You are confronted with abysses of time that are, in a way, unfathomable. You see a painting in charcoal of raindeer and it was left unfinished and somebody else finished it. But through radio carbon dating we know that the next one completed the painting 5,000 years later. You're just blown away by the notion of passage of time. We have no relationship to that kind of depth of time.

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 find it interesting that there are impostors out on the Internet pretending to be Werner Herzog.

I must say, the people who started this whole Masterclass series have been very helpful and very intelligent to point out certain things and also give me some guidance, "isn't there something missing, shouldn't we address this or that?" so it's not completely alone out of the blue. It's very well thought through.

Nature is monumentally indifferent.

If you truly love film, I think the healthiest thing to do is not read books on the subject. I prefer the glossy film magazines with their big color photos and gossip columns, or the National Enquirer. Such vulgarity is healthy and safe.

You are in a place that has not been seen for tens of thousands of years, because it was so sealed off. There is such silence that when you hold your breath you can hear your own heartbeat. Everything is so fresh that you have the sensation that the painters have merely retreated deeper into the dark and that they are looking at you.