Facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable.

I was able to persuade them to let me shoot in areas that were beyond the volcano itself. Beyond the joint scientific program between Cambridge University and North Korean scientists. I was able to film in a kindergarten, subway, other things you would not normally be allowed to do.

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

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.

That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.

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.

In the communist revolution in North Korea, when they threw out the Japanese occupiers, they claimed the power in the dynamic of this volcano for their revolution, saying that this is at the center of the dynamics of our revolution. Everything that you encounter - you don't have, for example, any advertisements, you don't have anything like that anywhere in the country - if you see anything it would be propaganda, and propaganda always inevitably comes back to the volcano. It's always including the volcano. You see the new leader and standing behind him you see the volcano.