I make films because I have not learned anything else and I know I can do it to a certain degree. And it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.

I looked, for example, to certain types of literature to which I would like to refer, like The Peregrine by J. A. Baker, and I mention a book, "read this, read it, read it if you are serious of being in any type of art or into filmmaking," or films that I should quote as examples.

When you look at any of my films you will immediately be able to tell this is a [Werner] Herzog film. Even if you didn't have any credits, in two minutes flat you would know.

I have not seen a film as powerful, surreal, and frightening in at least a decade unprecedented in the history of cinema.

There is never an excuse not to finish a film.

I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.