Of course there's a value in a storyboard if you do a big - let's say an action movie and actors have to move and act in front of a green screen because entire backgrounds exploding and cars flying through there have to be created separately, and in this case you better make sure the actors are precisely placed and the background action is moving in a certain moment, for this type of film you would need a storyboard.

It's all movies for me. And besides, when you say documentaries, in my case, in most of these cases, means "feature film" in disguise.

I have a great map of the Tibesti Mountains in the southern Sahara or Northern Chad. It's a dream of mine to go there, but it's such a volatile area, you have to be prudent.

There are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.

Clive [Oppenheimer] and I figured out that I'm the only one probably in the film industry who is clinically sane. I say that as a joke, but there's a grain of truth to it. I'm not a stupid daredevil who jumps into the crater of the volcano to get the closest close-up, I'm not one of those. And you have to be aware that you have a crew with you and you are responsible.

I believe the common denominator of the Universe is not harmony, but chaos, hostility and murder.

Because you're delegated to a cook book recipe and you slavishly and pedantically rely on it while you're shooting and you're not relying on your creative instincts and you're not relying on something which brings life into movies and excitement into it.