Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.

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.

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

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.

It's funny how in the long time of me working in various countries and various situations that there is this kind of idea out in the media that I am a daredevil and that I risk the lives of everyone around me, but nobody ever gets hurt on my shoot. Some crew members sometimes, but the actors are OK.

It was a subject [ volcanoes] that was dormant in me for a long time and it popped up 40 years ago when I made a [short] film on the Caribbean island of Guadeloupe about a volcano that was about to explode and a single farmer refused to leave ["La Soufrière"].

Netflix trusted me in a way that was very, very pleasant.