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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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04:44J'ai décidé de devenir Hans Christian Andersen et d'utiliser les faeries de l'hôtel comme l'opposité.
04:51C'est comme un coin, comme un yin et un yang.
04:55Vous avez un documentaire et vous avez une fantaisie.
04:58Et j'aime l'extrême, donc j'ai pensé que je vais partir de l'autre à l'autre.
05:03Et je pense que travailler dans la fantaisie a été beaucoup de plaisir.
05:07J'ai décidé de faire Pusher 4 a few years ago, mais comme un TV show.
05:13Et ça s'appelle Copenhagen Cowboy, qui est vraiment Pusher 4.
05:17Il a des mêmes personnages et des mêmes mondes.
05:21Mais je n'étais pas plus intéressé comme je l'avais l'habitude.
05:26Parce que social media dominait cette narrative maintenant.
05:31Tout est accessible.
05:33Et la plupart des choses sont réelles, ou à l'aise peut être très réelles,
05:38capturées de moment à moment.
05:40Et ce sont beaucoup plus efficaces.
05:42Et je ne peux pas faire ça.
05:44Mais ce que je peux faire, c'est que je peux manipuler ça dans mon propre version.
05:48C'est fantasy.
05:49Et ça, j'ai été plus intéressé.
05:51J'ai perdu l'intention de vivre dans le monde réel.
05:55Et j'ai été plus excitée par stepping dans le théâtre,
06:02c'est un espace de l'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution, vous savez.
06:09Qu'est-ce que tu veux faire ?
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 de faire,
06:23pour faire le film que je voulais faire.
06:25Donc, il n'y a rien à changer.
06:27Je pense que je monte à l' 환 Cover.
06:29Donc, quand j'ai été l'animé avec un truc,
06:31c'est devenu ostracé de mon corps.
06:33C'est plus loin.
06:34Il n'y a pas encore dans moi.
06:35Je dois avoir à retourner dans quelque chose.
08:07Cinema, and television for that matter, has had a very tough time in the last 10 years or so, 10-15 years.
08:16Gaming, social media, VR canvases are exploding, and they're constantly evolving because technology is allowing them to evolve.
08:24Movies and television, TV 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 were 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 in violence.
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, 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?
11:38No, on the contrary, you're like, it's like energy. It's like, just wait for the next one.
11:43I love that.
11:44I'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?
12:00When you were mentioning 2001, you forgot to add Drive. We'll let that slip.
12:06We won't know about Drive for another 30 years.
12:1030 seconds.
12:11Whether it lives or dies. I'm talking about films. 2001 was made in 1968.
12:18I made this film about four years ago. So it's about time.
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.
12:36And started very successfully at a young age. And then gone into sorceress.
12:43And, 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 was 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.
13:04For 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.
13:15And I was like, I'm never going to be like that. Because I'm right. You're wrong.
13:20I mean, I've done two shows. One with Amazon, one with Netflix. And I like what I was making, obviously.
13:30But I don't know how much I want to continue. I 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.
13:54You 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, how do you say, executive produced or created.
14:04But I had no involvement in it. Otherwise, I just created the kind of concept and the story.
14:10Based on these very famous books. The 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. That's all I really want.
14:39It's just to be free. When 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.
14:56That 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.
15:18And 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.
15:33That already puts a strain on what kind of movie can you make.
15:36And I don't want any conditions on me at all.
15:41You have to be completely free.
15:43I 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 very lucky to live a fun life.
16:12It has nothing to do with fame.
16:14You realize very quickly.
16:16c'est que j'ai eu l'occasion et que j'ai pu travailler avec des gens,
16:21j'ai rencontré des gens, j'ai parlé avec des gens et c'est tout fait beaucoup de fun.
16:27Mais je pense que quand j'ai commencé, l'idée d'être venu,
16:32c'était très essentiel, l'idée d'être de fame.
16:35Et fame, c'est comme une opportunité, c'est comme un stage.
16:39Une chose de devenir fame, l'autre chose de faire avec ça.
16:43Et évidemment, c'est comme quelque chose, c'est une opportunité.
16:47Je n'ai pas d'amour.
16:50Je dois travailler tout le temps. Je dois aussi travailler.
16:54Je dois aussi.
16:58Nous devons être ici à Bangkok pendant 6 mois.
17:01Il faut faire ses prochaines films, et j'ai dit oui pour le processus.
17:05C'est important que nous sommes avec lui, quand il filme.
17:10J'ai eu l'ai le drive, j'ai eu l'ai chez les enfants.
17:13J'ai eu l'ai 10 mois.
17:15J'ai eu l'ai beaucoup de temps.
17:16J'ai eu l'ai beaucoup de temps.
17:18J'ai eu l'ai le fait.
17:21J'ai eu l'ai une routine.
17:22J'ai eu de deux heures des sports chaque jour.
17:27J'ai eu l'ai souvent.
17:29J'ai eu le ramasse.
17:30J'ai eu l'ai fait par ma enfants.
17:32J'ai eu l'ai de travailler au-delà.
17:34J'ai eu l'ai jamais de dormir trop tard.
17:39Et puis, le frère arrive et c'est le week-end.
17:42Et tu as essayé de relaxer un peu plus, et le prochain jour, c'est le mois d'août.
17:47Tu regardes les films ?
17:48J'ai regardé beaucoup de films quand j'étais beaucoup plus jeune,
17:52mais maintenant, c'est plus difficile et plus difficile.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:58J'ai fait ma première expérience qui 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 qui s'ouvre à la semaine dernière,
18:15en Tokyo, où 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 créé un autre, oui !
18:28J'ai créé un autre, j'ai créé un autre !
18:31J'ai créé un autre, j'ai créé un autre.
18:32S'il s'ouvre à la maison d'aube.
18:33Je vais aller déranger.
18:34J'ai créé une déranger.
18:35Et vous êtes en Death Stranding 2 ?
18:51Je suis le hard man, et le hard man est toujours en Death Stranding.
19:00Je pense que je ne crois pas tout ce que je lis sur le Internet.
19:04Vous pouvez nous dire quelque chose ?
19:06Je crois tout ce que je lis sur le Internet.
19:34Merci.
19:35Merci.
19:36Merci.
19:37Merci.
19:38Merci.
19:39Merci.
19:40Merci.
19:41Merci.
19:42Merci.
19:44Merci.
19:46Merci.
19:48Merci.
19:50Merci.
19:52Merci.
19:54Merci.
19:56Merci.
19:57Merci.
19:58Merci.
19:59Merci.
20:00Merci.
20:01Merci.
20:02Merci.
20:03Merci.
20:04Merci.