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

The deal was we had to have people accompanying us and they would ask us not to film something [in North Korea]. For example, we wanted to film at a certain place and there happened to be a building under construction and it didn't look as fancy as the other buildings, so they wanted us to shoot where everything looked finished and made a good impression of the cityscape.

The collapse of the stellar universe will occur - like creation - in grandiose splendor.

I run my own film school, the Rogue Film School, and I do it over three and a half days, eight hours non-stop everyday; alone, single-handedly. But the difference is in the Rogue Film School I do have real human beings in front of me from all over the world, and of course there's this course as well, they can ask, talk about their problems and obstacles, finances, anything, you just name it. Whereas in the Masterclass, you are speaking to cameras.

I always felt completely confident - it's like in a feature film, knowing your principle character is extremely well-cast. I had that same confidence in Clive [Oppenheimer].

In a way, I managed to get the deepest things, the best things out of people. That's why I'm a filmmaker. If you don't have it in you, you'd better do something else.

Very often, footage that you have shot develops its own dynamic, it's own life, that is totally unexpected, and moves away from you're original intentions. And you have to acknowledge, yes, there is a child growing and developing and moving in a direction that isn't expected-accept it as it is and let it develop its own life.