Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.

I'm talking a lot on financing in the Masterclass and I know what it means to because I had to finance my first films, all of them, and I earned my money as a welder in a steel factory doing night shifts while I was still in high school during the day.

North Korea is not an exception. Even there, where you think it would be completely sober, they have the myth of their revolution being connected to the volcano.

Everything that I've done was prudent and never has anyone gotten hurt in my films - not a single actor, not a single extra, ever.

I think I'm a prudent filmmaker.

Most of the volcanoes are pretty far away. You have to go to, God knows, Alaska. Or you have to go to the Southern Indies or you have to go to a specific island.

I function better in the jungle in Amazonia or Antarctica or Alaska or the Sahara desert. An artificial environment like a studio has never attracted me. I could work in a studio, but I would never really feel at home.