I am so used to plunging into the unknown that any other surroundings and form of existence strike me as exotic and unsuitable for human beings.

If you do not understand how finances are functioning, you are in a very precarious situation, at least concerning long-term survival.

Otherwise [digital revolution] hasn't changed my way of filmmaking, I'm not nostalgic in postulating we should still make films on celluloid. I love celluloid but I don't need to continue on celluloid.

I'm not a citizen of America, I cannot vote. But it is fascinating because there's a new kind of protagonist out there that we didn't expect. By the way, I'm not in any panic at all.

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.

We haven't seen a real volcanic event at least in 74,000 years - [Mount Toba] in Indonesia, in Sumatra, where the crater itself is 100 kilometers across. It was so monumental, what happened, that for a very long time the entire atmosphere of our planet was darkened. It's not the lava and the heat per se; it's the obscuring of the entire atmosphere, and it made it very difficult for the human race to survive.

Everyone who makes films has to be an athlete to a certain degree because cinema does not come from abstract academic thinking; it comes from your knees and thighs.