FilmsActu X Nicolas Winding Refn 2025-07-04 16:00

FilmsActu

✩ 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

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04:56Vous avez des fantômes, et j'aime l'extrême,

04:59donc j'ai pensé que je vais partir de l'autre à l'autre.

05:02Et je pense que j'ai travaillé dans le fantôme,

05:04ça 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.

05:16Il a des mêmes personnages et des mêmes mondes,

05:20mais je n'étais pas plus intéressé

05:24dans la manière dont j'ai eu l'habitude,

05:26parce que social media dominait cette narrative maintenant.

05:30Tout est accessible, et la plupart du tout est réel,

05:35ou à l'aise peut être très réel,

05:37capturé de moment à moment,

05:39et c'est très efficace, et je ne peux pas faire ça.

05:43Mais ce que je peux faire, c'est que je peux manipuler

05:46ça dans mon propre version.

05:48C'est fantôme, et c'est que je me suis plus intéressé.

05:51J'ai perdu la peur de vivre dans le vrai monde,

05:56et d'être plus excitée par stepping dans le théâtre,

06:02le space de l'unreality, comme un stage.

06:05Et donc, c'est comme l'évolution.

06:09Qu'est-ce que tu veux faire ?

06:12Je pense que si les directeurs veulent retourner

06:15et changer leurs films, je suis sûr qu'il y a une raison.

06:18Je n'ai pas besoin de faire.

06:20Je n'ai jamais eu la liberté de faire

06:23pour faire le film que je voulais faire.

06:25Donc, il n'y a rien à changer.

06:27J'ai quand même regardé.

06:29Donc, une fois que j'ai fait quelque chose,

06:31j'ai été ostracisé dans mon corps.

06:33Il n'est plus en moi.

06:36Je n'ai pas

07:06Sous-titrage Société Radio-Canada

07:36I'm a huge fan of 4K. I love 4K. I think 4K is amazing because so many films can be rewatched with even better quality and who doesn't want that? It's kind of like a new layer of the new normal for me. So I decided to do all my films in 4K, slowly rolling them out.

08:06I think cinema and television for that matter has had a very tough time in the last 10 years or so, 10, 15 years. Gaming, social media, VR canvases are exploding.

08:20And they're constantly evolving because technology is allowing them to evolve. Movies and television, TV is becoming more and more just content that you almost look at while you're doing other things.

08:33And movies are still that window of exclusivity of the collective experience. But I think that movies also need to re-evaluate themselves.

08:44I remember when we were in Cannes for Only God Forgives and I, after everyone had been booing me for so long that during my stay, I 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 that's going to predict what it's going to be like if you want to make films in the future.

09:07And I was right because right after Only God Forgives, the industry changed because of Netflix.

09:14Netflix was the game changer and it changed not so much what we're making, but it's how we experienced film and content, essentially, how we viewed it.

09:24And I think that to justify or for a movie to exist in longevity, you have to see what a film can become rather than what it used to be.

09:37Violence is like sex. It's all about the build-up.

09:40Bang, bang, and then it's to the other wall. Now make it dirty, unique, interesting, never seen before in violence.

09:46I'm not that strategic, but I will say that everything is an evolution of something.

09:58And there can be a tendency when something is liked that everyone wants the same same.

10:08But I don't necessarily think that's true.

10:09It's better to give them something else or something different or something that destroys your past in order to make something new, to transition.

10:20You know, obviously 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.

10:46And that, I think, is what makes the world interesting, is that things can become different.

10:53It can evolve into other components.

10:55Rather than just always staying in the same repeat lane, because 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.

11:44I'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,

12:03you 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, 2001 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 was still traumatized by that experience after 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 was a little bit like Michael Cimino doing Heaven's Gate.

12:57These 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.

13:19I mean, I've done two shows,

13:26one with Amazon, one with Netflix,

13:28and 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 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.

13:54You 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.

14:07Otherwise, 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,

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, I like my freedom.

14:38That's all I really want.

14:39is just to be free.

14:40When you work in Hollywood, there is a contract.

14:44Some people love that and can work within that.

14:48It's maybe not so much my thing right now,

14:51but who knows, maybe next year I'll do a 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, you should just make what makes you happy.

15:05movie.

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,

15:16because 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 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.

15:43I 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.

16:05I've been very lucky to live a fun life,

16:09and it has nothing to do with fame.

16:13and you 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,

16:44it's like anything.

16:45It's an opportunity.

16:46I don't have any love for you.

16:49Il faut travailler tout le temps.

16:53Je vais aussi travailler.

16:55Je vais aussi...

16:58Nous devons être ici à Bangkok pendant 6 mois.

17:01Lange devons faire des films.

17:03J'ai dit oui pour le processus.

17:06Nous devons être ensemble avec lui, quand il est filmé.

17:10Lorsqu'il a qu'il a la drive, je suis venu chez moi avec les enfants.

17:14J'ai fait 10 mois.

17:16Et c'est difficile pour les enfants.

17:21Mon quotidien mecanismique est une routine.

17:24J'en vente. Je fais deux heures sportives tous les jours.

17:28Je me dér. Je me dér.

17:30Je me dér.

17:33Je travaille en nuit.

17:35Je me dér.

17:37Je ne me dér.

17:39Je me dér.

17:41Je me dér.

17:43Je me dér.

17:45Je me dér.

17:46Je me dér.

17:53Je me dér.

17:55Je fous les films.

17:56Comme quoi ?

17:58Je faisais ma première exposition

18:00qui s'ouvre à Tokyo

18:02et ça a été beaucoup de fun

18:04C'est une collaboration avec Hideo Kojima ?

18:06Oui

18:08Pouvez-vous parler de ça ?

18:10J'ai créé une exposition

18:12qui s'ouvre à Friday

18:14la semaine dernière

18:16où j'ai créé cette installation

18:18entre nous

18:20J'ai vu ma femme

18:22et ma fille dans la procession

18:24Hey !

18:26C'est moi !

18:32Where are you going ?

18:34Wait !

18:38Don't leave without me

18:42No !

18:44Don't go !

18:46Please !

18:47Don't go !

18:48And you are in Death Stranding too ?

18:50I am Heart Man

18:52Heart Man

18:53And Heart Man

18:54Is forever in Death Stranding

19:00I think that

19:02Don't believe everything you read on the internet

19:04Ok !

19:05Can you tease us something ?

19:06Believe everything you read on the internet

19:08Ok !

19:09Ok !

19:18We're going to see a beautiful film !

19:38Godot !

19:40And...

19:42Oh !

19:44Whatever...

19:46Yeah !

19:48Oh !

19:50Oh !

19:51Tens !

19:52Tens !

19:53Oh !

19:54Bound !

19:55damage !

19:56Tsens !

19:57I'll go !

19:58Oh !

19:59Oh !

20:00Oui !

20:01You know !

20:02Oh !

20:03Yes !

20:04Toot !

20:05– Sous-titrage FR 2021

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