I'm Very Happy In France Making Movies.

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].

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.

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

The Germans Were Much More Graphical. The Expressionism Is Much More Than Cinema. It Was A Movement With Artists, Painters, Music And Architecture, So It's Really Graphic And Visual. And The French Were Something Else.

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.