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.

I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.

I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know.

It's about storytelling. The story is told through images. So with the cast, I had to make sure that the emotions were readable without sound... I know some great actors, if you turn off the sound, you don't really know what they're saying.

It's just incredible. When you're French, coming from a non-English language country, you don't even dream about Oscar recognition or nominations. It's just beyond the dream. It's something very, very special and unique. It's the highest recognition any filmmaker could dream of.

Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great.

The fact that I made a special movie with an old-fashioned style - even if it's a mix between with modern and old-fashioned things - must mean I feel both ways about change. In a way I'm resisting, but in a way adapting myself to the times.

This is the problem with language, and this is what makes silent movies fun, because the connection with them, me or the audience is not with the language. There's no question of interpretation of what we are saying it's just about feeling. You create your own story.

When you do not have the dialogue to explain things, you will use everything to show and to tell the story. I think that this is what makes you believe that it is impeccable.

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural.

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.

To me the recognition of the audience is part of the filmmaking process. When you make a movie, it's for them.

I only have one obsession - not to be boring.

An idea is something you work on to make it work and a desire is much deeper in a way.

Bernard Herrmann was a genius, a great, great composer.

But I don't think of myself as a foreigner or a Frenchman! I just think of myself as a director.

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

French cinema audiences usually don't express anything. Certainly not satisfaction.