I Guess All The Directors In France

When You're With Your Wife, You Don't Say I Love You To Your Wife Every Day But The Ways You Look At Her And Your Actions Are Another Way To Communicate. Don't Focus On Dialogue, Only Focus On What You're Expressing.

They Said 'if You Have A 3d Movie, We'll Buy It' Because They Want It. For Maybe Two Weeks I Really Thought Of A Silent, Black And White 3d Movie And I Thought It Could Be Great. I Imagined It As A Very Special Image, A Very New Image, But Fortunately, I Didn't Have To Do It.

I Went To Hollywood. I Put The Action In Hollywood. I Watched A Lot Of Movies, Maybe 100 Or Something Close To That. I Have Tons Of Dvds Now At Home. I Don't Know What To Do With Them Because They're Not Useful Anymore. My Kids Never Watched Them. I Read A Lot Of Autobiographies, Listened To A Lot Of Music By Classical Era Composers Like Franz Waxman, Max Steiner, Bernard Herrmann, Alfred Newman And Leonard Bernstein. I Listened To Only That Kind Of Music The Entire Time I Was Writing, Even At Home.

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.

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.