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.

I have not seen a film as powerful, surreal, and frightening in at least a decade unprecedented in the history of cinema.

I always loved celluloid cameras in the early days that were sturdy and reliable. Even under tropical conditions and downpour of rain, it would still work.

I'm a very circumspect and prudent person, and I eliminate danger as far as it can be done.

When I film, there are no emotions. That would be the last thing.

I run my own film school, the Rogue Film School, and I do it over three and a half days, eight hours non-stop everyday; alone, single-handedly. But the difference is in the Rogue Film School I do have real human beings in front of me from all over the world, and of course there's this course as well, they can ask, talk about their problems and obstacles, finances, anything, you just name it. Whereas in the Masterclass, you are speaking to cameras.

I know what I'm talking about and I've never been over budget, in 70 films.