I just wanted to make a properly good movie, and not beg for the love of the fans.

It’s funny, I started by making fake American movies, The Transporter and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.

All the superhero stuff is Greek myths and Greek gods, wearing tights and capes. That's what they are. That's what I gravitate towards.

You always have three movies that you have to reduce into one. You have the screenplay. And then, you do a workshop and you add more scenes. And then, on the day you shoot, there's more action and interaction. It's like a souffle. It has a tendency to just grow and explode, and it's just too long.

Every actor is different so you cannot become best friends on Day One. You just have to learn to know each other.

Great actors are so easy to direct. It's like they're big 747s that you just have to move left and right, and I don't really need to direct. I need to put them in the right costume, with the right haircut, in the right location, and with the right actor to act with.

French cinema has always been very interesting, and it's still very powerful. I think it goes to show that it's great to still have a cinema that doesn't try to emulate, for example, American cinema.