I think being a foreigner and talking about Hollywood allowed me to use some cliches and some references that an American would maybe not use.

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

I like to shoot beautiful things. My two previous movies were one in the '60s, the other one in the '50s, and this one is in the '20s. This is a period that's very cinegenic. The cars, the props, the suits, the haircuts, the dresses, everything, and it gives you pleasure to compose frames with that material. The music, I really love jazz, so for me, when you have good materials and nice things, it's very pleasant.

It's just incredible. When you're French, coming from a non-English language country, you don't even dream about Oscar recognition or nominations. It's just beyond the dream. It's something very, very special and unique. It's the highest recognition any filmmaker could dream of

To me the recognition of the audience is part of the filmmaking process. When you make a movie, it's for them.

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

There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.