Passer au playerPasser au contenu principalPasser au pied de page
FilmsActu
  • avant-hier
✩ 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
00:30...
01:00...
01:02...
01:04...
01:06...
01:08...
01:12...
01:14...
01:16...
01:18...
01:20...
01:22...
01:24...
01:26...
01:28...
01:30...
01:32...
01:34...
01:36...
01:38...
01:42...
01:44...
01:46...
01:48...
01:50...
01:52...
01:54...
01:56...
01:58...
02:00...
02:02...
02:04...
02:12...
02:14...
02:16...
02:18...
02:20...
02:22...
02:24...
02:26...
02:32...
02:36...
02:38...
02:40...
02:42...
02:46...
02:48...
02:50...
02:52...
02:58...
03:00...
03:02...
03:04...
03:06...
03:08...
03:14...
03:16...
03:18...
03:20...
03:22...
03:24...
03:26...
03:28...
03:30...
03:32...
03:34...
03:38...
03:40...
03:42...
03:44...
03:46...
03:48...
03:50...
03:52...
03:54...
03:56...
04:28...
04:30...
04:32...
04:34...
04:36...
04:38...
04:40...
04:42...
04:44...
04:46...
04:48...
04:50...
04:52...
04:54...
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 vais y avoir ou Kaien qui des utilisateurs.
06:39Hay attirée.
06:41Il n'y a même pas.
06:43Je ne comprends pas.
06:45C'est à dire.
06:46Tout le monde pourrait déjà faire
06:49que partout avec toi.
06:52S особенно ça.
06:52La phrase est toujours la même.
06:57La phrase est ligée au cœur de toi.
07:02Sous-titrage Société Radio-Canada
07:32Sous-titrage Société Radio-Canada
08:02Sous-titrage Société Radio-Canada
08:32While 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, 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.
09:16And it changed not so much what we're making, but it's how we experienced film and content, essentially.
09:23How 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.
09:34Violence is like sex.
09:39It'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, but 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.
10:45And 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, 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 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. It's like, just wait for the next one.
11:43I love that.
11:45I'm like you. I have no regrets about Only God Forgives. I 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? We need to get a medic in here. Is there a doctor around?
11:59When you were mentioning 2001, it says, and Kane, you forgot to add Drive. We'll let that slip.
12:06We won't know about Drive for another 30 years.
12:1030 seconds.
12:10Whether it lives or dies. I'm talking about films. 2001 was made in 1968.
12:18I made this film about four years ago.
12:20Four years is a zip. It's not even a blip. It's not a pimple on the asshole of humanity.
12:28What was funny about talking to Billy Friedkin was that he had a man who had struggled a lot in Hollywood
12:35and started very successfully at a young age and 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, that it had such an effect on him.
12:54It's a little bit like Michael Cimino doing Heaven's Gate.
12:57These amazing films, both Sorcerers and Heaven's Gate, are probably their best films,
13:05for some reason get so destroyed and then they lose sight of themselves
13:10or they lose their confidence and it affects all the other movies they make afterwards.
13:14and I was like, I'm never going to be like that because I'm right, you're wrong.
13:23I mean, I've done two shows, one with Amazon, one with Netflix
13:27and I like what I was making, obviously, 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,
13:50but I think it's time to go make a film again.
13:53You said you work on two shows, but you work on The Famous Five also.
13:57The Famous Five was a television show that I just, how do you say, executive produced or created,
14:04but 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 came up as an opportunity.
14:27Well, I mean, if something is interesting, you know, why not look at it?
14:31I've had some wonderful meetings in Hollywood, met wonderful people,
14:35but in the end, I like my 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.
14:47It's maybe not so much my thing right now, but who knows?
14:51Maybe next year I'll do a big, you know, big superhero movie.
14:57That could be fun, maybe. I don't know.
14:59I'm pretty open to anything, but at the same time, at the end, you should just make what makes you happy.
15:05It's one thing having creative control, which is easier enough,
15:10but it's where all the money that's invested puts a burden on you,
15:15because 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.
15:26If your film costs $200 million or $100 million, you need to make $300, $400 million to break even.
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.
15:44I mean, in the beginning, a lot of people were talking about another drive, but it was like, that would be the worst idea I've ever heard of.
15:55So never?
15:56Never.
15:57I've been lucky to live a fun life, and it has nothing to do with fame.
16:14You realize very quickly.
16:16It has that I've had opportunities, and I've been able to work with people.
16:22J'ai rencontré des gens, j'ai parlé avec des gens, et c'est tout fait beaucoup de plaisir.
16:27Mais je pense que quand j'ai commencé, l'idée d'être venu, c'était très essentiel, l'idée d'être de fame.
16:34Et fame, c'est comme une opportunité, c'est comme une scène.
16:39Une chose est devenu fameuse, la prochaine, ce qu'est-ce que tu vas faire avec ça ?
16:43Et évidemment, c'est comme quelque chose, c'est une opportunité.
16:52Je suis aussi à travailler.
16:54Je suis aussi.
16:58Nous devons être ici à Bangkok pendant 6 mois.
17:01Yang Han devait faire ses prochaines films, et j'ai dit à la filmes processus.
17:06C'est important que nous sommes ensemble avec lui, quand il est filmé.
17:10Lorsqu'il a qu'il a fait, je suis chez moi avec les enfants.
17:13Et c'est à dire 10 mois.
17:16Et c'est juste pour être vécu par les autres.
17:18Le quotidien de vie est, j'ai une routine.
17:23Je me réveille, je fais deux heures de sport chaque jour.
17:27Puis, j'ai généralement lunch.
17:29Puis, j'ai été appelé à mes enfants.
17:32J'ai travaillé à la nuit.
17:35Puis, j'ai essayé de ne pas d'aller à la maison trop tard.
17:39Puis, on a Friday, c'est le week-end.
17:43J'ai essayé de relaxer un peu plus, et le prochain jour, c'est la semaine.
17:47J'ai essayé de regarder des films ?
17:49J'ai essayé de regarder des 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 à Friday, la semaine dernière, en Tokyo.
18:17J'ai créé une installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:24Hey !
18:25C'est moi !
18:26J'allais me détenirer en
18:49en Death Stranding 2 aussi ?
18:51Je suis Heart Man, et Heart Man
18:53est toujours en Death Stranding.
19:00Je pense que
19:01on ne croise pas tout ce que tu lèves
19:03sur le Internet.
19:05Tu peux nous dire quelque chose ?
19:07On croise tout ce que tu lèves sur le Internet.