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.

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.

ِِِِِِِِِِArt house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.

Gaining trust is not difficult for me. I needed to gain the trust of the North Korean supervisors.

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.

You can fight a rumour only with an even wilder rumour.

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.