I think we are at the very beginning of high changes, not only in terms of digital film, but in the way the movies will be screened, whether they'll be screened on phones, on computers - on everything

French people are strange about America, I think.

But sometimes I think you have to try to do things that people don't think are doable.

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 think being a foreigner and talking about Hollywood allowed me to use some cliches and some references that an American would maybe not use.

Finally, you're right about one point, your entire way of thinking is predicted by what you're immersed in so you know you won't make a bad decision. You can make a bad decision but it's still in the good sphere normally if you work well. You're prepared to face a crew who wants to know everything and poses a hundred questions a minute, because you know you have good reflexes and can respond very quickly.

I think there's something in common with the OSS 117 movies. The big difference is there's no irony in this one. It's not parody. I tried to make it very simple. It's a simple story, but to be simple, it's very complex in the way it's done.

I can say is usually people are slightly confused. They think that silent movies are old. But, the fact is, they are old because they have been made in the '20s. That's the thing that makes them old. Not the format. The format is just a format. It's not an old format.

I think Hollywood is cleverer than you think. I'm not sure they will do it. I don't think so, but maybe I'm wrong. When we were doing the preparation of the movie, we didn't have all the money so we were looking for all the solutions possible, and 3D was one option.