Netflix knew I was going to North Korea and Ethiopia and Iceland. They saw the film and liked it and that was that.

We live in a society that has no adequate images anymore, and if we do not find adequate images and an adequate language for our civilization with which to express them, we will die out like the dinosaurs.

I function better in the jungle in Amazonia or Antarctica or Alaska or the Sahara desert. An artificial environment like a studio has never attracted me. I could work in a studio, but I would never really feel at home.

You should look straight at a film; that's the only way to see one. Film is not the art of scholars but of illiterates.

It seems odd, but people who see my films normally take them in in a deeper way than you would actually watch a film, let's say The Terminator or whatever.

You are in a place that has not been seen for tens of thousands of years, because it was so sealed off. There is such silence that when you hold your breath you can hear your own heartbeat. Everything is so fresh that you have the sensation that the painters have merely retreated deeper into the dark and that they are looking at you.

I try to be after something that is deeply reverberating inside of our souls, some deep echo from - even from prehistory. What makes us humans? How do we communicate? Where are we going at this moment? Something for an audience where they can step outside of themselves, where they can be almost like in ecstasy of truth, some sort of deep illumination. And that's what I'm trying in documentaries and in feature films.