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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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04:50C'est un peu comme un coin, comme un ying et un yang.
04:54Vous avez un documentaire et vous avez un fantasie.
04:57Et je me souviens d'extrême,
04:59donc je suis allé de l'un à l'autre.
05:02Et je pense que j'ai travaillé dans le fantasie
05:04qui 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.
05:17Il a des mêmes personnages,
05:19et il a des mêmes mondes.
05:20Mais je ne suis plus intéressé en ce que j'étais.
05:25Parce que social media dominait cette narrative maintenant.
05:30Tout est accessible et la plupart du monde est réel,
05:35ou à l'est qu'il peut être très réel,
05:38capturé de moment à moment.
05:39Et c'est très efficace.
05:42Et je ne peux pas faire ça.
05:43Mais ce que je peux faire,
05:44c'est que je peux manipuler ça dans mon version.
05:47C'est fantasy.
05:49Et ça, j'ai été plus intéressé.
05:51et j'ai perdu la peur de vivre dans le monde réel,
05:54et j'ai été plus intéressé par stepping dans le théâtral space,
06:02le space de l'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:08Qu'est-ce que tu veux faire ?
06:10Je pense que si les directeurs veulent revenir et changer leurs films,
06:16je suis sûre qu'il y a une raison.
06:18Je n'ai pas besoin de faire.
06:20Je n'ai jamais eu la liberté de créer,
06:23pour faire le film que je voulais faire.
06:25Donc, il n'y a pas vraiment de changer.
06:27Je n'ai pas besoin d'un autrement.
06:28Je n'ai pas besoin d'un autrement.
06:30C'est une autrement, c'est un autrement de mon corps.
06:32C'est un peu plus en moi.
06:35Je n'ai pas besoin d'un autrement.
06:38Je n'ai pas besoin d'un autrement.
07:08Ils parlent de toi, mais tu es toujours la même.
07:18Oh, absolument.
07:19Je suis en train de commencer par le début,
07:21avec tout le tout en 4K.
07:23Et je fais tous les restaurations, moi.
07:25Donc, je fais tout ça.
07:26C'est tout de suite de moi.
07:28Et vous pouvez acheter directement de moi
07:30sur www.buyenwr.com
07:32Je vais signer votre box set
07:34et sender ça à vous.
07:36Je suis un grand fan de 4K.
07:40Je l'aime 4K.
07:42Je pense que 4K est incroyable.
07:45Parce que tant de films
07:46peuvent être re-watchées
07:48avec une meilleure qualité.
07:51Et qui ne veut pas ça ?
07:53Donc, c'est un nouveau layer
07:56de la nouvelle normale pour moi.
07:58Donc, j'ai décidé de faire tous mes films
08:00en 4K,
08:01lentement les roule.
08:02Je pense que le cinéma,
08:08et la télévision pour ça,
08:09a été un très dur temps
08:12dans les dernières 10 ou 15 ans.
08:15Game, social media,
08:18VR,
08:18canvases
08:19are exploding
08:20and they're constantly evolving
08:22because technology
08:23is allowing them to evolve.
08:25Movies and television,
08:27TV is becoming more and more
08:28just content
08:30that you almost look at
08:31while you're doing other things.
08:33And movies are still
08:35that window of exclusivité
08:37of the collective experience.
08:39But I think that movies
08:41also need to re-evaluate themselves.
08:44I remember when we were in Cannes
08:46for Only God Forgives
08:47and I, after everyone
08:49had been booing me for so long
08:51that during my stay,
08:54I did say,
08:55look, you can be angry with me
08:57and about my film,
08:58but I am from the future
09:01and I'm going to make something
09:02that's going to predict
09:03what it's going to be like
09:05if you want to make films
09:06in the future.
09:07And I was right.
09:09because right after
09:10Only God Forgives,
09:11the industry changed
09:12because of Netflix.
09:14Netflix was the game changer
09:15and it changed
09:17not so much what we're making,
09:18but it's how we experienced
09:20film and content, essentially,
09:23how we viewed it.
09:24And I think that to justify
09:26or for a movie to exist
09:28in longevity,
09:29you have to see
09:31what 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,
09:41and then it's to the other wall.
09:43Now make it dirty,
09:44unique, interesting,
09:45never seen before in violin.
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 liked
10:03that everyone wants the same, same.
10:08But I don't necessarily think
10:09that's true.
10:10It's better to give them
10:11something else
10:12or something different
10:13or something that
10:14destroys your past
10:16in order to make
10:17something new,
10:19to transition.
10:20You know,
10:20obviously the two films
10:22are very different
10:23but what ties them
10:24is myself
10:26and Ryan's interaction.
10:29However,
10:29I find that interesting.
10:31It's like taking something
10:32and turning it on its head.
10:34It's taking the ultimate superhero
10:36in one movie
10:37and emasculating him
10:39in the next.
10:39It's taking one movie
10:41that's very poppy
10:42and another movie
10:43that's very esoteric
10:45and that I think
10:47is what makes
10:49the world interesting
10:50is that things
10:51can become different.
10:53It can evolve
10:53into other components
10:55rather than just always
10:57staying in the same
10:58repeat lane
10:59because you very quickly
11:01run out of steam
11:02in my opinion.
11:03I was very happy
11:05but obviously,
11:07you know,
11:08a lot of harsh reactions
11:09and a lot of booing
11:11and screaming
11:12but then I was like,
11:13that's kind of cool
11:15because then you're like
11:16the sex pistols of cinema.
