I don't see poetry as something that has to do with too much emotion anyway. It has to do with language.

If I had to climb into hell and wrestle the devil himself for one of my films, I would do it.

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.

Public life is constantly aware of the volcano.

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].

I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.

I think I would be a good villain in a James Bond movie.