Otherwise [digital revolution] hasn't changed my way of filmmaking, I'm not nostalgic in postulating we should still make films on celluloid. I love celluloid but I don't need to continue on celluloid.

I think psychology and self-reflection is one of the major catastrophes of the twentieth century.

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.

Well, it had to be about the stories and the people who live under the volcano, what kind of new gods do they create? What sort of demons? And of course North Korea falls clearly into this category since the socialist revolution at the end of the Second World War. Somehow they adopted the myth of the power and dynamics of their volcano.

You have to be completely open to what people would tell you. You do not shape them; you do not force the materials into your ideas. You have to have all windows and doors open.

Meanwhile it's got stormy, the tattered fog even thicker, chasing across my path. Three people are sitting in a glassy tourist cafe between clouds and clouds, protected by glass from all sides. Since I don't see any waiters, it crosses my mind that corpses have been sitting there for weeks, statuesque. All this time the cafe has been unattended, for sure. Just how long have they been sitting here, petrified like this?

There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.