Bernard Herrmann Was A Genius,

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.

There's Always Been A Struggle With Filmmakers Between Art And Industry, And You Have To Find A Balance

Sometimes I Think You Have To Try To Do Things That People Don't Think Are Doable. I Remember At The Very Beginning Actually, The First Person I Had To Convince Was Myself Really Because There's A Self-censorship. When Everybody Says 'we Don't Do Silent Movies Anymore,' You Agree With Everybody, And You Say 'yeah, You're Right.' It Was A Fantasy.

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.