I think Hollywood is cleverer than you think. I'm not sure they will do it. I don't think so, but maybe I'm wrong. When we were doing the preparation of the movie, we didn't have all the money so we were looking for all the solutions possible, and 3D was one option.

French people are strange about America, I think.

I always loved silent movies. I was not a specialist, but I loved them. And when I started directing, I became really fascinated by the format - how it works, the device of the silent movie. It's not the same form of expression as a talkie. The lack of sounds makes you participate in the storytelling

I chose the American ones, more or less the last five years of the silent era, because those are the ones that aged the best in the way they tell the story. One, it's about human beings with context. It's a very classical story with feelings, with laughter, melodrama and it really works, the good ones - Murnau's American movies, John Ford's Four Sons, King Vidor's The Crowd, or the (Josef) von Sternberg movies. You can watch it now and it still works. I mean they are really, really good pieces so this is where I tried to work.

I make almost all the decisions on set and have to deal with all the financial aspects.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great