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Interview: The Director of ‘The Artist’ Talks Silent Film in a Modern Age, Chaplin, Tati and Uggy the Dog
So are you surprised by the film’s reception as much as people seem to be surprised a black-and-white silent film can be entertaining?
MH: Well, I would hope they would like it, but yeah… I don’t want to fake modesty and say, “Oh, yes, I’m very surprised people like my movie.” No, I did my best to make sure people like it, but in a way I feel — not like a crook — but I cheated a little bit. I almost thought the talkies arrived almost ten years too early.
I think Chaplin would agree with you.
MH: Yeah, that is true, but it was good for Chaplin because he had the power, genius and talent to continue, but he was the only one. Now he’s a god in the history of cinema, but people like Borzage, von Sternberg, King Vidor, John Ford, Raoul Walsh, those kind of directors, if those ten years were spent doing silent movies they would have produced some masterpieces. Because during the four or five last years of the silent era the movies were incredibly good, and the sophistication and narration of the directing is really good and better than a lot of movies that you can see now from a directing point of view.

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