But sometimes I think you have to try to do things that people don't think are doable.

Hollywood is much more than America. Hollywood belongs to all of the planet.

Usually, 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.

French cinema audiences usually don't express anything. Certainly not satisfaction.

This is the problem with language, and this is what makes silent movies fun, because the connection with them, me or the audience is not with the language. There's no question of interpretation of what we are saying it's just about feeling. You create your own story

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

But I don't think of myself as a foreigner or a Frenchman! I just think of myself as a director. Whether I'm French or Australian or whatever, it's really not important.