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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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05:30Tout est accessible, et la plupart des choses sont réelles,
05:35ou à l'aise peut être très réelles, capturées de moment à moment.
05:40Et ce sont très efficaces.
05:42Et je ne peux pas faire ça.
05:44Mais ce que je peux faire, c'est que je peux manipuler ça
05:46dans mon propre version.
05:48C'est fantasy.
05:49Et ça, je me suis plus intéressé.
05:51Je perds l'intérêt pour vivre dans le vrai monde
05:55et être plus intéressé par stepping dans le théâtral space,
06:02le space d'unreality, comme un stage.
06:05Et donc, c'est comme l'évolution.
06:13Je 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 la liberté de faire,
06:22je n'ai jamais eu l'intérêt de faire.
06:24Je n'ai rien à changer.
06:27Je regarde-je,
06:29donc une fois que je suis fait quelque chose,
06:31je suis bien ostracé de mon corps.
06:33Il n'est pas encore dans moi.
06:35Je devrais aller continuer à l'aise.
06:38Je devrais aller dans quelque chose.
06:39Il y a quelque chose dans vous
06:44Il y a difficile à expliquer.
07:17Oh, absolutely. I mean, I'm starting from the beginning with doing everything in 4K and I'm doing all the restorations myself. So I'm doing, it's all coming from me and you can buy them directly from me at buynwr.com. I'll sign your box set and send it off to you. I am, yeah, I'm a huge fan of 4K. Like I love 4K. I think 4K is like amazing because so many films,
07:46can be rewatched with even better quality and who doesn't want that, you know? So it's kind of like a new layer of the new normal for me. So I decided to do all my films in 4K, slowly rolling them out, you know?
08:03I think cinema and television for that matter has had a very tough time in the last 10 years or so, 10, 15 years.
08:15Gaming, social media, VR, canvases are exploding and they're constantly evolving because technology is allowing them to evolve. Movies 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. But I think that movies also needs 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. Netflix was the game changer and it changed not so much what we're making,
09:18but it's how we experienced film and content, essentially, how we viewed it. And I think that to justify or for a movie to exist in longevity,
09:29you 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 build-up. Bang, bang, and then it's to the other wall. Now make it dirty, unique, interesting, never seen before in violence.
09:49I'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.
10:09It'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.
10:40It'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,
11:00because 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.
11:43I love that.
11:44I'm like you. I have no regrets about Only God Forgives.
11:47I 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,
12:03Cain, 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.
12:142001 was made in 1968.
12:18I made this film about four years ago.
12:20It was about time. Four years is a zip.
12:22It'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,
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,
12:44and 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,
13:28and I like what I was making, obviously, but 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.
13:53You said you work on two shows, but you work on The Famous Five also.
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.
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
14:21that 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, but at the same time, at the end,
15:03you should just make what makes you happy.
15:05It's one thing having creative control, which is easier enough.
15:11But 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,
15:23because you're a slave to the economics.
15:26If your film costs $200 million or $100 million,
15:30you 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.
15:48I 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.
16:06I've been very lucky to live a fun life.
16:09And it has nothing to do with fame.
16:13You 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.
16:24And it's all been a lot of fun.
16:27But I think when I started,
16:30the 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 want to do any love.
16:49Not a lot of friends.
16:50I don't want to do a lot of friends.
16:51I don't want to work.
16:52I don't want to do anything with them.
16:53I want to do anything with them.
16:54I don't want to do anything.
16:55I do.
16:56I also want to do...
16:57Nous devons être ici à Bangkok pendant 6 mois.
17:00Il faut faire ses prochaines films, et j'ai dit oui pour le processus.
17:04C'est très important que nous sommes avec lui, quand il filme.
17:09Lui, quand il a fait Drive, je suis venu à Danemark avec les enfants.
17:13Mais c'est passé 10 mois.
17:15Et c'était très difficile d'être avec eux-mêmes.
17:20Mon quotidien est une routine.
17:23Je me réveille, je fais deux heures de sport chaque jour.
17:27Jusqu'à lunch, j'ai été appelé à mes enfants.
17:32J'ai travaillé à l'heure et j'essaie de ne pas se mettre à l'aise trop tard.
17:39Et puis, fréquence arrive et c'est le week-end.
17:43J'essaie de relaxer un peu, et le lendemain c'est le lendemain.
17:47Vous voyez des 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 des autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:57J'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.
18:07Pouvez-vous parler de ça ?
18:08J'ai créé une exposition qui s'ouvre à Friday, 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 pris la vidéo.
18:28Fin de l'atelier.
18:29Fait.
18:30Tu es quelqu'un qui s'ouvre.
18:32Fait !
18:34Ne meuf, neuf, neuf !
18:37Ne meuf !
18:40T'as pas !
18:42Ne meuf !
18:44Vous êtes en Death Stranding2.
18:47Et tu es dans Death Stranding aussi ?
18:51Je 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 ?
19:06Je crois tout ce que tu lis sur le Internet.
19:17Je vais commencer à voir un beau film.
19:47J'ai choisiens d'avoir vu un short film.
19:50Encore une fois, j'ai trouvé quelque chose qui est le début de la récente.
19:52Et puis, je crois qu'il se passe sur le film.
19:54Et puis, j'ai trouvé quelque chose qui lui refait sur le film.
19:56Le film est le film.
19:57Et donc, je pense que tu lis sur le film.
19:59Et puis, j'ai trouvé quelque chose qui s'am Défaire.
20:01J'ai trouvé quelque chose pour toi.
20:03Mais de l'enquête, c'est la tête.
20:05Je l'ai esse avec moi.
20:06Je l'ai découvert, je l'ai découvert.
20:08Je l'ai découvert.
20:10Je l'ai découvert.
20:12J'ai découvert.
20:13J'ai découvert.
20:14Je suis désolé.
20:15J'ai découvert.