For the album, Collin strove to redefine outmoded film songs into something that transcended studio technique. He made a point of choosing different singers than the ones who appeared on his previous records, finding the perfect complements to his 60s-tinged arrangements, his vintage keys, in a multinational group of vocalists, including Australia's Nadeah, Britain's – and former Morcheeba singer – Skye, the US's Juliette Lewis, Brazil's Cibelle, Denmark's Katrine Ottosen, and France and Israel's Yael Naim.

The results are simpler, but not simplified, versions of what once were generally mega-produced hits. In "A View To A Kill," for example, by John Barry – one of the Parisian's greatest influences – Collin sought to prove that indeed that 80s were not ones of drought for the famed composer. The original, a synth-heavy number originally performed by Duran Duran, is turned into a contemplative reflection by Skye. The same goes for Juliette Lewis's take on David Bowie's "This Is Not America," which Collin reworked as if it were recorded in the 70s – and ends up being the better for it – or Ennio Morricone's "It's Wrong For Me To Love You," which serves to remind listeners why indeed the Italian is considered one of the greatest film-scorers ever.

As with Nouvelle Vague, with Hollywood, Mon Amour, Marc Collin has successfully given these songs new life, new meaning. Where there was once a garish palette of squealing guitar solos and high-five vocals, he manages to find fragile colors and tender
melancholy. A true master producer and composer, he has coaxed out the melodies and placed them where they truly belong, in the end creating something that is truly memorable.