Ten years ago in Antarctica shooting "Encounters at the End of the World," I met a very fine volcanologist from Cambridge University [Clive Oppenheimer] and we kept talking about doing a film and all of a sudden it became serious when he hinted at the possibility to film in North Korea.

It is not only my dreams, my belief is that all these dreams are yours as well. The only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or filmmaking is all about... and it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.

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?

I do not want to have a cell phone. I do not want it for cultural reasons. I do not want to be available all the time. I want to have time to think and to touch somebody, and have a meal across my kitchen table without a cell phone, being constantly on tweets.

If you want to propose marriage to your girlfriend and you live in England and she is in Sicily, do the decent thing and walk down there. Travelling by car or aeroplane wouldn't be right at such a moment.

In a way, I managed to get the deepest things, the best things out of people. That's why I'm a filmmaker. If you don't have it in you, you'd better do something else.

We are not accountants, We are not accountants who do number after number after number of storyboard images, a robot could do it ultimately, but what I'm doing a robot cannot do.