11:18You know,
11:18you're like the one
11:19everyone throws bottles at
11:21but you can't deny
11:22it existence.
11:23You can't really
11:24criticize it
11:25because I did it my way.
11:27The world will see it
11:29as it continues
11:30to evolve
11:31and you just have to be,
11:33you have to just
11:34to be,
11:34trust yourself.
11:35So you never lose
11:36your vision
11:36when you have
11:37that strong reaction?
11:38No,
11:39on the contrary,
11:40you're like,
11:40it's like energy.
11:41It's like,
11:42just wait for the next one.
11:43I love that.
11:45I'm like you.
11:46I have no regrets
11:47about Only God Forgives.
11:48I think it's a masterpiece
11:49and it is.
11:50I just didn't make it
11:51very expensive.
11:52Is there a doctor
11:53in the house?
11:54We need to get
11:56a medic in here.
11:58Is there a doctor around?
12:00When you were mentioning
12:012001,
12:02it says,
12:03you forgot to add drive.
12:05We'll let that slip.
12:06We won't know
12:07about drive
12:08for another 30 years.
12:1030 seconds.
12:10Whether it lives
12:12or dies.
12:12I'm talking about films.
12:152001 was made
12:16in 1968.
12:18I made this film
12:19about four years ago.
12:20So it's about time.
12:20Four years is a zip.
12:22It's not even a blip.
12:24It's not a pimple
12:25on the asshole
12:27of humanity.
12:28What was funny
12:29about talking
12:30to Billy Freakin
12:30was that he had a man
12:33who had struggled
12:34a lot in Hollywood
12:35and started very successfully
12:39at a young age
12:40and then had gone
12:42into sorceress
12:43and was 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
12:53an effect on him.
12:54It was a little bit
12:55like Michael Cimino
12:56doing Heaven's Gate.
12:57These amazing films
12:59both Sorceress
13:01and Heaven's Gate
13:02are probably
13:03their best films
13:04for some reason
13:05get so destroyed
13:07and then they lose
13:09sight of themselves
13:10or they lose
13:11their confidence
13:12and it affects
13:12all the other movies
13:14they make afterwards.
13:15And I was like
13:16I'm never going to be
13:17like that
13:17because I'm right
13:19you're wrong.
13:23I mean I've
13:24done two shows
13:26one with Amazon
13:27one with Netflix
13:27and I like
13:29what I was making
13:30obviously
13:30but I don't know
13:32how much
13:35I want to continue
13:36I may want to
13:37take a break
13:38and go and make
13:40movies again.
13:41I've decided
13:42to do more
13:42visual arts
13:44you know
13:45and trying
13:46to find other
13:48areas of creativity
13:50but I think
13:51it's time
13:52to go make
13:53a film again.
13:54You said
13:54you work on two shows
13:55but you work on
13:55The Famous Five
13:56was a television show
14:00that I 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
14:17my mother reading
14:17me the books
14:18so it was more
14:19like a past
14:21history thing
14:21that came up
14:22to give us an opportunity.
14:27Well I mean
14:28if something is interesting
14:29you know
14:30why not look at it.
14:31I've had some
14:31wonderful meetings
14:32in 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.
14:41When you work
14:41in Hollywood
14:42there is a contract
14:44some people love that
14:45and can work within that
14:47it's maybe not
14:49so much my 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.
15:06It'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
15:19make a certain
15:20type of movie
15:21you don't have the
15:22freedom to do
15:23whatever 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
15:34a strain on
15:34what 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.
15:47I 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.
15:56So 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
16:24with 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 like
16:48no care
16:48I don't like
16:50I don't like
16:51I don't like
16:52I don't like
16:53I'm going to work
16:54yes
16:55I'm also
16:55I'm
16:57I'm going to be here
16:59in Bangkok
16:59for six months
17:00if he's going to make
17:02his next film
17:02and I've said
17:03yeah to
17:03the process
17:04it's great
17:06to be together
17:08when he's filming
17:09at the time
17:10when he did drive
17:11I was home
17:12in Denmark
17:12with the kids
17:14it took 10 months
17:15and it was just
17:17hard to be away
17:17from each other
17:18Ma vie quotidienne, c'est une routine.
17:23Je me réveille, je fais deux heures de sport chaque jour.
17:27Ensuite, j'ai l'air, puis j'ai l'air, puis j'ai l'air par mes enfants.
17:33J'ai travaillé à la nuit et puis j'essaie de ne pas aller à l'esprit trop tard.
17:39Et puis, Friday arrive et c'est le week-end.
17:43Je t'essaie de relaxer un peu plus, et puis le prochain jour est le mois d'août.
17:47J'ai regardé des films, quand j'étais plus jeune, mais maintenant c'est plus difficile et plus difficile.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:57J'ai fait mon premier exposition qui s'ouvre à Tokyo, et 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,
18:15en Tokyo, où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:23Hé, c'est moi !
18:25Je suis Heart Man et Heart Man est toujours en Death Stranding.
18:31Je vais, par exemple, en Death Stranding.
18:34J' leur ai Rei.
18:36Vous êtes en Death Stranding aussi ?
18:51Je suis Heart Man, et Heart Man est toujours en Death Stranding.
19:00Je pense que je ne crois pas tout ce que tu lis sur le Internet.
19:04Vous pouvez nous dire quelque chose ?
19:06Je crois tout ce que tu lis sur le Internet.
19:34Sous-titrage Société Radio-Canada
20:04Sous-titrage Société Radio-Canada