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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 pas eu de la liberté de faire.
06:23Je n'ai jamais eu de la liberté de faire.
06:25Donc, il n'y a pas vraiment à changer.
06:27Je regarde l'avons-y.
06:29Donc, une fois que j'ai été fait avec quelque chose,
06:31j'ai été ostracisé dans mon corps.
06:33Il n'est plus en moi.
06:35Je dois continuer à aller vers quelque chose.
06:38Il y a quelque chose dans vous.
06:41C'est difficile de expliquer.
06:45C'est difficile de expliquer.
06:59C'est difficile de expliquer.
07:01Il y a quelque chose dans vous
07:06Oh, absolument.
07:19I mean, I'm starting from the beginning
07:21with doing everything in 4K
07:23and I'm doing all the restorations myself.
07:25So I'm doing, it's all coming from me
07:27and you can buy them directly from me
07:30at buynwr.com.
07:32I'll sign your box set and 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, oh, amazing
07:45because so many films can be rewatched
07:49with even better quality
07:50and who doesn't want that, you know?
07:53So it's kind of like a new layer of,
07:56the new normal for me.
07:58So I decided to do all my films in 4K
08:01slowly rolling them out, you know?
08:06I think cinema and television, for that matter,
08:10has had a very tough time
08:12in the last 10 years or so, 10, 15 years.
08:16Gaming, social media, VR canvases are exploding
08:20and they're constantly evolving
08:22because technology is allowing them to evolve.
08:25Movies and television,
08:27TV is becoming more and more just content
08:29content that you almost look at
08:31while you're doing other things.
08:33And movies are still that window
08:35of exclusivity of the collective experience.
08:39But I think that movies also needs
08:42to re-evaluate themselves.
08:44I remember when we were in Cannes
08:46for Only God Forgives
08:47and I, after everyone had been booing me
08:50for so long that during my stay,
08:53I did say, look,
08:56you can be angry with me and about my film,
08:58but I am from the future
09:01and I'm going to make something
09:02that's going to predict
09:03what it's going to be like
09:05if you want to make films in the future.
09:07And I was right
09:09because right after Only God Forgives,
09:11the industry changed because of Netflix.
09:14Netflix was the game changer
09:15and it changed not so much
09:18what we're making,
09:18but it's how we experienced film
09:22and content, essentially,
09:23how we viewed it.
09:24And I think that to justify
09:26or for a movie to exist in longevity,
09:29you have to see what a film can become
09:33rather than what it used to be.
09:37Violence is like sex.
09:39It's all about the build-up.
09:40Bang, bang,
09:41and then it's to the other wall.
09:43Now, make it dirty, unique, interesting,
09:45never seen before in violin.
09:50I'm not that strategic,
09:52but I will say that
09:54everything is an evolution of something.
09:58And there can be a tendency
10:00when something is liked
10:03that everyone wants the same same,
10:08but I don't necessarily think that's true.
10:10It's better to give them something else
10:12or something different
10:13or something that destroys your past
10:16in order to make something new,
10:19to transition.
10:20You know, obviously,
10:21the two films are very different,
10:23but what ties them
10:24is myself and Ryan's interaction.
10:29However, I find that interesting.
10:31It's like taking something
10:32and turning it on its head.
10:34It's taking the ultimate superhero
10:36in one movie
10:37and emasculating him in the next.
10:39It's taking one movie
10:40that's very poppy
10:42and another movie
10:43that's very esoteric.
10:46And that, I think,
10:47is what makes the world interesting,
10:50is that things can become different.
10:53It can evolve into other components
10:55rather than just always
10:57staying in the same repeat lane
10:59because you very quickly
11:01run out of steam,
11:02in my opinion.
11:03I was very happy,
11:05but obviously,
11:07you know,
11:08a 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?
11:39No, on the contrary,
11:40you're like,
11:40it's like energy.
11:41It's like,
11:42just wait for the next one.
11:43I love that.
11:45I'm like you.
11:46I have no regrets
11:47about Only God Forgives.
11:48I think it's a masterpiece
11:49and it is.
11:50I just didn't make it
11:51very expensive.
11:52Is there a doctor in the house?
11:54We need to get a medic in here.
11:58Is there a doctor around?
12:00When you were mentioning 2001,
12:02it says,
12:03Cain,
12:03you forgot to add Drive.
12:05We'll let that slip.
12:06We won't know about Drive
12:08for 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
12:19about four years ago.
12:20Four years is a zip.
12:22It's not even a blip.
12:24It's not a pimple
12:25on the asshole of humanity.
12:28What was funny
12:29about talking to Billy Freakin
12:30was that he had a man
12:33who had struggled a lot
12:34in Hollywood
12:35and started very successfully
12:39at a young age
12:40and then gone into sorceress
12:43and was still traumatized
12:47by that experience
12:48after so many years
12:49and I think that was
12:50what was so sad
12:51in a way
12:52that it had such an effect
12:54on him.
12:54It's a little bit like
12:55Michael Cimino
12:56doing Heaven's Gate.
