A Quote by Jean Dujardin
In France, I have lots of opportunities. Maybe now I'll be offered films in America. It's the encounter, with the director and the story that counts.
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I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
The strange thing is that since I've been offered lots of films I think that maybe they think that I've sold out to Hollywood. Which is not the case if anybody's listening.
I think American films right now are suffering from an excess of scale. Lots of movies we're seeing now are more akin to video games than stories about human life and relationships. Twelve- to 20-year-olds are maybe the largest economic force in the US movie business. I'm not a very nostalgic person - but I enjoy a good story.
I just didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me.
In my earlier films, there was lots of song, dance and action. But now, I believe the story and script is more important.
I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.
There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.
Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There's no such thing as a studio edit. It's the director's cut, period.
When I worked as an assistant director in 2007, Indraganti Mohan Krishna offered me a lead role. Now, the same director has made me a villain in 'Gentleman.'
All I want is the same opportunities as the filmmakers I grew up admiring. But you know, I've had lots of amazing opportunities to do the movies I wanted to do. If I could write my future, I'd want to keep making character-based films that can make use of my voice as a filmmaker.
This is a wrong notion that I work in big budget films. Infact, usually low budget films are offered to me, they come and say it's a good story but they don't have the money.
I've always been into films. I've been offered lots of films but they've always been these very stereotypical roles. They wanted me to play some gangster or street guy, or pimp, drug addict.
I wanted to become a director before I wanted to become a writer. When I was 10, people would ask me what I wanted to be when I grew up, and I said, 'Walt Disney.' I wanted to make films. But I wasn't offered a camera. I was offered language. So I started telling stories in the theatre and then in my novels.
When directors like Joe Russo, who understand story from a very global perspective, start working more and more with Chinese filmmakers, you'll start seeing Chinese films that connect with audiences all over Asia, Europe, and South America - maybe even North America.
Making movies in France is different, but it's still acting, you know. You still have doubts and you're scared, always, but I really love doing films in America, because I love to speak English. But I think there's something very entertaining about American films. But I also like the intimacy of French films.
I'm always looking for opportunities, even when they're not offered to me. I will have no hesitation to pick up the phone and call a director or call a writer.
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