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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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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 suis très content.
06:38Je t'ai besoin de prendre des choses en moi.
06:41S'il y a une autre autre chose pour moi.
06:43Il n'a rien à comprendre.
06:44C'est difficile de comprendre.
06:47Et ils parlent de toi.
06:49Et tu es encore.
06:56Parfaits de toi.
06:59Parfaits de toi.
07:02It'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 at bynwr.com
07:32I'll sign your box set and 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 can 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 the new normal
07:57for me.
07:58So I decided to do all my films in 4K
08:01slowly rolling them out, you know?
08:06I think cinema and television, for that matter,
08:10has had a very tough time
08:12in the last 10 years or so,
08:1410, 15 years.
08:16Gaming, social media, VR,
08:18canvases are exploding
08:20and they're constantly evolving
08:22because technology is allowing them to evolve.
08:24Movies 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 also needs
08:42to 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
08:51that during my stay,
08:54I did say, look,
08:56you 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 in the future.
09:07And I was right
09:09because right after Only God Forgives,
09:11the industry changed
09:12because of Netflix.
09:13Netflix was the game changer
09:15and it changed not so much
09:18what 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.
09:34violence 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,
09:44interesting,
09:45never seen before in violence.
09:50I'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 that's true.
10:10It'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 myself
10:26and Ryan's interaction.
10:29However, I find that interesting.
10:31It's like taking something
10:32and turning it on its head.
10:34You know, it's taking
10:34the ultimate superhero in 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.
10:52It can evolve into other components
10:55rather than just always
10:57staying in 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.
11:50I 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,
12:03you 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.
12:18I 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 Friedkin
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 had gone
12:42into Sorceress
12:43and, you know,
12:45was 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 like
12:55Michael Cimino
12:56doing Heaven's Gate.
12:57These amazing films,
13:00both Sorceress
13:01and Heaven's Gate,
13:02are probably their 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 like that
13:17because I'm right,
13:19you're wrong.
13:19I mean,
13:24I'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
13:42more visual arts,
13:44and trying
13:46to find other areas
13:49of creativity.
13:51But I think it's time
13:52to go make a film again.
13:54You 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,
14:01how do you say,
14:02executive produced
14:03or created,
14:04but I had no involvement
14:06in it.
14:07Otherwise,
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
14:14the books
14:15when they were young.
14:16I remember my mother
14:17reading me the books.
14:19So it was more like
14:19a past history thing
14:21that came up
14:22as an opportunity.
14:27Well, I mean,
14:28if something is interesting,
14:30you know,
14:30why not look at it?
14:31I've had some wonderful
14:32meetings 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
14:49so much my thing
14:50right now,
14:51but who knows,
14:52maybe next year
14:52I'll do a big,
14:54you know,
14:55big superhero movie.
14:57That could be fun,
14:59maybe.
14:59I don't know.
15:00I'm pretty open
15:00to anything,
15:01but at the same time,
15:02at the end,
15:03you should just make
15:04what makes you happy.
15:06It'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 recouped
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 a slave
15:25to 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.
15:40at 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,
15:52but it was like,
15:53that 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 a fun life
16:09and it has nothing
16:12to do with fame.
16:14You realize very quickly.
16:17It has that I've had
16:18opportunities
16:19and I've been able
16:20to work with people,
16:22I've met people,
16:23I've spoken with people
16:24and it's all been
16:26a lot of fun.
16:27But I think
16:28when I started,
16:30the 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 with it?
16:43And obviously,
16:44it's like anything,
16:45it's an opportunity.
16:46I don't get any love.
16:49I don't get any love.
16:49I don't get any love.
16:51I don't get any love.
16:51I don't get any love.
16:52I don't get any love.
16:53I don't get any love.
16:54I don't get any love.
16:58We're going to be here
16:59in Bangkok
16:59for six months.
17:01Yang Han will make
17:02their next film
17:02and I have said
17:03yeah to the film process.
17:06It's new,
17:06that we're
17:07together with him
17:08when he filming.
17:10At the end of the drive,
17:11I was home
17:12with girls.
17:14It was over 10 months.
17:15Et c'est difficile de faire pour eux-mêmes.
17:45Et le prochain jour, c'est le mois d'août.
17:47Tu regardes des films ?
17:49J'ai vu beaucoup de films quand j'étais plus jeune.
17:52Mais maintenant, c'est plus dur et plus.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:57J'ai fait ma première exposition qui s'ouvre à Tokyo.
18:02Ça 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 la semaine dernière à Tokyo.
18:16J'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:23Hé, c'est moi !
18:31Où vas-tu ?
18:33Wait !
18:38N'est-ce pas sans moi ?
18:41Non !
18:42Non !
18:43Non !
18:44Non !
18:45Non !
18:46Non !
18:47Non !
18:48Non !
18:49Et tu es aussi dans «Death Stranding 2 » ?
18:50Je suis «Heart Man »
18:52et «Heart Man » est toujours dans «Death Stranding ».
19:00Je pense que tu ne crois pas tout ce que tu lis sur Internet.
19:03Ok.
19:04Tu peux nous dire quelque chose ?
19:05Je crois tout ce que tu lis sur Internet.
19:07Ah, ok.
19:35Oh, ok.
19:36Ok.
19:37Je crois que j'ai trouvé la haute !
19:38Ahead !
19:39Les gens qui s'ouvrent,
19:40ce sont de la haute !
19:41C'est très bon ou non !
19:43Oui !
19:44C'est très bon!
19:45C'est très bon.
19:46Ok.
19:47C'est très bon ?
19:48C'est très bon ?
19:49C'est très bon ?
19:50drivelant ?
19:51Sans désir ?
19:52C'est très bon ?
19:53Ch à dire.
19:54C'est très bon ?
19:55C'est très bon.
19:56C'est vrai ?
19:57C'est très bon ?
19:58Et euh ?
20:00C'est bien !
20:01C'est bien ?
20:02Il est bon !
20:03Sous-titrage FR ?