I don't spend sleepless nights over getting very bad reviews.

If I had to climb into hell and wrestle the devil himself for one of my films, I would do it.

We are surrounded by worn-out, banal, useless and exhausted images, limping and dragging themselves behind the rest of our cultural evolution.

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

The deal was we had to have people accompanying us and they would ask us not to film something [in North Korea]. For example, we wanted to film at a certain place and there happened to be a building under construction and it didn't look as fancy as the other buildings, so they wanted us to shoot where everything looked finished and made a good impression of the cityscape.

You are confronted with abysses of time that are, in a way, unfathomable. You see a painting in charcoal of raindeer and it was left unfinished and somebody else finished it. But through radio carbon dating we know that the next one completed the painting 5,000 years later. You're just blown away by the notion of passage of time. We have no relationship to that kind of depth of time.

When you look at the paintings at Chauvet Cave, they're not primitive or like children's little scribbles, it bursts on the scene fully accomplished and when you look through the faces of cultural history, art history, it has never gotten any better.