Clive [Oppenheimer] and I figured out that I'm the only one probably in the film industry who is clinically sane. I say that as a joke, but there's a grain of truth to it. I'm not a stupid daredevil who jumps into the crater of the volcano to get the closest close-up, I'm not one of those. And you have to be aware that you have a crew with you and you are responsible.

All of a sudden it's twelve-year-olds who are contacting me, fifteen-year-olds, and they have very, very fascinating questions. However, they speak in a language of their age group which I have to learn first.

We do not see the danger clearly enough that we develop images adequate to our state of civilization. When you watch TV, you know instantly that there's something wrong with the images. When you open a magazine and see the ads, you know there's something wrong with the images. And it's unhealthy and not good and outright dangerous, in my opinion.

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

There are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.

Otherwise you have to repeat a lot when you're filming. And I've seen the film and it's in a border town in Mexico close to the border with the United States, so of course you have a lot of traffic and noise and dogs barking right nearby, and for that you have to repeat a lot and Robert Rodriguez didn't do that. Smart, smart, smart, you better have smarts also.

ِِِِِِِِِِ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.