I Want To Thank Three

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.

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.

At The Very Beginning, It's A Desire And That's Not The Same Thing At All, Because When You Have The Desire To Do Something, All The Work You Can Do Is A Positive Thing. It's Not Something That You Calculate. An Idea Is Something You Work On To Make It Work And A Desire Is Much Deeper In A Way. The Immersion, It's Classical, I Watched A Lot Of Movies.

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.

An Idea Is Something You Work On To Make It Work And A Desire Is Much Deeper In A Way.