot of booing and screaming.
11:12But then I was like, that's kind of cool, because then you're like the sex pistols of cinema.
11:18You know, you're like the one everyone throws bottles at, but 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, and 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?
11:39No, on the contrary, you're like, it's like energy.
11:41It's like, just wait for the next one.
11:43I love that.
11:45I'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, it says,
12:03King, you 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.
12:152001 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 was that it was,
12:32he 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, you know, 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's a little bit like Michael Cimino doing Heaven's Gate.
12:57These amazing films,
13:00both Sorcerers 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,
13:16I'm never going to be like that
13:17because I'm right, you're wrong.
13:19I mean, I've done two shows,
13:26one with Amazon, one 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,
13:45you know,
13:45and 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.
13:57So The 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.
14:07Otherwise, I just created the kind of concept
14:09and the story based on these very famous books.
14:12The Famous Five was more because
14:13my kids would read the books when 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,
14:36I 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,
14:52maybe next year I'll do a big,
14:55you know, big 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.
15:06It's one thing having creative control,
15:08which is easier enough,
15:11but it's where all the money that's invested
15:13puts a burden on you
15:15because all that money has to get,
15:17you 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 a slave to the economics.
15:26If your film costs $200 million or $100 million,
15:30you need to make $300 million, $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.
15:43I 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?
15:56Never.
15:57Never.
15:57I'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.
16:22I'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,
16:30the idea of being seen was very essential.
16:33The idea of fame.
16:35And fame being an opportunity.
16:37It's like an opportunity.
16:38It's like a stage.
16:39One thing is becoming famous.
16:41The next, what are you going to do with it?
16:43And obviously, it's like anything.
16:45It's an opportunity.
16:47I don't have any love.
16:50You're a mess.
16:51You're working all the time.
16:52I also want to work.
16:54so much.
16:54Yeah, I was...
16:55Yeah, um...
16:57Okay.
16:58I'm here in Bangkok for six months.
17:01Yang Han will do his next film.
17:02And I've told him yes to the filming process.
17:06It's a great deal,
17:06to be with him together when he filming.
17:10When he started film,
17:11I was home in Denmark with my children.
17:14It took ten months.
17:15It was hard to stay away from each other.
17:18My daily life is I have a routine
17:23I wake up, I do
17:25two hour sports every day
17:27then I usually have lunch
17:29then I get yelled at
17:31by my kids
17:32I work at night
17:34and then try not to get
17:37to 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 that 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 to do that
18:04A collaboration with Hideo Kojima?
18:06Can you talk about that?
18:09Well I created an exhibition
18:11that opened
18:13Friday last week
18:15in Tokyo
18:16where I built this installation
18:18between us
18:20I saw my wife and my daughter
18:22in the procession
18:24Hey!
18:24It's me!
18:31Where are you going?
18:33Wait!
18:38Don't leave without me!
18:41No!
18:43Don't go!
18:45Please!
18:46Don't go!
18:47And you are in Death Stranding 2
18:50I am Heart Man
18:52and Heart Man
18:53is forever in Death Stranding
18:55I think that
19:01don't believe everything you read
19:03on the internet
19:04Can you tease us something?
19:06Well believe everything you read
19:07on the internet
19:08I don't know what's going on
19:09I don't know what's going on
19:09I don't know what's going on
19:10I don't know what's going on
19:11I don't know what's going on
19:12I don't know what's going on
19:13I don't know what's going on
19:14I don't know what's going on
19:15I don't know what's going on
19:16I don't know what's going on
19:17I don't know what's going on
19:18I don't know what's going on
19:19I don't know what's going on
19:20I don't know what's going on
19:21I don't know what's going on
19:22I don't know what's going on
19:24I don't know what's going on
19:54...