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...
04:32...
04:48...
04:50...
04:52...
04:54...
04:56...
04:57Et j'aime l'extrême, donc j'ai pensé que je vais partir de l'autre à l'autre.
05:02Et je pense que j'ai travaillé dans la fantasy, ça a été beaucoup de fun.
05:06Donc j'ai décidé de faire Pusher 4 quelques années, mais comme un show de TV.
05:12Et ça s'est devenu Copenhagen Cowboy, qui est vraiment Pusher 4.
05:17Il y a des mêmes personnages et des mêmes mondes.
05:20Mais je n'étais plus intéressé dans la manière dont j'étais, parce que social media dominait cette narrative maintenant.
05:30Tout est accessible et la plupart du tout est réel, ou à l'est qu'il peut être très réel, capturé de moment à moment.
05:39Et ce sont plus efficaces, et je ne peux pas faire ça.
05:43Mais ce que je peux faire, c'est que je peux manipuler ça dans mon version.
05:47C'est fantasy, et c'est ça que j'ai été plus intéressé.
05:51J'ai perdu la peur de vivre dans le monde réel et de être plus excités par se passer dans le space théâtre,
06:02le space de l'unreality, 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 me suis sûre qu'il y a une raison.
06:18Je n'ai pas besoin de faire, je n'ai jamais eu de créateur de l'unreur pour faire le film que je voulais faire.
06:25Donc, il n'y a rien à vraiment changer.
06:27Je me regarde donc, une fois que j'ai fait quelque chose,
06:30j'ai été ostracisé dans mon corps, il n'est plus en moi.
06:36Je dois continuer à faire quelque chose.
06:38C'est pas, je suis content.
06:39C'est pas, je suis content.
06:43C'est pas, je suis content.
06:46Je ne sais pas.
06:47Je suis content.
06:48Voilà.
06:49Sous-titrage Société Radio.
09:50I'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.
10:07But I don't necessarily think that's true.
10:10It'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.
10:28However, I find that interesting. It's like taking something and turning it on its head.
10:34You know, it'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 to be, trust yourself.
11:35So you never lose your vision when you have that strong reaction?
11:39No, 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.
11:57Is there a doctor around?
12:00When you were mentioning 2001, it says, in Cain, 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 it was, 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 and, you know, 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 Sorceress and Heaven's Gate, are probably their best films.
13:04for some reason get so destroyed and then they lose sight of themselves or they lose their confidence and it affects all the other movies they make afterwards.
13:15And I was like, I'm never going to be like that because I'm right, you're wrong.
13:19I mean, I've done two shows, one with Amazon, one with Netflix, and I like what I was making, obviously, but I, I don't know how, 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, but I think it's time to, to go make a film again.
13:54You said you work on two shows, but you work on The Famous Five or something.
13:57So The Famous Five was a television show that I, I just, how do you say, executive produced or created, but 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 anything, if something is interesting, you know, why not look at it?
14:31I've had some wonderful meetings in Hollywood, met wonderful people, but, but in the end,
14:36I 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.
14:47I, it'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 that could be fun, maybe.
14:59I 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, but it's where all the money that's invested puts a burden on you because 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, you're a slave to the economics.
15:27If your film costs $200 million or $100 million, you need to make three, $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.
15:47I 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.
16:03I've been very lucky to live a fun life and it has nothing to do with fame.
16:13You realize very quickly.
16:16It has that I've had opportunities and I've been able to work with people.
16:21I've met people.
16:22I've spoken with people.
16:24And it's all been a lot of fun.
16:27But I think when I started, the idea of being seen was very essential, the idea of fame.
16:34And fame being, it's like an opportunity.
16:37It'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.
16:46I don't really see the love.
16:47I don't really see the love.
16:48There's lots of people.
16:49I'm just waiting for you.
16:50You're looking for a lot.
16:51There's lots of people.
16:52There are so many people all your time.
16:54I'm also working.
16:55I'm also…
16:56I…
16:57I'm…
16:58We should have been here in Bangkok for 6 months.
17:00We should have taken place in the next film and I should have realized I've filmed in the process.
17:04C'est très important que nous sommes avec lui, quand il filme.
17:09Quand il a fait Drive, j'ai eu venu à Danemark avec les enfants.
17:13C'est à cause de 10 mois.
17:15C'était trop difficile à faire de l'autre.
17:20Mon quotidien est une routine.
17:23Je me réveille, je fais deux heures de sport tous les jours.
17:27J'ai généralement j'ai l'air.
17:29J'ai l'air de mes enfants.
17:32J'ai travaillé à la nuit.
17:34J'ai essayé de ne pas d'y dormir trop tard.
17:39Et puis, Friday arrive et c'est le week-end.
17:42J'ai essayé de relaxer un peu plus.
17:45Et le prochain jour, c'est Monday.
17:47Tu vois des films ?
17:49J'ai regardé beaucoup de films quand j'étais plus jeune.
17:52Mais maintenant, c'est plus difficile et plus difficile.
17:54Il y a d'autres choses que je trouve intéressant.
17:56Like quoi ?
17:57J'ai fait ma première expérience qui s'ouvre à Tokyo.
18:01Et ça a été beaucoup de plaisir.
18:03C'est une collaboration avec Hideo Kojima ?
18:06Oui.
18:07Pouvez-vous parler de ça ?
18:08J'ai créé une expérience qui s'ouvre la semaine dernière,
18:14la semaine dernière,
18:15en Tokyo,
18:16où j'ai créé cette installation entre nous.
18:19J'ai vu ma femme et ma fille dans la procession.
18:23Hey !
18:24C'est moi !
18:25C'est moi !
18:31C'est moi !
18:33C'est quoi ?
18:34C'est moi ?
18:36C'est moi !
18:38N'est-ce pas sans moi ?
18:41Non !
18:43N'est-ce pas !
18:45PLEASE !
18:46N'est-ce pas !
18:48Et tu es dans Death Stranding aussi ?
18:50Je suis Heart Man, et Heart Man est toujours dans Death Stranding.
19:00Je pense que tu ne crois pas tout ce que tu lis sur le Internet.
19:04Tu peux te dire quelque chose ?
19:06Tu peux te dire quelque chose que tu lis sur le Internet.
19:36…
19:40…
19:43…