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.

I watched a lot of movies from all over the world. The Russians were very good at editing. They were specialists in editing. The Man with a Camera, if you know that movie, is incredible. I still don't understand how it works. It's a movie with no script, no actors and still it works. It's really good. It's really about editing.

All over the world there are a lot of distributors that have the equipment for 3D but they don't have the movies really. The only source of 3D movies is Hollywood. Only Hollywood sends the 3D movies. So it was an option.

I think we are at the very beginning of high changes, not only in terms of digital film, but in the way the movies will be screened, whether they'll be screened on phones, on computers - on everything

I only have one obsession - not to be boring.

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

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.