I was able to persuade them to let me shoot in areas that were beyond the volcano itself. Beyond the joint scientific program between Cambridge University and North Korean scientists. I was able to film in a kindergarten, subway, other things you would not normally be allowed to do.

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

I'm quite convinced that cooking is the only alternative to film making. Maybe there's also another alternative, that's walking on foot.

I would travel down to Hell and wrestle a film away from the devil if it was necessary.

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.

Meanwhile it's got stormy, the tattered fog even thicker, chasing across my path. Three people are sitting in a glassy tourist cafe between clouds and clouds, protected by glass from all sides. Since I don't see any waiters, it crosses my mind that corpses have been sitting there for weeks, statuesque. All this time the cafe has been unattended, for sure. Just how long have they been sitting here, petrified like this?

Film is not the art of scholars, but of illiterates.