Director
Michel Hazanavicius had been fantasizing about making a silent film for many years, both because many filmmakers he admires emerged in the silent era, and because of the image-driven nature of the form. According to Hazanavicius his wish to make a silent film was at first not taken seriously, but after the financial success of his spy-film pastiches OSS 117: Cairo, Nest of Spies and OSS 117: Lost in Rio, producers started to express interest. The forming of the film's narrative started with Hazanavicius' desire to work again with actors Jean Dujardin and Bérénice Bejo, Hazanivicius's wife, who had starred in OSS 117: Cairo, Nest of Spies with Dujardin. Hazanavicius chose the form of the melodrama, mostly because he thought many of the films from the silent era which have aged best are melodramas. He did extensive research about 1920s Hollywood, and studied silent films to find the right techniques to make the story comprehensible without having to use too many intertitles. The screenplay took four months to write.
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