I'm Very Happy In France Making Movies.

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.

I Chose The American Ones, More Or Less The Last Five Years Of The Silent Era, Because Those Are The Ones That Aged The Best In The Way They Tell The Story. One, It's About Human Beings With Context. It's A Very Classical Story With Feelings, With Laughter, Melodrama And It Really Works, The Good Ones - Murnau's American Movies, John Ford's Four Sons, King Vidor's The Crowd, Or The (josef) Von Sternberg Movies. You Can Watch It Now And It Still Works. I Mean They Are Really, Really Good Pieces So This Is Where I Tried To Work.

People Inside The Theaters Usually, Not 100 Percent But Most Of Them, Enjoy The Movie. Usually They Come With A Small Negative View. In A Way, They're Prepared To Get Bored Because It's Silent And Because It's Black And White. So They Are Much More Pleased To Be Entertained In A Way. They're Very Happy When They Go Out. This Was My Job. For The Other Ones, I Can Do Nothing Except Screen The Movie And Hope That They Will Say To Their Friends That It's Not So [bad].

I Love Silent Cinema But Don't Hold It Sacred. Like Any Branch Of Film There Are Some Very Boring Films Alongside The Masterpieces.

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.