Jean Dujardin Quotes

For you, it's a silent movie. For us, it's a talking movie because we had lines on set. There's a lot of noise on set and music. We spoke in English, in French, in gibberish, but it was very alive. The challenge was tap dancing.

Cinema is universal, beyond flags and borders and passports.

I'm not focused on radio or whether I'm going to get all the audiences... all I wanted were great songs that were universal to any listener - Black, White, Green, Yellow; any kind a age difference.

Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.

I always loved silent movies. I was not a specialist, but I loved them. And when I started directing, I became really fascinated by the format - how it works, the device of the silent movie.

I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.

I have to write for everyone. What really fascinates me is how you make films or make stories that can genuinely be shared by different groups.

A lot of British comedy feels foreign rather than feeling universal.

I am a citizen of the planet and I want to do films that appeal to people, not communities.

Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.

What I want to do with cinema is keep it as universal as possible.

I want to do Indian films based on scripts with a universal appeal.

I'm not going to be an interpreter at the U.N. I'm not going to live in Africa on a farm or whatever, but I am going to see the world through those eyes when I make those films.

Horror has been a genre since the beginning of cinema, all the way back to the days of silent films. I don't think it will ever go away because it's so universal. Humor doesn't always travel to other countries, but horror does.

It's really important to have subjects that people all over the world are familiar with, and the Disney films are really great that way.

You have got to stress the freedom of music to really branch out and be universal.

'Newton' is a very Indian film but resonates with people all across. And that's the reason it got great response at the film festivals.

It's hard enough being American and trying to make it in an American world, but being Australian, you're from a whole different country and have a whole different way of doing things.

Starting in Greece, you couldn't really say, 'I'm going to become a film-maker.' A 15-year-old boy in Greece in the '80s and '90s? There was nothing like that happening.

After doing two feature films, I got an idea for a thriller film and felt this could be made without any dialogues.

I took a page out of the U2 book. They've always had a universal approach. Nobody doubts they're Christian, but there's an open door for everybody in any faith to consume the music at any level.

In a silent film, the visuals are of utmost importance.

Good cinema has no regional or linguistic boundaries.

Bill Monroe is not singing about life in America. He's singing about life in Kentucky and Tennessee. And yet it's had this tremendous impact, not just in America but in the world. Why is Bill Monroe's hyper-regional music so universal? We can be so different and yet still share a tremendous amount.

You look at a song like 'Lightning Crashes,' and it's just so universal.