It seems odd, but people who see my films normally take them in in a deeper way than you would actually watch a film, let's say The Terminator or whatever.

You will learn more by walking from Canada to Guatemala than you will ever learn in film school.

There's happens to be a volcano in the vicinity and there's some talk about a volcano as well, so that's the title Salt and Fire

I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.

North Korea has a very striking mythology there. It is influencing the whole nation.

I try to be after something that is deeply reverberating inside of our souls, some deep echo from - even from prehistory. What makes us humans? How do we communicate? Where are we going at this moment? Something for an audience where they can step outside of themselves, where they can be almost like in ecstasy of truth, some sort of deep illumination. And that's what I'm trying in documentaries and in feature films.

I'm trying to find these rare moments where you feel completely illuminated. Facts never illuminate you. The phone directory of Manhattan doesn't illuminate you, although it has factually correct entries, millions of them. But these rare moments of illumination that you find when you read a great poem, you instantly know. You instantly feel this spark of illumination. You are almost stepping outside of yourself and you see something sublime.