I Watched A Lot Of Silent Directors

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 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 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.

First Of All, I Had The Desire For That Format [silent Movie], And Then When I Was Talking To People, I Felt That People Needed Justification. Why Are You Doing A Silent Movie? Is It Just For Your Own Pleasure? I Felt It Was Not Enough For Them So I Realized I Have To Choose The Subject That Will Make Things Easier For Them And To Tell The Story Of A Silent Actor Makes Sense For Doing A Silent Movie.

But Sometimes I Think You Have To Try To Do Things That People Don't Think Are Doable.