Michel Hazanavicius Quotes - Page 2

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• I make almost all the decisions on set and have to deal with all the financial aspects.

  Michel Hazanavicius

  Decision, Financial, Aspect

  Interview with Jason Guerrasio, www.avclub.com. November 23, 2011.

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• 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.

  Michel Hazanavicius

  Thinking, Important, Directors

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• I want to thank three person: I want to thank Billy Wilder. I want to thank Billy Wilder. And I want to thank Billy Wilder.

  Michel Hazanavicius

  Three, Want, Wilder

  Michel Hazanavicius' Academy Awards Acceptance Speech, aaspeechesdb.oscars.org. February 26, 2012.

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• They said 'if you have a 3D movie, we'll buy it' because they want it. For maybe two weeks I really thought of a silent, black and white 3D movie and I thought it could be great. I imagined it as a very special image, a very new image, but fortunately, I didn't have to do it.

  Michel Hazanavicius

  Black And White, Two, Special

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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

  Michel Hazanavicius

  Cinema, Satisfaction, Audience

  "The Artist: the silent film they said no one wanted to see" by Stuart Jeffries, www.theguardian.com. December 8, 2011.

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• 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

  Michel Hazanavicius

  Dream, Country, Unique

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• 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

  Michel Hazanavicius

  Kings, Acting, Directors

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• 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.

  Michel Hazanavicius

  Ideas, Desire, Way

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• There's always been a struggle with filmmakers between art and industry, and you have to find a balance

  Michel Hazanavicius

  Art, Struggle, Balance

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• I only have one obsession - not to be boring.

  Michel Hazanavicius

  Obsession, Boring

  "The Artist: the silent film they said no one wanted to see". Interview with Stuart Jeffries, www.theguardian.com. December 8, 2011.

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• 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.

  Michel Hazanavicius

  Brother, Directors, Care

  "Cannes Interview: ‘The Artist’ Director Michel Hazanavicius and Star Berenice Bejo". Interview with Raffi Asdourian, thefilmstage.com. May 18, 2011.

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• Robert DeNiro, who may be the greatest living actor, usually acts in a way which is very stone-faced, like Steve McQueen. For example, Steve McQueen, if you cut the sound, you don't know what he's acting really. He gives to the lines, to the text, something very special, and he's very good. He was a great actor. But, to do a silent movie, you have to have more expressive actors.

  Michel Hazanavicius

  Cutting, Giving, Acting

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• Hollywood is much more than America. Hollywood belongs to all of the planet.

  Michel Hazanavicius

  America, Hollywood, Planets

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• 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

  Michel Hazanavicius

  Sound, Stories, Actors

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• I guess all the directors in France are influenced by Hitchcock, because he's the perfect visual director, in my eyes.

  Michel Hazanavicius

  Eye, Perfect

  Source: film.avclub.com

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• 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.

  Michel Hazanavicius

  Confused, Thinking, People

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• 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.

  Michel Hazanavicius

  Kings, Laughter, Mean

  "Director Michel Hazanavicius 'The Artist' Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• It's not my job. The Weinstein company, it's their job to convince people. My job was to make the movie. That's what I did. I know what we did in France was to have the maximum screenings just to let people talk about the movie and say they enjoyed the movie.

  Michel Hazanavicius

  Jobs, People, France

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• I like to shoot beautiful things. My two previous movies were one in the '60s, the other one in the '50s, and this one is in the '20s. This is a period that's very cinegenic. The cars, the props, the suits, the haircuts, the dresses, everything, and it gives you pleasure to compose frames with that material. The music, I really love jazz, so for me, when you have good materials and nice things, it's very pleasant.

  Michel Hazanavicius

  Beautiful, Nice, Two

  "Director Michel Hazanavicius 'The Artist' Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.

  Michel Hazanavicius

  Two, Want, Kind

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• 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.

  Michel Hazanavicius

  Believe, Thinking, Shooting

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• 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.

  Michel Hazanavicius

  Thinking, Decision, Way

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• People inside the theaters usually, not 100 percent but most of them, enjoy the movie. Usually they come with a small negative view. In a way, they're prepared to get bored because it's silent and because it's black and white. So they are much more pleased to be entertained in a way. They're very happy when they go out. This was my job. For the other ones, I can do nothing except screen the movie and hope that they will say to their friends that it's not so [bad].

  Michel Hazanavicius

  Jobs, Black And White, Views

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• First of all, I had the desire for that format [silent movie], and then when I was talking to people, I felt that people needed justification. Why are you doing a silent movie? Is it just for your own pleasure? I felt it was not enough for them so I realized I have to choose the subject that will make things easier for them and to tell the story of a silent actor makes sense for doing a silent movie.

  Michel Hazanavicius

  Talking, People, Desire

  "Director Michel Hazanavicius the Artist Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• 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.

  Michel Hazanavicius

  Thinking, Preparation, Hollywood

  "Director Michel Hazanavicius 'The Artist' Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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