My crew [on "Fitzcarraldo" filming] actually said, "We have filmed it from outside on the rocks of the shore. We should be on board [the ship]," and I said it's dangerous, I only do it if you cinematographer Thomas Mauch and you actor [Klaus] Kinski decide on your own.

Orson Welles, one of the best of the best. One of the strongest. As strong as an animal. He somehow was pushed out of the business because he would spend the entire budget of the film before he had even done half the pre-production.

Technology has a great advantage in that we are capable of creating dinosaurs and show them on the screen even though they are extinct 65 million years. All of a sudden, we have a fantastic tool that is as good as dreams are.

This is the birth of the modern human soul. The artists are like us, not like the Neanderthals, who had no culture - and who incidentally were still roaming the landscape at the time the paintings were made. It is striking that there is a distant cultural echo that seems to reach all the way down to us, over dozens of millennia.

There are certain ways, narrative forms, that do not function as a continuation, for example, of 3D movies. You see, what is obvious to me is virtual reality or immersive 360 degrees virtual reality is not somehow a part of 3D movies, and it is not a new form of video games, it's neither, it is something completely new, something different, and nobody has come up yet with real convincing content.

Spirit of immersion and curiosity and awe and participation is something which Timothy Treadwell and I have in common.

The paintings are not just on flat walls - you have these enormous niches, bulges and protrusions, as well as stalactites and stalagmites. The effect of the three-dimensionality is phenomenal. It's a real drama which the artists of the time understood, and they used it for the drama of their paintings.