There's always been a struggle with filmmakers between art and industry, and you have to find a balance

I guess all the directors in France are influenced by Hitchcock, because he's the perfect visual director, in my eyes.

Sometimes I think you have to try to do things that people don't think are doable. I remember at the very beginning actually, the first person I had to convince was myself really because there's a self-censorship. When everybody says 'we don't do silent movies anymore,' you agree with everybody, and you say 'yeah, you're right.' It was a fantasy.

I want to thank three person: I want to thank Billy Wilder. I want to thank Billy Wilder. And I want to thank Billy Wilder.

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

When you do not have the dialogue to explain things, you will use everything to show and to tell the story. I think that this is what makes you believe that it is impeccable

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.