I go on giving interviews because I've been brought up to support the projects I'm involved in. When you've enjoyed working on a production, you want to do them a favour.
My way of remaining French was the financing scheme I used for Quest for Fire, with Fox funds, since it started as a 100% American production. The film was not in French and yet was French in style, reflecting my personality.
There's editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there's not a lot of that for me.
The production team's first meeting took place at my house. I had ideas and a color scheme in mind, how I wanted the movie to look, because that has to be a real collaboration.
All the technology of our production was still pre-War. They were sort of '38, '39 and the War had been stable and so we were infinitely behind whatever had been going on in the United States for instance.
And the buying of new machinery meant not only the possibility of production, but even the new technology, 'cos as I mentioned before, we were back of seven, eight years.
