There is a broad cultural current that conveys the idea that a film is like a football team, it represents a nation, it is illustrated literature, filmed radio. These are outdated concepts, totally out of touch with today's realities.
I make movies just as painters paint: I work where I can.
The art of motion pictures is pictorial and language comes a distant second.
To do the writing, I have to have time to do research.
When you create a movie, you create something in your image.
My way of remaining French was the financing scheme I used for Quest for Fire, with Fox funds, since it started as a 100% American production. The film was not in French and yet was French in style, reflecting my personality.
America is the only country capable of producing national movies: its culture has become a global culture.
British actors behave like Europeans; they are also extremely well trained.
I think it is a mistake to identify a movie according to its language, as if movies were literature.
If you make a movie about Elizabeth I, how much of the dialogue is her real words? Audiences know when they go see a movie that it is fiction.
The financing of my films has always been international.
The French have got to understand that a film is so expensive that it can no longer afford to be regional or even national in scope.
The world distribution of French movies is a laughing matter. That is a fact.
War scenes are less difficult than love scenes.
When a French book becomes an international hit it is because of the author and not because of the language. The same goes for movies.
For un-subscribe please check the mail footer.