Passer au playerPasser au contenu principalPasser au pied de page
FilmsActu
  • 21/07/2025
✩ 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...
04:30...
04:31...
04:32...
04:34...
04:36...
04:38...
04:39J'étais intéressé à l'in-reality.
04:42Vous pouvez dire que j'ai décidé de devenir Hans Christian Andersen,
04:46et d'utiliser la fairy-tale comme l'opposité complètement.
04:50C'est comme un coin, comme un ying et un yang.
04:54Vous avez un documentaire et vous avez une fantaisie.
04:57Et 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 la fantaisie,
05:04ça a été beaucoup de fun.
05:06Donc j'ai décidé de faire Pusher 4 a few years ago,
05:11mais comme un TV show.
05:12Et ça a été Copenhagen Cowboy,
05:14qui est vraiment Pusher 4.
05:16Il y a des mêmes personnages et des mêmes mondes.
05:20Mais je n'étais plus intéressé comme ça,
05:25parce que social media dominait cette narrative maintenant.
05:30Tout est accessible et la plupart du monde est réel,
05:35ou au moins certains peuvent être très réels,
05:37capturés de moment à moment.
05:39Et ce sont beaucoup plus efficaces.
05:42Et je ne peux pas faire ça.
05:43Mais ce que je peux faire,
05:44c'est que je peux manipuler ça
05:46dans ma 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 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.
06:08Qu'est-ce que tu veux faire ?
06:12Je pense que si des directeurs
06:14veulent 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,
06:23pour faire le film que je voulais faire.
06:25Donc, il n'y a rien à changer.
06:27Je regarde l'avant.
06:29Donc, une fois que j'ai fait quelque chose,
06:30j'ai été ostracisé dans mon corps.
06:33Il n'est plus en moi.
06:35Il n'est plus en moi.
06:36Je dois avoir des moves en quelque chose.
07:05Sous-titrage Société Radio-Canada
07:35...send it off to you.
07:37I am, yeah, I'm a huge fan of 4K.
07:40Like, I love 4K.
07:42I think 4K is, like, amazing.
07:45Because so many films can be rewatched with even better quality.
07:51And who doesn't want that, you know?
07:53So it's kind of like a new layer of the new normal for me.
07:58So I decided to do all my films in 4K, slowly rolling them out, you know?
08:05I think cinema and television, for that matter,
08:10has had a very tough time in the last 10 years or so, 10, 15 years.
08:16Gaming, social media, VR canvases are exploding,
08:20and they're constantly evolving because technology is allowing them to evolve.
08:25Movies and television, TV is becoming more and more just content
08:30that 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,
08:48and after everyone had been booing me for so long that during my stay,
08:54I 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
09:02that's going to predict what it's going to be like
09:05if you want to make films in the future.
09:07And I was right, because right after Only God Forgives,
09:11the industry changed because of Netflix.
09:14Netflix was the game changer,
09:16and it changed not so much what we were making,
09:18but it's how we experienced film and content, essentially,
09:23how we viewed it.
09:24And 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.
09:37Violence 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 violin.
09:50I'm not that strategic,
09:52but 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
10:13or something that destroys your past in order to make something new,
10:19to transition.
10:20You know, obviously, the two films are very different,
10:23but 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,
10:50is that things can become different.
10:53It can evolve into other components
10:55rather 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
11:09and a lot of booing and screaming.
11:12But then I was like, that's kind of cool
11:15because then you're like the sex pistols of cinema.
11:18You know, you're like the one everyone throws bottles at,
11:21but 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?
11:39No, on the contrary, you're like, it's like energy.
11:41It's like, just wait for the next one.
11:43I love that.
11:45I'm like you.
11:46I have no regrets about Only God Forgives.
11:48I 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?
11:54We need to get a medic in here.
11:58Is there a doctor around?
11:59When you were mentioning 2001,
12:02it says, in Cain, you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive for another 30 years.
12:1030 seconds.
12:10Whether it lives or dies.
12:12I'm talking about films.
12:152001 was made in 1968.
12:18I made this film about four years ago.
12:20Four years is a zip.
12:22It's not even a blip.
12:24It'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
12:34a lot in Hollywood, and started very successfully at a young age, and then gone into Sorceress,
12:43and 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,
13:05for some reason get so destroyed, and then they lose sight of themselves, or they lose
13:11their 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,
13:30obviously, 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.
13:54You 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.
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
14:22came 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 in the end, I like
14:37my freedom.
14:38That's all I really want.
14:39It's just to be free.
14:40When you work in Hollywood, there is a contract.
14:44Some people love that and can work within that.
14:48It's maybe not so much my thing right now, but who knows, maybe next year I'll do a big,
14:53you 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
15:04makes you happy.
15:05It's one thing having creative control, which is easier enough, but it's where all the money
15:12that'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 a slave to the economics.
15:27If your film costs $200 million or $100 million, you need to make $300, $400 million to break
15:32even.
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
15:52that would be the worst idea I've ever heard of.
15:56So never?
15:56Never.
15:57I'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.
16:21I've met people, I've spoken with people, and 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, and fame being an opportunity, it's like an opportunity, it's like a stage.
16:39One thing is becoming famous, the next, what are you going to do with it?
16:43And obviously, it's like anything, it's an opportunity.
16:47I'm so happy to have a job.
16:50I'm so happy to have a job.
16:51I'm so happy to have a job.
16:52I'm so happy to have a job.
16:54I'm so happy to have a job.
16:58We're here in Bangkok in six months.
17:01Yang Han will make his next film, and I've said yes to the process.
17:06It's a new thing, when we're with him, when he's filming.
17:10At the last drive, I was home with the children.
17:14It's been a ten months for two months.
17:16Just for hard to be there from each other.
17:18Dans ma vie quotidienne, j'ai une routine.
17:23Je me réveille, je fais deux heures de sport chaque jour.
17:27Je me fais souvent une soirée.
17:30Je me fais des enfants.
17:33Je travaille à l'heure et je tente de ne pas se mettre à l'esprit trop tard.
17:39Et puis, on arrive Friday et c'est le week-end.
17:43Je tente de relaxer un peu plus, et le prochain jour c'est Monday.
17:47Tu regardes des films?
17:49Je regardais 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.
17:56Comme quoi?
17:57Je faisais mon premier exposition qui s'ouvre à Tokyo.
18:02C'était beaucoup de plaisir.
18:04Une collaboration avec Hideo Kojima?
18:07Oui.
18:07Pouvez-vous parler de ça?
18:08Je créais une exposition 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 !
18:26Je suis Heart Man, et Heart Man est toujours en Death Stranding.
18:55J'ai vu, c'est un film qui s'ouvre à la fin de la fin de la fin de la fin de la fin de la fin de la fin de la fin de la fin de la fin.
19:25Sous-titrage Société Radio-Canada
19:55Sous-titrage Société Radio-Canada
19:57Sous-titrage Société Radio-Canada