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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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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 besoin de faire quelque chose de plus.
06:38Je n'ai pas besoin de soul en moi.
06:40J'ai besoin de vous faire.
06:43Je n'ai à dire que les gens,
06:46je n'ai jamais besoin de vous,
06:52je n'ai pas wanted en moi.
06:54Je n'ai toujours la même.
06:57J'ai besoin de vous.
06:58Je n'ai besoin de vous.
06:59Je n'ai besoin de vous.
07:00Sous-titrage Société Radio-Canada
07:30Sous-titrage Société Radio-Canada
08:00Sous-titrage Société Radio-Canada
08:02Sous-titrage Société Radio-Canada
08:04Sous-titrage Société Radio-Canada
08:06I think cinema and television for that matter has had a very tough time in the last 10 years or so, 10, 15 years. Gaming, 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. And movies are still that window of exclusivity of the collective experience.
08:38But I think that movies also need to re-evaluate themselves.
08:44I remember when we were in Cannes for Only God Forgives and 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, but 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. Netflix 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.
09:34Violence is like sex. It's all about the buildup. Bang, bang, and then it's to the other wall. Now 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.
09:57And there can be a tendency when something is liked that everyone wants the same, same, but I don't necessarily think that's true.
10:10It'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.
10:29However, I find that interesting. It'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.
10:46And 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 mean, I 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.
11:48I think it's a masterpiece and it is. I 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, it says,
12:03you 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 gone into Sorceress.
12:43He was still traumatized by that experience after so many years and 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, for 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.
13:14And 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.
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, 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.
13:57So The Famous Five was a television show that I just, how do you say, executive produced or created, but I had no involvement in it.
14:07Otherwise, 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.
14:18So it was more like a past history thing that came up as an opportunity.
14:23Well, 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.
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.
14:47I, it's maybe not so much my thing right now, but who knows, maybe next year I'll do a big, you know, big superhero movie.
14:57That could be fun maybe.
14:59I don't know.
15:00I'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.
15:16Because 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.
15:33That 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.
16:05I've been very lucky to live a fun life, and it has nothing to do with fame.
16:14You realize very quickly.
16:17It has that I've had opportunities, and I've been able to work with people.
16:22I've met people.
16:23I'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.
16:33The idea of fame.
16:35And 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.
16:46It's like an opportunity.
16:47It's like an opportunity.
16:48I'm going to work with you.
16:50It's like an opportunity.
16:51Je vais travailler tout le temps. Je vais aussi travailler.
16:55Je vais aussi.
16:58Nous devons être ici à Bangkok pendant 6 mois.
17:01Lange devons faire des films et jeudiants.
17:03J'ai dit oui pour le processus.
17:06C'est très important que nous sommes avec lui, quand il est filmé.
17:10Lorsqu'il a qu'il a la drive, je suis venu chez eux avec les enfants.
17:14J'ai des années 10 mois.
17:16C'était juste pour hårdre qu'il y avait.
17:21Dans ma vie, j'ai une routine.
17:23Je me réveille.
17:24Je fais deux heures de sport chaque jour.
17:27J'ai souvent à manger.
17:30J'ai été gris par mes enfants.
17:32J'ai travaillé à la nuit.
17:35J'essaie de ne pas aller trop tard.
17:39J'essaie d'être venus et c'est le week-end.
17:43J'essaie de relaxer un peu plus.
17:46J'essaie de regarder des films ?
17:49J'essaie de regarder des films.
17:51J'essaie 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 ?
17:58J'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.
18:07Est-ce que tu peux parler de ça ?
18:09J'ai créé une exposition qui s'ouvre à Friday, la semaine dernière,
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 !
18:27Je vais aller...
18:28Je vais aller...
18:29...
18:45PLEASE DON'T GO!
18:49Et tu es dans Death Stranding aussi?
18:51Je suis Heart Man, et Heart Man est toujours dans Death Stranding.
19:00Je pense que je ne crois pas tout ce que tu lis sur l'internet.
19:04Tu peux te dire quelque chose?
19:06Je crois tout ce que tu lis sur l'internet.
19:15Viens!
19:17Viens!
19:18Viens!
19:19Viens!
19:45Viens!
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19:57Sous-titrage Société Radio-Canada
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