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FilmsActu
  • il y a 6 jours
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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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06:00C'est l'espace théâtre, l'espace d'un-réalité, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:12Je 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 créative pour faire le film que je voulais faire.
06:25Donc, il n'y a rien à changer.
06:27Je me suis en train de changer.
06:28Je me suis en train de changer.
06:29Donc, une fois que je suis fait quelque chose,
06:30c'est une autre chose de mon corps.
06:33C'est plus en moi.
06:35Je dois continuer à faire quelque chose.
08:27TV 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, 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 and it changed not so much what we're making, but 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, you have to see what a film can become rather than what it used to be.
09:37Violence 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 on violin.
09:46I'm not that strategic, but I will say that everything is an evolution of something.
09:58And 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.
10:09It's better to give them something else or something different or something that destroys your past.
10:16in 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.
10:52It 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.
11:44I 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.
11:57Is there a doctor around?
12:00When you were mentioning 2001, it says,
12:03Cain, you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive for another 30 years.
12:0930 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.
12:24It's not a pimple on the asshole of humanity.
12:28What was funny about talking to Billy Friedkin was that it was,
12:32he had a man who had struggled a lot in Hollywood,
12:36and started very successfully at a young age,
12:41and then had gone into Sorceress, and, you know,
12:45was still traumatized by that experience after so many years.
12:49And I think that was what was so sad, in a way,
12:52that 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,
13:02are probably their best films, for some reason get so destroyed,
13:07and then they lose sight of themselves,
13:10or 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,
13:17because I'm right, you're wrong.
13:20I mean, I've done two shows, one with Amazon, one with Netflix,
13:28and I like what I was making, obviously,
13:30but 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,
13:45and 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 or something.
13:57The Famous Five was a television show that I just,
14:01how 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.
14:10based 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.
14:18So 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.
15:01But 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.
15:18And then you have to make a certain type of movie.
15:21You don't have the freedom to do whatever you want,
15:23because you're a slave to the economics.
15:26If your film costs $200 million or $100 million,
15:29you need to make $300, $400 million to break even.
15:33That 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.
15:48I mean, in the beginning, a lot of people were talking about another drive,
15:51but it was like that would be the worst idea I've ever heard of.
15:55So never?
15:56Never.
15:57I've been very lucky to live a fun life.
16:09And it has nothing to do with fame.
16:14You realize very quickly.
16:16It has that I've had opportunities.
16:19And I've been able to work with people.
16:22I've met people.
16:23I've spoken with people.
16:25And it's all been a lot of fun.
16:27But I think when I started,
16:29the idea of being seen was very essential.
16:33The idea of fame.
16:34And fame being an opportunity.
16:37It's like an opportunity.
16:38It's like a stage.
16:39One thing is becoming famous.
16:41The next, what are you going to do with it?
16:43And obviously, it's like anything.
16:45It's an opportunity.
16:47I don't have any love.
16:50You have to work all the time.
16:52I also have to work.
16:54I was like...
16:56I was...
16:57Okay.
16:58We are going to be here in Bangkok for six months.
17:01And Yang Han is going to make his next film.
17:03And I have told him to film the process.
17:06And it's new to be together when he is filming.
17:10When he was doing Drive, I was home in Denmark with children.
17:14And it was only ten months.
17:16And it was just being hard for each other.
17:19Tu regardes des films ?
17:49Oui, j'ai regardé beaucoup de films quand j'étais plus jeune, mais maintenant c'est plus dur et plus.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:57Je faisais mon premier exposition qui a ouvert à Tokyo et ça a été beaucoup de fun.
18:04Une collaboration avec Hideo Kojima ?
18:06Oui.
18:07Pouvez-vous parler de ça ?
18:08Je créais une exposition qui a ouvert à la semaine dernière, à Tokyo,
18:16où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:24Hé, c'est moi !
18:26J'ai eu une patrie à la sorte de dépasser.
18:32J'ai eué.
18:33J'ai eué !
18:35J'ai eué !
18:36Eh, j'ai euéıé !
18:37J'ai euéé !
18:38Don't leave without me!
18:40No!
18:42Don't go!
18:44Please!
18:46Don't go!
18:48And you are in Death Stranding too?
18:50I am Heart Man,
18:52and Heart Man is forever
18:54in Death Stranding.
19:00I think that
19:02you don't believe everything you read on the internet.
19:04Can you tease us something?
19:06You believe everything you read on the internet.
19:36You believe everything you read on the internet?
19:38You believe everything you read on the internet.
19:40I'm not going to mention it.
19:42I don't know about it.
19:44Not just crying,
19:46but if you are hearing that,
19:48I'm a little bit more than I said,
19:50but I'm not going to mention it.
19:52I am not going to mention it.