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FilmsActu
  • 05/07/2025
✩ 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
Transcription
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05:30Tout est accessible, et la plupart des choses sont réelles,
05:35ou à l'aise peut être très réelles, capturées de moment à moment.
05:40Et ce sont très efficaces.
05:42Et je ne peux pas faire ça.
05:44Mais ce que je peux faire, c'est que je peux manipuler ça
05:46dans mon propre version.
05:48C'est fantasy.
05:49Et ça, je me suis plus intéressé.
05:51Je perds l'intérêt pour vivre dans le vrai monde
05:55et être plus intéressé par stepping dans le théâtral space,
06:02le space d'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:13Je pense que si les directeurs veulent revenir et changer leurs films,
06:16je suis sûr qu'il y a une raison.
06:18Je n'ai pas besoin de faire.
06:20Je n'ai jamais eu de la liberté de faire.
06:23Je n'ai jamais eu de la liberté de faire.
06:25Donc, il n'y a pas vraiment à changer.
06:27Je me suis vraiment à l'avis.
06:29Je me suis vraiment à l'avis.
06:30Donc, une fois que j'ai été fait avec quelque chose,
06:31c'est l'aise de mon corps.
06:33C'est plus loin dans mon corps.
06:35Je dois avoir de l'avis.
06:37Je dois avoir de l'avis.
06:38Il y a quelque chose d'un.
06:40Il y a quelque chose d'un.
06:43Il y a difficile de expliquer.
06:45Il y a quelque chose d'un.
06:46Il y a quelque chose d'un.
06:47Il y a quelque chose d'un.
06:48Il y a quelque chose d'un.
06:49Il y a quelque chose d'un.
06:50Il y a quelque chose d'un.
06:51Il y a quelque chose d'un.
06:52Il y a quelque chose d'un.
06:53Il y a quelque chose d'un.
06:54Il y a quelque chose d'un.
06:55Il y a quelque chose d'un.
06:56Il y a quelque chose d'un.
06:57Il y a quelque chose d'un.
06:58Il y a quelque chose d'un.
06:59Il y a quelque chose d'un.
07:00Il y a quelque chose d'un.
07:01Il y a quelque chose d'un.
07:02Il y a quelque chose d'un.
07:03Il y a quelque chose d'un.
07:04Il y a quelque chose d'un.
07:05It's hard to explain
07:07They're talking about you, boy
07:13But you're still the same
07:17Oh, absolutely.
07:19I mean, I'm starting from the beginning
07:21with doing everything in 4K
07:23and I'm doing all the restorations myself.
07:25So I'm doing...
07:26It's all coming from me.
07:27And you can buy them directly from me
07:30at buynwr.com
07:32I'll sign your box set
07:34and send it off to you.
07:37Yeah, I'm a huge fan of 4K.
07:40Like, I love 4K.
07:42I think 4K is, like, amazing
07:45because so many films
07:46can be rewatched
07:49with even better quality
07:50and who doesn't want that, you know?
07:53So it's kind of like a new layer of...
07:56the new normal for me.
07:58So I decided to do all my films in 4K
08:01slowly rolling them out, you know.
08:04I think cinema and television, for that matter,
08:10has had a very tough time
08:12in the last 10 years or so, 10, 15 years.
08:16Gaming, social media, VR canvases are exploding
08:20and they're constantly evolving
08:22because technology is allowing them to evolve.
08:25Movies and television,
08:27TV is becoming more and more just content
08:30that you almost look at
08:31while you're doing other things.
08:33And movies are still that window
08:35of exclusivity of 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 had been booing me
08:50for so long that during my stay,
08:54I did say, look,
08:56you can be angry with me and 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 in the future.
09:07And I was right
09:09because 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
09:18what we're making,
09:18but it's how we experienced film
09:22and content, essentially,
09:23how we viewed it.
09:24And I think that to justify
09:26or 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,
09:41and then it's to the other wall.
09:43Now, make it dirty, unique, interesting,
09:45never seen before in violin.
09:50I'm not that strategic,
09:52but I will say that
09:54everything is an evolution of something.
09:58And there can be a tendency
10:00when something is liked
10:03that everyone wants the same same,
10:07but I don't necessarily think that's true.
10:09It's better to give them something else
10:12or something different
10:13or something that destroys your past
10:16in order to make something new,
10:19to transition.
10:20You know, obviously,
10:21the two films are very different,
10:23but what ties them is
10:25myself and Ryan's interaction.
10:28However, I find that interesting.
10:30It'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 in the next.
10:39It's taking one movie
10:41that's very poppy
10:42and another movie
10:43that's very esoteric.
10:46And that, I think,
10:47is 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
10:57in the same repeat lane
10:59because you very quickly
11:01run out of steam, in my opinion.
11:03I was very happy,
11:05but obviously, you know,
11:08a lot of harsh reactions
11:09and a lot of booing and 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, you're like
11:19the one everyone throws bottles at,
11:21but you can't deny it existence.
11:23You can't really criticize it
11:25because I did it my way.
11:27The world will see it
11:29as it continues to evolve
11:31and you just have to be,
11:33you have to just to be,
11:34trust yourself.
11:35So you never lose your vision
11:36when you have that strong reaction?
11:39No, on 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.
11:49I just didn't make it
11:51very 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
12:012001,
12:02it says,
12:03Cain,
12:03you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive
12:08for another 30 years.
12:1030 seconds.
12:10Whether it lives or dies.
12:12I'm talking about films.
