When I see a face, I see a face in general and I see you are curious, I see the curiosity but I don't not look after a dermatological report of your cheeks, and that's what you see when you're too high-resolution. And now desperately in post-production, in color grading, they are trying to wipe out the precision of the dermatological report.

For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.

Of course I do things in my voice in my commentary, which I wrote.

ِِِِِِِِِِArt house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.

It's curiosity, and always a sense of poetry. You see it in particular in the chapter "Iceland" where I'm reciting ancient Icelandic poetry. It has this very beautiful gravitas in conjunction with the volcanoes.

When I say tourism is sin and traveling on foot is virtue, it's condensed into a dictum. It's much more complex than that, but let's face it, for me, my experience, the world reveals itself to those that travel on foot. You understand the world in a much deeper level. And it does good to anyone who makes film.

I'm not into the culture of complaint. I roll up my sleeves and somehow I get it together.