There's happens to be a volcano in the vicinity and there's some talk about a volcano as well, so that's the title Salt and Fire

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

I always loved celluloid cameras in the early days that were sturdy and reliable. Even under tropical conditions and downpour of rain, it would still work.

Centuries from now our great-great-great-grandchildren will look back at us with amazement at how we could allow such a precious achievement of human culture as the telling of a story to be shattered into smithereens by commercials, the same amazement we feel today when we look at our ancestors for whom slavery, capital punishment, burning of witches, and the inquisition were acceptable everyday events.

You are confronted with abysses of time that are, in a way, unfathomable. You see a painting in charcoal of raindeer and it was left unfinished and somebody else finished it. But through radio carbon dating we know that the next one completed the painting 5,000 years later. You're just blown away by the notion of passage of time. We have no relationship to that kind of depth of time.

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.

Martin Luther was asked, what would you do if tomorrow the world would come to an end, and he said, 'I would plant an apple tree today.' This is a real good answer. I would start shooting a movie.