12:152001 was made in 1968.
12:17I made this film
12:19about four years ago.
12:20Four years is a zip.
12:22It's not even a blip.
12:24It's not a pimple
12:25on the asshole of humanity.
12:28What was funny
12:29about talking to Billy Freakin
12:30was that it was,
12:32he had a man
12:33who had struggled a lot
12:34in Hollywood
12:35and started very successfully
12:39at a young age
12:40and then gone into 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 an effect
12:54on him.
12:54It's a little bit like
12:55Michael Cimino
12:56doing Heaven's Gate.
12:57These amazing films,
13:00both Sorcerers
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
13:14and I was like,
13:16I'm never going to be like that
13:17because I'm right,
13:19you're wrong.
13:20But what's to go?
13:22No, what's to go?
13:23I mean, I've done two shows,
13:26one with Amazon,
13:27one with Netflix
13:27and I like what I was making,
13:30obviously,
13:30but I don't know
13:32how 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
13:49of creativity
13:50but I think it's time
13:52to go make a film again.
13:53You said you work on two shows
13:55but you work on
13:55The Famous Five also.
13:57The Famous Five
13:58was a television show
14:00that I just,
14:02how do you say,
14:02executive produced
14:03or created
14:04but I had no involvement
14:06in it
14:06otherwise
14:07I just created
14:08the kind of concept
14:09and the story
14:10based on these
14:11very famous books.
14:12The Famous Five
14:13was more because
14:13my kids would read the books
14:15when they were young.
14:16I remember my mother
14:17reading me the books
14:18so it was more like
14:19a past history thing
14:21that came up
14:22as an opportunity.
14:23Well, I mean,
14:28if something is interesting,
14:30you know,
14:30why not look at it?
14:31I've had some wonderful meetings
14:32in 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.
14:47it's maybe not
14:49so much my thing
14:50right now
14:51but who knows,
14:52maybe next year
14:52I'll do a big,
14:53you know,
14:55big superhero movie
14:56that could be fun maybe.
14:59I don't know.
15:00I'm pretty open
15:01to anything
15:01but at the same time
15:02at the end
15:03you should just make
15:04what makes you happy.
15:05It's one thing
15:06having creative control
15:08which is easier enough
15:10but it's where
15:11all the money
15:12that's invested
15:13puts a burden on you
15:15because all that money
15:17has to get,
15:17you know,
15:18recouped
15:19and then you have to make
15:20a certain type of movie.
15:21You don't have the freedom
15:22to do whatever you want
15:23because you're
15:24a slave to the economics.
15:27If your film costs
15:28200 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 a strain
15:34on what kind of movie
15:35can you make
15:36and I don't want
15:37any conditions on me
15:39at all.
15:42You have to be
15:42completely free.
15:47I mean,
15:48in 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.
16:14You realize
16:15very quickly.
16:17It 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 with 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.
16:47I don't have any love
16:48I don't have any love
16:49I don't have a lot
16:51I don't have to work
16:51all the time
16:52I also have to work
16:54I was also
16:55I was
16:55I was
16:56I was
16:57I was
16:58We're here in Bangkok
16:59for 6 months
17:00how long he'll do his next film
17:02and I have said
17:03yeah to the film process
17:04it's nice
17:06that we're
17:07together with him
17:08when he's filming
17:09last time he did Drive
17:11I was home
17:12in Denmark
17:12with children
17:13and it took 10 months
17:15and it was just
17:17hard to be away from each other
17:18my daily life
17:22is I have a routine
17:23I wake up
17:24I do
17:25two hour sports
17:26every day
17:27then I usually
17:28have lunch
17:29then I get yelled at
17:31by my kids
17:32I work
17:33at night
17:34and then
17:35try not to
17:37get to bed
17:38too late
17:39and then
17:39Friday comes
17:41and it's weekend
17:42and
17:42you try to relax
17:45a little more
17:45and the next day
17:46is Monday
17:47you watch movies?
17:49I used to watch
17:50a lot of movies
17:51when I was a lot younger
17:52but now it's just
17:53harder and harder
17:54there's other things
17:55that I find interesting
17:56like what?
17:57well I did my first
17:59exhibition
18:00that just opened
18:01in Tokyo
18:02and that's been
18:03a lot of fun
18:03to do that
18:04collaboration
18:05with Hideo Kojima
18:06can you talk about that?
18:09well it's
18:09I created an exhibition
18:11that opened
18:13on Friday
18:14last week
18:15in Tokyo
18:16where I
18:17built this
18:18installation
18:18between us
18:20I saw my wife
18:21and my daughter
18:22in the procession
18:24hey
18:24it's me
18:26where are you going?
18:33wait
18:34don't leave without me
18:40no
18:42don't go
18:44please
18:45don't go
18:47and you are
18:49in Death Stranding 2
18:50I am Heartman
18:52and Heartman
18:53is forever
18:54in Death Stranding
18:55I think that
19:01don't believe
19:02everything you read
19:03on the internet
19:04can you tease us
19:05something?
19:06well believe
19:06everything you read
19:07on the internet
19:08it is
19:12you're going to be
19:14like
19:15sound
19:16we're going to see
19:18a great film
19:19on track
19:23in
19:24and
19:24we're going to get
19:24on track
19:25in
19:25and
19:25hopefully
19:30you're going to see
19:30it
19:31Bye
19:32you're going to see
19:32it
19:32we're going to see
19:33it
19:33at
19:34it
20:04...