I think there's something in common with the OSS 117 movies. The big difference is there's no irony in this one. It's not parody. I tried to make it very simple. It's a simple story, but to be simple, it's very complex in the way it's done.

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 love silent cinema but don't hold it sacred. Like any branch of film there are some very boring films alongside the masterpieces.

Bernard Herrmann was a genius, a great, great composer.

Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.

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

I went to Hollywood. I put the action in Hollywood. I watched a lot of movies, maybe 100 or something close to that. I have tons of DVDs now at home. I don't know what to do with them because they're not useful anymore. My kids never watched them. I read a lot of autobiographies, listened to a lot of music by classical era composers like Franz Waxman, Max Steiner, Bernard Herrmann, Alfred Newman and Leonard Bernstein. I listened to only that kind of music the entire time I was writing, even at home.