He has done one smart thing already and that was to hire Aurelie Dupont as Ballet Mistress. She commands great respect within the POB and she is strong in an area where he himself has admitted he is weak -- in the full-length classics.
Whether Laurent Hilaire was dismissed for new blood or because they didn't get along nobody knows, but I'm reluctant to see Aurelie Dupont's promotion as smart. I realise it may be legal to dismiss managers for new faces in the US but unless the Paris Opera is exempt because of its status as a public institution, I doubt it would hold up in the French courts. I'd expect similar for any disagreements, especially for a no. 3 of a department (the administrator being the real no. 2), and the Paris Opera's track record for ignoring the labour law over the past few years is insulting enough.
Politics aside, Millepied said recently there would still be Nureyev's productions and to keep technical standards up, Balanchine and Robbins (Millepied's connection to them is irrelevant, their trusts are already very involved in the POB), but his focus was very much on the contemporary repoirtoire. A shame if the company does become a French City Ballet - much of the POB's heritage is already collecting dust. Nicolas Le Riche also said in an interview a couple of weeks ago he was leaving at the right time because the project of the house was changing and it wasn't his idea of what dance is, so I'm expecting a noticable shift in repoirtoire.
I'm glad Millepied is interested in developing in-house talent. I would hope that isn't just synonymous with young talent though and extends to include Jean-Guillaume Bart, massively underutilised by the company, and Florence Clerc. Clerc seems like a strong producer but has never been commissioned to reproduce something, but then this is an incredibly talented coach whose lack of promotion to at the very least assistant ballet master has never made much sense...