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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
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.
06:36J'ai dû in구요 que je devais yuerre extraterrestre.
06:39Il n'y a rien.
11:07a 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
11:18you're like the one
11:19everyone 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
11:38no on the contrary
11:39you're like
11:40it's like energy
11:41it's like just wait for the next one
11:43I love that
11:44I'm like you
11:45I 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 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
12:02it says in Kane
12:03you forgot to add drive
12:04but we'll let that slip
12:06we won't know about drive
12:08for another 30 years
12:0930 seconds
12:10whether it lives or dies
12:12I'm talking about films
12:132001 was made in 1968
12:17I made this film about 4 years ago
12:204 years is a zip
12:21it's not even a blip
12:23it's not a pimple
12:25on the asshole of humanity
12:28what was funny about talking to Billy Freakin
12:30was that it was
12:31he had a man who had struggled a lot
12:34in Hollywood
12:35and started very successfully
12:39at a young age
12:40and then had gone into sorceress
12:43and you know
12:45was still traumatized by that experience
12:48after so many years
12:49and I think that was what was so sad
12:51in a way
12:52that it had such an effect on him
12:54it was a little bit like
12:55Michael Cimino doing Heaven's Gate
12:57these amazing films
12:59both Sorceress and Heaven's Gate
13:02are probably their best films
13:04for 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
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 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 how
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
13:42visual arts
13:44you 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
13:56or something
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
14:06otherwise
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
14:29you 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
14:37that's all I really want
14:39is just to be free
14:40when 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
14:51maybe next year
14:52I'll do a big
14:53you know
14:55big superhero movie
14:56that could be fun
14:59maybe
14:59I don't know
14:59I'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
15:08easier 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
15:24you're a slave
15:25to the economics
15:26if 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
15:39on me
15:39at all
15:41you have to be
15:42completely free
15:43I mean in the beginning
15:49a lot of people
15:49were talking
15:50about another drive
15:51but it was like
15:52that would be
15:53the worst idea
15:54I've ever heard of
15:55So never?
15:56Never
15:57I've been very lucky
16:07to live
16:07a fun life
16:09and it has nothing
16:12to do with fame
16:13you realize very quickly
16:16it has that
16:18I've had opportunities
16:19and I've been able
16:20to work with people
16:21I'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
16:29the 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 with it
16:43and obviously
16:44it's like anything
16:45it's an opportunity
16:46I did not have much
16:48love
16:49You still have too many
16:51I still have to work
16:52also
16:52I still have to work
16:53I also
16:58we will
16:59have to be here vankup
16:59for 6 months
17:00sok
17:01he shall do
17:02Gotta grab his next video
17:02so I have said
17:03ja to talk to the process
17:04C'est vrai que nous sommes ensemble avec lui, quand il filme.
17:09Quand il a fait Drive, j'étais chez moi avec les enfants.
17:13Il s'est passé pendant 10 mois.
17:15C'était très difficile d'être chez eux.
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.
17:35J'ai essayé de ne pas d'y dormir trop tard.
17:39Et puis, le frère arrive et c'est le week-end.
17:43J'ai essayé de relaxer un peu.
17:45Et le prochain jour, c'est le lendemain.
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 intéressantes.
17:56C'est quoi ?
17:57J'ai fait ma première expérience,
18:00qui s'ouvre à Tokyo.
18:02Et ça a été beaucoup de plaisir.
18:04Une collaboration avec Hideo Kojima ?
18:06Oui.
18:07Pouvez-vous parler de ça ?
18:08J'ai créé une expérience,
18:11qui s'ouvre à la semaine dernière,
18:15à 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 !
18:31Where are you going ?
18:32Wait !
18:38Don't leave without me !
18:39Help me !
18:42No !
18:43Don't go !
18:45Please !
18:46Don't go !
18:48And you are in Death Stranding 2 ?
18:50I am Heart Man,
18:52and Heart Man is forever in Death Stranding.
18:55I think that...
18:57Don't believe everything you read on the internet.
18:59I think that...
19:01Don't believe everything you read on the internet.
19:03Okay.
19:04Can you tease us something ?
19:05Well, believe everything you read on the internet.
19:07Ah, okay.
19:15Liesin ?
19:17Are we going to see a big film ?
19:25?
19:26Eee ?
19:28Eee ?
19:29Are we going to see a big film ?
20:01...