I don't want to travel.

That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.

You can't have a helicopter fly over boiling lava. It would've exploded from the heat, and is just way too dangerous. The pilot of a helicopter would've flatly refused anyway.

ِِِِِِِِِِ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.

Gaining trust is not difficult for me. I needed to gain the trust of the North Korean supervisors.

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

[This kind of strange mythology about me.] I've pulled a huge steamboat over a mountain; I've done a feature film with all the actors acting under hypnosis - things that are very unusual.