Finally, you're right about one point, your entire way of thinking is predicted by what you're immersed in so you know you won't make a bad decision. You can make a bad decision but it's still in the good sphere normally if you work well. You're prepared to face a crew who wants to know everything and poses a hundred questions a minute, because you know you have good reflexes and can respond very quickly.
Michel HazanaviciusThe Germans were much more graphical. The expressionism is much more than cinema. It was a movement with artists, painters, music and architecture, so it's really graphic and visual. And the French were something else.
Michel HazanaviciusIt's not my job. The Weinstein company, it's their job to convince people. My job was to make the movie. That's what I did. I know what we did in France was to have the maximum screenings just to let people talk about the movie and say they enjoyed the movie.
Michel HazanaviciusUsually, when you do a period movie, you just recreate what you are shooting. You don't recreate the way you shoot it. I think I did the same thing here as I did in the OSS 117 movies. I recreated the way to shoot that period, because to me, like what I was saying about the Steadicam, there's no sense to do a Steadicam shot in the 1920s because you have never seen the '20s like that. You can't believe there was a Steadicam in the 1920s. I believe it's a continuation of the OSS 117 in a way but without the irony.
Michel Hazanavicius