The daredevil aspect to what I did there is moving a monstrously big ship over a mountain in the jungle of Peru with 800 or 900 or so native people from the area. So that idea was wild but the way it was executed was prudent. Nobody was ever hurt and when it became clear that we had to be more secure with the posts that would hold the ship, I spent 12 days having a post built that would have withstood the force of 10 times the weight of my ship.

Some of the most important caves, like Lascaux in the Dordogne region in France, have had to be closed down. There had been too many people allowed in, and they left a mold on the walls that is spreading and which can't really be stopped.

I'm not a journalist; I'm a poet. I had a discourse, an encounter with these people but I never had a list of questions.

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.

It is not only my dreams, my belief is that all these dreams are yours as well. The only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or filmmaking is all about... 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.

Technology has a great advantage in that we are capable of creating dinosaurs and show them on the screen even though they are extinct 65 million years. All of a sudden, we have a fantastic tool that is as good as dreams are.

[This kind of strange mythology about me.] I've pulled a huge steamboat over a mountain; I've done a feature film with all the actors acting under hypnosis - things that are very unusual.