12:57These amazing films,
13:00both Sorcerers
13:01and Heaven's Gate
13:02are probably their best films,
13:05for some reason
13:05get so destroyed
13:07and then they lose sight
13:09of themselves
13:10or they lose their confidence
13:12and it affects
13:12all 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
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
13:42more visual arts,
13:45you know,
13:45and trying to find
13:48other areas of creativity
13:50but I think it's time
13:52to go make a film again.
13:54You said you work on two shows
13:55but you work on
13:55The Famous Five or 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 in it
14:06otherwise I just created
14:08the kind of concept
14:09and the story
14:10based on these very 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.
14:27Well, I mean,
14:28if something is interesting,
14:30you know,
14:30why not look at it?
14:31I've had some wonderful meetings
14:32in Hollywood,
14:33met wonderful people
14:35but in the end,
14:36I like my freedom.
14:38That's all I really want.
14:39is just to be free.
14:41When you work in Hollywood,
14:42there is a contract.
14:44Some people love that
14:45and can work within that.
14:48It's maybe not so much
14:49my thing right now
14:51but who knows,
14:52maybe next year
14:52I'll do a big,
14:55you know,
14:55big superhero movie.
14:57That could be fun maybe.
14:59I don't know.
15:00I'm pretty open to anything
15:01but at the same time,
15:02at the end,
15:03you should just make
15:04what makes you happy.
15:05movie.
15:06It's one thing
15:06having creative control
15:08which is easier 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.
15:27If 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 on me
15:39at all.
15:42You have to be
15:42completely free.
15:47I mean,
15:48in the beginning,
15:49a lot of people
15:49were talking about
15:50another drive
15:51but it was like
15:52that would be
15:53the worst idea
15:54I've ever heard of.
15:56So never?
15:56Never.
16:03I've been very lucky
16:07to live
16:07a fun life
16:09and
16:10it has nothing
16:12to do with fame.
16:14You realize
16:15very quickly.
16:17It has
16:17that I've had
16:18opportunities
16:19and I've been able
16:20to work with people,
16:22I've met people,
16:23I've spoken with people
16:24and
16:25it's all been
16:26a lot of fun.
16:27but I think
16:28when I started
16:29the idea
16:31of being seen
16:32was very essential
16:33the idea
16:34of fame
16:34and fame
16:35being
16:36it's like
16:37an opportunity
16:38it's like
16:38a stage.
16:39One thing
16:40is becoming famous
16:41the next
16:42what are you going to do
16:42with it?
16:43And obviously
16:44it's like anything
16:45it's an opportunity.
16:46I don't know
16:48anything.
16:51I still don't know
16:52I will also
16:53work.
16:55I will also
16:57I will also
16:58I will be here
16:59in Bangkok
16:59for six months
17:01and he will
17:01have the next film
17:02and I have
17:03said yes
17:03to the film
17:04process.
17:06It's good
17:06when we
17:07are together
17:08when he
17:08filming.
17:10Last
17:10he released
17:11I was home
17:12in Danemark
17:12with children
17:13and it
17:14was then
17:14it took
17:14over ten
17:15months
17:15and it
17:16was
17:16Il n'y a pas trop vite pour les autres.
17:46J'ai vu des films ?
17:48J'ai vu des films quand j'étais plus jeune, mais maintenant c'est plus difficile et plus difficile.
17:54Il y a d'autres choses que je trouve intéressantes.
17:56Comme quoi ?
17:57J'ai fait ma première exposition qui s'ouvre à Tokyo et 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 exposition qui s'ouvre la semaine dernière à Tokyo, où j'ai créé cette installation entre nous.
18:20J'ai vu ma femme et ma fille dans la procession.
18:23Hé, c'est moi !
18:31Où vas-tu ?
18:33Wait !
18:38Don't leave without me !
18:41No !
18:43Don't go !
18:44Please !
18:45Don't go !
18:48And you are in Death Stranding 2 ?
18:50I am Heart Man, and Heart Man is forever in Death Stranding.
19:00I think that you don't believe everything you read on the internet.
19:03Ok.
19:04Can you tease us something ?
19:05Well, believe everything you read on the internet.
19:07Oh, ok.
19:35I am so sorry.
19:36I think that you don't believe everything you read on the internet.
19:37Oh, ok.
19:38I am so sorry.
19:39Oh, ok.
19:40I'm so sorry.
19:41You have to give me a second time.
19:42Oh, ok.
19:43Oh, ok.
19:44Oh, ok.
19:45Okay, let's see.
19:46Hey, how is it happening ?
19:47Oh, ok.
19:48Oh, ok.
19:49Oh, ok.
19:50Oh, ok.
19:51Oh, ok.
19:52Oh, ok.
19:53Oh, ok.
19:54Oh, ok.
19:55Oh, ok.
19:56Oh, ok.
19:57Oh, ok.
19:58Oh, ok.
19:59Oh, ok.
20:00Oh, ok.
20:01Oh, ok.
20:02Sous-titrage FR ?