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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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04:54You know, you have a documentary and you have fantasy.
04:57And I like extremes, so I was like, I'm going to go from one to the other.
05:02And I think working in fantasy has been a lot of fun.
05:06So I decided to make Push It 4 a few years ago, but as a TV show.
05:12And that became Copenhagen Cowboy, which is really Push It 4.
05:17It has some of the same characters and some of the same worlds.
05:20But I was no longer interested in the way I used to, because also social media has kind of dominates that narrative now.
05:30Everything is accessible and most of it is real, or at least some can be very real, captured at the moment to moment.
05:39And those are far more, it's very effective.
05:42And I can't do that.
05:43But what I can do is I can manipulate it into my own version.
05:48That's fantasy.
05:49And that I became more interested in.
05:51I lost the lust for living in the real world and being more excited about stepping into the theatrical space.
06:02The space of unreality, like a stage.
06:05And so therefore, it's like the evolution, you know.
06:09Well, I think that if directors want to go back and change their films, I mean, I'm sure there's a reason.
06:18I don't have a need to do.
06:20I've never not have creative freedom to make the film I wanted to make.
06:25So there's nothing to really change.
06:27I kind of look ahead.
06:29So once I've done with something, it's been ostracized of my body.
06:33I'm no longer, it's no longer in me.
06:35I have to kind of move on to something else.
06:38There's something inside you.
06:41It's hard to explain.
06:48They're talking about you, boy.
06:53But you're still the same.
06:56Well, absolutely.
07:19I mean, I'm starting from the beginning with doing everything in 4K.
07:23And I'm doing all the restorations myself.
07:25So I'm doing, it's all coming from me.
07:28And you can buy them directly from me at bynwr.com.
07:32I'll sign your box set and 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 with even better quality.
07:50And 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.
08:20And they're constantly evolving because technology is allowing them to evolve.
08:24Movies 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.
08:39But 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,
08:54I did say, look, you can be angry with me and about my film, but I am from the future.
09:01And 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 were making,
09:18but 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,
09:29you have to see what a film can become rather than what it used to be.
09:34Violence is like sex. It'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 in violence.
09:49I'm not that strategic, but I will say that everything is an evolution of something.
09:57And 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.
10:10It'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.
10:20You 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.
10:45And 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
10:59because 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.
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.
11:45I'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?
11:59When you were mentioning 2001, 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, 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.
12:23It's not a pimple on the asshole of humanity.
12:28What was funny about talking to Billy Freakin was that he had a man who had struggled a
12:34lot in Hollywood and started very successfully at a young age and then gone into Sorceress
12:43and was still traumatized by that experience after so many years.
12:49I think that was what was so sad in a way, that 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 are probably their best films, for some
13:05reason get so destroyed and then they lose sight of themselves or 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 because I'm right, you're wrong.
13:19I mean, I've done two shows, one with Amazon, one with Netflix, and I like what I was making,
13:30obviously, but 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, and trying to find other areas of creativity.
13:51But I think it's time to go make a film again.
13:54You said you work on two shows, but you work on The Famous Five or something.
13:57So The Famous Five was a television show that I just, how do you say, executive produced
14:03or created, but I had no involvement in it.
14:06Otherwise, I just created the kind of concept and the story based on these very famous books.
14:12The Famous Five was more because my kids would read the books when they were young.
14:16I remember my mother reading me the books, so it was more like a past history thing that
14:22came up as an opportunity.
14:27Well, I mean, if anything, if something is interesting, you know, why not look at it?
14:31I've had some wonderful meetings in Hollywood, met wonderful people, but in the end, I like
14:37my 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.
14:48It's maybe not so much my thing right now, but who knows?
14:52Maybe next year I'll do a big, you 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, at the end, you should just make what
15:04makes you happy.
15:06It's one thing having creative control, which is easier enough, but it's with all the money
15:12that's invested puts a burden on you, because 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, because you're a slave to the economics.
15:27If your film costs $200 million or $100 million, you need to make $300, $400 million to break
15:32even.
15:33And that 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, a lot of people were talking about another drive, but it was
15:52like, that 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, and it has nothing to do with fame.
16:14You realize very quickly.
16:17It has that I've had opportunities, and I've been able to work with people.
16:21I've met people, I've spoken with people, and it's all been a lot of fun.
16:27But I think when I started, the idea of being seen was very essential, the idea of fame, and
16:35fame being, it's like an opportunity, it's like a stage.
16:39One thing is becoming famous, the next, what are you going to do with it?
16:43And obviously, it's like anything, it's an opportunity.
16:47I'm so happy to work with you.
16:49I'm so happy to work with you all the time.
16:52I also have to work.
16:54I'm so happy.
16:58We're going to be here in Bangkok for six months.
17:01Yang Han will make his next film, and I've said yes to the film process.
17:06It's new, that we're together with him, when he's filming.
17:10Last, when he did drive, I was home in Denmark with the children.
17:14And it took over ten months, and it was just hard to get away from each other.
17:19My daily life is, I have a routine.
17:23I wake up, I do two-hour sports every day.
17:27Then I usually have lunch.
17:30Then I get yelled at by my kids.
17:33I work at night, and then try not to get to bed too late.
17:39And then Friday comes, and it's weekend, and you try to relax a little more, and the next
17:46day is Monday.
17:47You watch movies?
17:49I used to watch a lot of movies when I was a lot younger, but now it's just harder and
17:54harder.
17:54There's other things that I find interesting.
17:56Like what?
17:57Well, I did my first exhibition that just opened in Tokyo, and that's been a lot of fun to do
18:04that.
18:04A collaboration with Hideo Kojima?
18:06Yeah.
18:07Can you talk about that?
18:08Well, I created an exhibition that opened Friday last week in Tokyo, where I built this
18:18installation between us.
18:20I saw my wife and my daughter in the procession.
18:24Hey, it's me!
18:31Where are you going?
18:33Wait!
18:38Don't leave without me!
18:41No!
18:43Don't go!
18:45Please, don't go!
18:47And you are in Death Stranding 2, or something.
18:51I am Heart Man, and Heart Man is forever in Death Stranding.
19:00I think that don't believe everything you read on the internet.
19:04Okay.
19:04Can you tease us something?
19:06Well, believe everything you read on the internet.
19:08Oh, okay.
19:08We're going to see a beautiful film.
19:38FINAL
19:56What's the name for?
19:57Well, let's go!
19:57Well, let's go!
19:59Well, let's go!
20:01We are doing this!
20:03And now we've got to wait!