Michel Hazanavicius
Michel Hazanavicius
Michel Hazanavicius; born 29 March 1967) is a French film director, producer, screenwriter and film editor best known for his 2011 film, The Artist, which won the Academy Award for Best Picture at the 84th Academy Awards. It also won him the Academy Award for Best Director. He also directed spy film parodies OSS 117: Cairo, Nest of Spiesand OSS 117: Lost in Rio...
NationalityFrench
ProfessionDirector
Date of Birth29 March 1967
CityParis, France
CountryFrance
I only have one obsession - not to be boring.
There's always been a struggle with filmmakers between art and industry, and you have to find a balance
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
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.
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
French cinema audiences usually don't express anything. Certainly not satisfaction.
I want to thank three persons, I want to thank Billy Wilder, I want to thank Billy Wilder and I want to thank Billy Wilder.
All over the world there are a lot of distributors that have the equipment for 3D but they don't have the movies really. The only source of 3D movies is Hollywood. Only Hollywood sends the 3D movies. So it was an option.
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.
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.
I'm very happy in France making movies.
I make almost all the decisions on set and have to deal with all the financial aspects.
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.