I find it interesting that there are impostors out on the Internet pretending to be Werner Herzog.

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.

Netflix knew I was going to North Korea and Ethiopia and Iceland. They saw the film and liked it and that was that.

I've never left my culture. I've left my country, but I've not left my culture. In the same way, you shouldn't be worried why George Lucas is going to the outer galaxy to make a movie. He's still making a film within his culture; he's making an American film. I go to Thailand or the Peruvian jungle, the Amazon, and I still make Bavarian films.

Life in the oceans must be sheer hell. A vast, merciless hell of permanent and immediate danger. So much of a hell that during evolution some species—including man—crawled, fled onto some small continents of solid land, where the Lessons of Darkness continue.

It happens sometimes that the material itself carries things you have not fully planned. The footage has its own right, its own life, its own vibrancy and energy in it.

When you look at my film you see footage that is unbelievably awesome and beautiful and dangerous looking. It's something that is very, very cinematic.